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Recommended: An analysis of humor
Humor Paper I’ve chosen to write my humor paper about the “Van Wilder Shit Scene”. In this clip, taken out from the movie “Van Wilder”, our protagonist gets a horrible diarrhea in the middle of a supposedly important meeting. We watch him struggle through the meeting, and as the situation evolves, so does his need of letting it all go. Eventually, he ends up on a trashcan at the same office, giving in to the “lower forces”. Diseases like diarrhea are a typical taboo among most people, but this clip manages to make fun of such topics, by almost literally throwing the taboo in the faces of the clip’s characters. By doing so, it makes the viewers laugh almost out of disgust. The whole situation is very exaggerated, for an example at The trashcan shot, “Van Wilder Shit Scene”, 0:31 where he screams so badly, you could argue whether it was out of pain or relief. By doing so, it makes his situation more fun to watch, because of his diarrhea differing so much for our perception of a normal round diarrhea. It also takes us by surprise. While we expected him to possibly shit his pants, none of us predicted him to throw himself onto the trashcan. Surprise goes, for that reason, hand in hand with incongruity in this clip. Our protagonist does not act according to our expectations, and we can therefore involve the …show more content…
Incongruity Theory, which, to sum up, is about us laughing when things doesn’t match our expectations and are incongruent with our perception of the world. As a result of the surprise and the Incongruity Theory, more suspense is added to the clip. Knowing, or not knowing, that something not typical will happen, creates a more exciting experience, when you’re watching a movie. Without suspense in a movie, most movie-lovers could start packing their things and go home, because watching a movie with no suspense wouldn’t be worth the time. Yet another thing that makes us laugh about the clip, is its use of ambiguity and irony.
At The office conversation, “Van Wilder Shit Scene”, 0.23, one of the men asks our protagonist a very ironic and ambiguous question: “You look like you want to get something out, son”. By saying that, he expected for our protagonist to start opening up and speak, but our protagonist chose to open up in the wrong end, which led to a very ironic and ambiguous scene because of the sentence being capable of having several meanings. It makes us laugh because he kind of predicted for that to happen, by saying what he did, even though he never knew what has going to
happen. Exaggeration, surprise, incongruity, irony and ambiguity. It’s because of all these humorous devices we laugh at this clip. The use of exaggeration makes it funny to laugh at, and the way the whole clip portrays the scenario as a very untypical situation, adds a new layer or perspective to the clip, which makes it interesting to watch. Irony is a typical humorous device, which is also used regularly in real life, but can take you by surprise at any time. Putting all these humorous devices together, we get a combination or fun, disgust, surprise, and suspense which makes this clip a whole lot of fun to watch.
David Sedaris first heard of this strange phenomenon from his boyfriend Hugh Hamrick. Hamrick worked at the local Gap in high school and mentioned people defecating
Giannetti defines mis en scene as, “the phrase that refers to the arrangement of all the visual elements of a theatrical production within a given playing area” (50). This French theatrical term provides an understanding of the meaning of arrangements the director chooses to place in the frame and where they are located. While mis en scene can be analyzed in any film, we looked at The Sandlot and The Longest Yard for strong examples. The Sandlot (1993) directed by David M. Evans is a film about a new kid, Scotty Smalls, moving to a new town and trying to befriend the local boys and finding a love for baseball while playing for the Sandlot team. On the other hand, we have The Longest Yard (2005) directed by Peter Segal, which is about Paul
In Napoleon Dynamite (Jared Hess, 2004), the character known as Napoleon Dynamite (Jon Heder) is quite a unique fellow. His quirkiness and eccentricity are what make him as a character; they are the primary traits of his personality. Keep in mind, however, that he is not the only odd character in the film, but he has his own peerless way of defining himself separate from any other character(s). This effect is achieved through certain cinematic techniques that director Jared Hess utilizes in order to bring out Napoleon’s persona in ways other than simply “guessing” who he really is. Rather, these techniques “explicitly imply” certain character traits; they are like clues that allow one to see the character just as the creator intended. Through mise-en-scene, sound, and acting and performance, Napoleon Dynamite emphasizes and comments on the character of Napoleon, defining his physical and social nature.
My humor consists mainly of a mix of high and low comedy, and sarcasm. One element of humor that does not appeal to is caricatures. An example of this is a terrorist joke. The terrorist was holding a pencil and saying “Where is the trigger?” exaggerating the fact that, in the news we hear about terrorism, and when the terrorists come to America they would not be able to decipher the language or the meaning of objects. The joke did not appeal to me in anyway and didn’t make sense. A certain part of an element of humor that does not appeal to is disgusting anecdotes. In the passage, Brothers by Jon Scieszka, a family goes on a roadtrip and stopover to eat. A brother drops a piece of candy and the cat eats it and yacks it up. “Tom burped a bit of Stuckey lunch back on Gregg.” The bodily functions and them throwing up and spilling out of the puke wagon had made me lose my appetite for lunch.
Our society has institutionalized particular behaviors such as fixing our appearance, crying, belching, defecation, and flatulence deviant to perform in a public setting. Therefore, we rely on what Cahill terms as “performance regions” to relieve ourselves of these deviant behaviors. Public restrooms are performance regions that afford individuals the privacy (negative interpersonal rituals) to release bodily waste, cry, and discuss situations
And experimental social psychologists...have studied how social forces and the pressures of a given situation can change the way we behave, regardless of our personalities and background” (43). Many of the Candid Camera hoaxes highlight the fact that people are not accustomed to deviance from social norms. Thus, when roles are broken or reversed, the results prove laughter inducing. For instance, when the dentist launches into a sales pitch about gold-plated tooth necklaces and framed x-rays, it’s nearly impossible not to laugh at his flustered patient’s protest that, “The way our walls are set up in our house...this—this just won’t go with it.” But underlying this farcical situation is a human truth—the unfailing desire to adhere to normal social constructs. The dentist should be cleaning my teeth, our brains protest, not selling earrings bedazzled with them! Further on in the episode, during the dentist-turned-barber hoax, we encounter another universal crutch: white lies. “Please, don’t make me feel bad!” the patient pleads when the planted dentist becomes emotionally distraught after having slathered him in shaving cream, “You’re doing a good job, you are!” In this case, viewers can chuckle at the awkward situation while at the same time considering just how often they, too, voice such dishonesties in day-to-day
I also don't own the idea, it was requested to me by the wonderful Amanda. Thank you so much! I hope I did this idea justice.
A key aspect that was used in this scene was the way that the director builds and releases tension when required using the sound track. This is used as Tim gets up to put his clothes in his draws. The slow, high pitch music in the background started to become more high pitch and louder as the light falls and breaks, the door then opens revealing a shadowing figure as the music comes to its climax. This non-Diegetic music serves the purpose of amplifying the emotion and tension of the atmosphere in this scene in the way that diegetic sounds are restricted from. The use of the monotonous, string based, music served as a way of emitting a
Throughout many works by Terry Gilliam, there is a general feeling of confusion or disbelief. The audience usually feels lost, and it never realizes what is actually going on until the end of the film. In Fear and Loathing in Las Vegas, the audience experiences firsthand the hallucinations and troubles of a man high on any drug he can find. In The Holy Grail, The Life of Brian, and The Meaning of Life, the audience is exposed to gruesome or socially horrifying situations, but the characters react very nonchalantly, leaving the audience confused and concerned. In Twelve Monkeys, the entire plot is questionable, and the audience has trouble believing the story in the first place, let alone understanding it. Throughout these movies Gilliam puts the viewer in a surreal state, making him or her wonder if the events are truly reality.
The narration that accompanies the scene is allowing our voyeuristic desires to enter into the
Clifford, S. (2009). Video prank at Domino’s taints brand. Retrieved January 25, 2010, from http://www.nytimes.com/2009/04/16/business/media/16dominos.html
Black comedy discusses and integrates controversial and often taboo topics such as pain, loss, and grief providing a confronting and cathartic experience for the audience. Martin McDonagh’s ‘The Lieutenant of Inishmore’ is a play that humorously deals with the serious nature of the Irish struggle for independence. It juxtaposes the mundane with the extreme political violence, which is a common aspect of black comedy, presenting an issue in a new perspective. The act of pointless violence presented through characterisation, sharp dialogue and the symbol of the cat, is a strong mechanism for laughter. Similarly Neil Labute’s ‘The Shape of Things’ presents manipulation, superficiality and the nature of art in a humorous way. ‘The Shape of Things’
Shattered Glass starring Hayden Christensen, Peter Sarsgaard, and Steve Zahn, is a movie based on a true story inspired by Stephen Glass. Stephen Glass was a fraudulent journalist based at The New Republic. In 1998 the editor, Chuck Lane, played by Peter Sarsgaard questioned if Glass’ stories were true facts or more for the reader’s entertainment.
The Vagina Monologues is a wonderful performance by local students in a community that informs the attending audience about real life stories from women; these students take on the personality and emotions of these women from their stories. This performance is part of a big movement known globally as the activist movement to end violence against women and girls; it is also a way to empower women. The Vagina Monologues are also performed to inform other women that they are not alone in any feelings they may have about being a women or thoughts about their vagina. From beginning to end The Vagina Monologues was anything but boring and the performers covered a wide range of women’s stories with distinctive issues. The main acts that caught my attention were The Flood, My Vagina Was My Village and The Woman Who Loved to Make Vaginas Happy.
You can find wide varieties of these crude pieces on the internet, and it is not uncommon to hear them in the hallways of schools, or whispered among students and followed by unjustified giggles. Attempting to lighten the seriousness of things such as sexual assault or terrorism is not comedy, no matter what people may say. Comedy is about laughing with the people being mocked, not lessening the seriousness of their situations. When we try to make ‘jokes’, we must keep one thing in mind: comedy is about laughter and joy. A joke is only funny when it is not blinding us to the reality of cruel