Leticia Neria PhD thesis - Research@StAndrews:FullText ...

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magic will punish those who are hurting others, sometimes by a side effect that the person will need to be aware of, and which is always mentioned by Hermelida. In fact, Hermelinda enjoys the misfortune of those who wanted to use sorcery to harm or kill others. The witchcraft always works and helps attain the goal; however, an outcome often turns the potion against the person who is using it, or against someone who is committing a crime. In the issue in which a man gets some chewing gum which forces people to tell the truth, 10 the man realises that his son is a liar who has skipped school and that his wife is unfaithful. The man cannot handle all this truth and dies. In the next issue, the adulterous wife is killed by her lover. So, it is through these unexpected reactions, or through the side effects that Hermelinda warned about, that the user of the magical potion will discover a reality that maybe he/she did not want to learn, such as the secret feelings of the wife in the previous example. Also those who act wrongly will be punished, and this punishment is somehow related with the witchcraft. Therefore there is always a lesson to learn, and we realise that, although we would love to use sorcery to solve our biggest problems, there is a risk involved and is always better to fight to reach our own aims instead of trying to find the easiest solution. Furthermore, by observing how the wicked characters suffer the consequences of their acts, we might learn that wrongdoing is always penalised. 11 The use of humour is very important in this comic book, since the topics that are discussed can be cruel, serious, and even violent. Without witty comments and comical situations, the content of the plots could be compared to that of the gutter press but with caricatured images. Humour as a narrative tool changes the mood of the content and 10 Hermelinda Linda, 372, 373. 11 Personal communication with Óscar González, 15 July 2010. 81
makes it easier for the reader to deal with despicable situations. I will discuss this further during the analysis of the comic. Occasionally, Hermelinda appears on the last page finishing the story as a moral, but in a funny way. 12 Since the stories are more related to crime and low passions, there is no happy ending. However, a sharp comment from Hermelinda or a punch line will break the stress, although also inviting reflection. Either case, at the end, the only one who enjoys the results of the witchcraft, and the problems which unleash it, is Hermelinda, the omnipresent observer, and of course the reader. El Callejón del Cuajo número chorrocientos: La Familia Burrón and the representation of Mexico City Gabriel Vargas was a gifted child who, from an early age, proved that he had a natural talent for drawing. His talent was openly recognised for the first time when he participated in an international drawing competition when he was only fifteen years old, and was awarded second place. 13 Afterwards, he began working for the Mexican newspaper Excélsior as an illustrator. In 1938, the owner of one of the most important publishing houses (the Revolutionary General José García Valseca), asked Vargas to create a comic book to compete against another successful Mexican comic: Los Supersabios. Thus, the artist created one of his most iconic comic books: Los Superlocos, 14 a comic that lasted for almost fifteen years. It was in Los Superlocos that some of the most famous characters in Mexican popular culture appeared for the first 12 For example, when Hermelinda creates magic chewing gum which make people tell the truth, she comments at the end: ‘No es siempre agradable conocer la verdad. A veces, más vale hacerse el tarugo’. Afterwards she invites the reader to have a piece of gum, but reassuring them that they are ‘inoffensive’. 13 Maira Mayola Benítez Carrillo, Gabriel Vargas. Cronista gráfico (Mexico: Universidad Autónoma del Estado de Hidalgo, 2010), p. 13. 14 Juan Manuel Aurrecochea Hernández. ‘Los Superlocos – Pepín’ [accessed 16 May 2011] 82
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HUMOUR AS POLITICAL RESISTANCE AND
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Abstract This research focuses on t
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Table of Contents Acknowledgments
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The breaking of the rule ………
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Acknowledgments After so many years
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fantastic friends who are now part
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Introduction Dime de qué te ríes,
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And what about comics? Comics take
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helps us to understand a specific c
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were expecting a funny story. In ad
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Román Gubern’s ideas of visual a
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Chapter 1 Laughing when it hurts: A
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etween varieties of terminology in
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than just disjunctions in the narra
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serve as the basic vehicle for the
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so that there are parts which are n
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her body, she has a large round red
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classified jokes and humour and des
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case of Excélsior showed. 50 So, p
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We might find this joke funny becau
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absentmindedness in men and in even
Page 44 and 45: oken the rule of being respectful w
Page 46 and 47: Even though humour can work as a so
Page 48 and 49: sentiments, develop and perpetuate
Page 50 and 51: jokes are ‘a useful means of diss
Page 52 and 53: Other authors consider that in fact
Page 54 and 55: neutralise our feelings because lau
Page 56 and 57: power for thirty-five uninterrupted
Page 58 and 59: -and in the subsequent years- did n
Page 60 and 61: numbers of businessmen, workers and
Page 62 and 63: undermining the image of a dictator
Page 64 and 65: people’. 50 It aimed for an appar
Page 66 and 67: cambio (exclusivamente verbal), por
Page 68 and 69: university. In the film El Águila
Page 70 and 71: gave money in secret to Scherer to
Page 72 and 73: men appeared and beat many of the s
Page 74 and 75: Thus they decided to fight against
Page 76 and 77: PDLP, 115 captured those they thoug
Page 78 and 79: money without working because they
Page 80 and 81: information on antagonistic groups,
Page 82 and 83: Although the violent methods were o
Page 84 and 85: those who appeared to be hippies, h
Page 86 and 87: ock and roll and read the writers o
Page 88 and 89: Chapter 3 Laughter and reflection,
Page 90 and 91: are richer and carry more informati
Page 92 and 93: two years later the formula was rep
Page 96 and 97: time: Regino Burrón and his demand
Page 98 and 99: around them, in La Familia Burrón
Page 100 and 101: In 2008 Gabriel Vargas said: ‘el
Page 102 and 103: story, such as the Licenciado askin
Page 104 and 105: were discussed. In that chapter we
Page 106 and 107: the flat roof of the vecindad 49 or
Page 108 and 109: True humour: humour as social compl
Page 110 and 111: those in power for citizens in trou
Page 112 and 113: puro macanazo me convenció! Yo ni
Page 114 and 115: Machismo is another topic which eme
Page 116 and 117: dibujaba Rius en los sesenta como u
Page 118 and 119: One last example from Los Agachados
Page 120 and 121: collect a large amount of money to
Page 122 and 123: In the same episode in which Borola
Page 124 and 125: As we may remember, Freud also sugg
Page 126 and 127: alleges. 102 So, through the misfor
Page 128 and 129: apart and the reader enjoys the pol
Page 130 and 131: Superiority and antithesis In the f
Page 132 and 133: gaining a sense of victory over the
Page 134 and 135: are in better position than us, at
Page 136 and 137: Differences between groups of youth
Page 138 and 139: eaction is no more compassionate. T
Page 140 and 141: the actions of their antithesis, su
Page 142 and 143: controlling our fear. We could argu
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democracy, even if the official Par
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policeman is not acting in the way
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sistema de valores, pero por lo men
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‘Pues sí: siendo rojos, tienen q
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of the joke we are too wise to beli
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allows us to discuss the existence
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campo.’ 187 But this does not mea
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Police As seen above, the police ap
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The police talk openly and unashame
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Nicanor was a victim of police brut
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speaks openly about the paramilitar
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demanded land reform: ‘consiguier
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point of view. This group makes ref
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we think about them. However, if we
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would be mere entertainment. Yet th
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claridades’. 228 That is what hum
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industry finally blossomed. 1 This
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make their own statements’. 13 In
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with Corona that Arau became politi
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The film was shot in 1971 and the p
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Echeverría sexenio he continued wo
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around the world. 45 It is consider
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eceived by the critics 53 but the p
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evident in some films than in other
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eal inspector has arrived, there is
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indicio) 67 which set the audience
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es una pura y celestial chiripada
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artists are in a coffee shop discus
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However, after this demonstration o
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the milk in a metal pot, which make
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‘¡pelos, pelos!’ 92 Tiliches a
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más favorable de la que, no obstan
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liberating us from their control an
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for the way he is dressed. They arg
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Superiority We have seen that humou
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or with that what which is prohibit
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world and change the situation in w
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During another event, the journalis
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antipathy or resentment toward disp
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Peasant: Ya va pa’treinta años d
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211 DA: Raza de majaderos, eso es l
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elationship between conquerors and
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marked limp and when Eufemio sees h
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light side’), we are presumably b
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no se va a poder [cheat on him]. Po
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un disfraz inimaginable’. Don Per
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Policeman: La lengua Poncho: De ham
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sombreros, indicating that they are
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we may feel consolation in Critchle
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criticises the abuse and dishonesty
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young one whose job is to carry the
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population. They were made in diffe
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elaxed or to break the tension afte
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In the section Speaking the Unspeak
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Conclusion This research has shown
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We also saw how films and comics co
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negatively depicted in films. The e
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the army in an unfavourable light.
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Tlatelolco in 1968, and the Halcona
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message. This kind of analysis, acc
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story. They were identified by high
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deep thought, etc. 21 ‘Even the s
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distinguished the concern of his gi
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Appendix 2 Tables The following cha
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Mechanisms of humour Los Agachados
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Mechanisms of humour Films Calzonzi
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Mechanisms of humour Mecánica Naci
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Bibliography Agnew, Bob, ‘¡Viva
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Brewster, Keith, ed., Reflections o
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----------, The Role of the Reader.
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Jardón, Raúl, 1968, el fuego de l
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Oikión Solano, Verónica, Marta Eu
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Zolov, Eric, Rebeldes con causa. La
Page 290 and 291:
Bracho, Diana, ‘El cine mexicano:
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[accessed 28 February 2010] Monsiv
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Films Ahí está el detalle, dir. b
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