Category: Design for Animation, Narrative Structures & Film Language

Research Visual Presentation:

Humor Strategies in Comedy Movies: Revealing the Evolution of Humor Strategies and Social Commentary in Comedy Films

Research Posts Links:

Week_10: Research _ The whole tone of ancient Greek comedy

Week_09: First edition literature review and bibliographies

Week_08: Explore the tentative data of the essay

In the research of the article, I realized that the evolution of comedy should be observed on a longitudinal timeline, so I began to search for information about ancient Greek comedy, the source of modern comedy, hoping to find evidence that comedy reflects society.

Ancient Greek new comedy refers to a form of comedy from 323 BC to 263 BC. It is developed on the basis of Chinese comedy. It mainly describes love stories and civic life, reflecting the social style and humanistic spirit of the Hellenistic period. The characteristics and development history of ancient Greek new comedy are as follows:

The representative writer of the new comedy in ancient Greece is Menander, who is known as the “king of comedy”. His works include “The World-Hater”, “The Female Robber”, “The Lucky Soldier”, etc. His style influenced the later Roman comedy and European comedy(Konstan, 1995).
The structure of the ancient Greek new comedy is relatively standardized, generally composed of five scenes, separated by the chorus between each song, the role of the song team is not much, only to play the role of embellishment and transition. The language of the new comedy is relatively popular, and the formula is relatively simple, which is easy to perform and enjoy.

The influence of ancient Greek new comedy on modern comedy is mainly reflected in the following aspects:

The new comedy of ancient Greece created a comedy mode that takes love as the main line, and finally reaches a happy ending through misunderstanding, conflict, twists and surprises. This mode is called “comedy routine”, which is widely used in modern comedies, such as 50 First Dates and Leap Year.
The new comedy of ancient Greece created some typical and universal comedy characters, such as farmers, merchants, slaves, diners, geisha, etc. These characters represented different social classes and human characteristics, and their personalities and behaviors were realistic, but also full of humor and irony. These characters also have many counterparts and references in modern comedies. Such as Friends, Modern Family, The Big Bang Theory and so on.

It can be found that there are some differences between modern comedy and ancient Greek comedy, such as the weakening of political criticism and the emergence of various humor strategies. After all, no one wants to watch the same kind of comedy and the comedy of teaching.

Knowing that a large part of modern comedy is derived from ancient Greek comedy, I began my attempt to separate the consciousness of “man” and “God” from that of the two. In Hennefeld’ s words（2022）, you can see a modern scholar’s deep understanding of today’s comedy film: a metaphysical madness, a volitional influence, providing a different emotional experience.

Finally, the research direction is determined, that is, based on these two points, two completely different types of modern and modern iconic films are compared, so as to reflect the society’s choice of comedy films.

Reference

Hennefeld, M., 2022. ‘The problem of film comedy in the twenty-first century’. New Review of Film and Television Studies, 20(1), pp.101-118.

Konstan, D., 1995. Greek comedy and ideology. Oxford: Oxford University Press.

In terms of ancient Greek comedy, scholars generally recognize Menander as one of the representative figures of this period. As Konstan, David (1995, P.4) puts it: “Menander adapts the plots to a subtle and sympathetic examination of contemporary social issues. “His work emphasizes the trivial as well as the comic aspects of civil society, maintaining a balance between “political criticism” and “humanity”. This tradition of real-life comedy laid the groundwork for the later development of humor strategies.

Back in the realm of cinema, Charlie Chaplin’s Modern Times (1936) is widely regarded as one of the classics of comedy cinema. During this period, the balance between “humanity” and “political criticism” was upset. In the midst of social upheaval and professional danger, Chaplin attempted to combine cinematic technology with social critique by presenting the culture of the Modern Age as a profoundly unstable state of contemporary society (Howe, Lawrence, 2013, p. 45). The extreme mockery of the mechanized society shown in the film and the film’s depiction of unemployment and the current state of life show Charlie Chaplin’s thoughts on the reality of society. The silent format of the film allows the audience to focus on Chaplin’s unique body language, which can be understood as a quasi-ritualized and socially acceptable satirical act (Caron, James E, 2006, P.5). presenting the audience with a multi-layered comedic experience.
In contrast, Wes Anderson’s The Grand Budapest Hotel (2014) represents another facet of modern comedy. Due to the film’s unique approach to artistic design, black humor, and borrowing from classical literary traditions, the film is attached to a form of comedy that is both absurd and insightful. Through an in-depth analysis of the complexity of the plot and the relationships between the characters, the innovative nature of the film and its unique focus on social issues have made it one of the most important representatives of contemporary English-language comedic cinema.
In the evolution of humor strategies, the ancient Greek form of comedy shifted from a purely political satirical genre to a new comedic genre that shifted the focus of portrayal from the “gods” to the “human”. From modern times to contemporary times, the humor strategies of film comedy have become more focused on using humor to free the audience from anxiety about the material world, dissatisfaction, and incredible relief in the face of danger (Hennefeld, Maggie, 2022, p. 102). Although modern comedies still view “human beings” as the main object of portrayal, they intentionally make “human nature” more prominent and reduce the “political criticality” of the story to an imperceptible depth. In modern comedies, there is often an undercurrent of melancholy, cleverly hidden behind technique and artistry, so that the audience is not immediately aware of this dimension (Seitz, Matt Zoller, 2015, p. 19). The story of the movie, however, is still based on the characteristics of ancient Greek comedy, making stories derived from life an integral part of the comedic production.
Overall, through a comprehensive study of Ancient Greek New Comedy, Modern Times and The Grand Budapest Hotel, we are able to understand the evolution of humor strategies in comedy films in a more intuitive way. From the classical era to the era of classic movies and finally to the contemporary era, the entertainment that comedy movies did not have at the beginning of their creation is being slowly tapped out, which is more of a skillful reflection of social and global cultural changes. This provides a theoretical basis for subsequent research and echoes the main question of this study, how comedy films reflect and shape social perceptions through humor strategies.

bibliographies

Caron, J.E., ‘2006. Silent slapstick film as ritualized clowning: the example of Charlie Chaplin’. Studies in American Humor, 14, pp.5-22.

Hennefeld, M., 2022. ‘The problem of film comedy in the twenty-first century’. New Review of Film and Television Studies, 20(1), pp.101-118.

Howe, L., 2013. ‘Charlie Chaplin in the age of mechanical reproduction: reflexive ambiguity in Modern Times’. College Literature, 40(4), pp.45-65.

Konstan, D., 1995. Greek comedy and ideology. Oxford: Oxford University Press.

Seitz, M.Z., 2015. The Wes Anderson Collection: The Grand Budapest Hotel. New York: Abrams.

Topic title: How humor strategies enhance the aesthetic value and expressive power of animated films/ The use and analysis of humor strategies in animated films/ The humor strategies of animated films: Creativity, intelligence and criticality

Short paragraph: Animated films use humor strategies to make us laugh and enjoy their stories. These strategies are not random or accidental, but rather follow some types and rules that depend on the language, visuals, situations, characters and other elements of the films. Humor strategies can do more than just entertain us, they can also help us to pay attention, relax, understand and appreciate the films better. They are a form of artistic expression that shows the creativity and intelligence of the filmmakers, as well as the emotions and wisdom of the viewers. They deserve our further study and exploration. However, humor strategies are not flawless, they also have some drawbacks and limitations that we need to be aware of and critical of when we use and evaluate them.

Keywords: humor strategies

animated films

types and rules

effects and functions

creativity and intelligence

drawbacks and limitations

Key literature: González, R.C.L. (2017) Humorous elements and translation in animated feature films: DreamWorks (2001-2012). MonTI. Monografías de Traducción e Interpretación, 9, pp. 279-305.

Dehbashi Sharif, F. and Mirafzali, F. (2019) Study of different types of humor and their dubbing in “Zootopia” animation regarding Martinez-Sierra model. Quarterly Scientific Journal of Audio-Visual Media, 13(29), pp. 209-225.

Ezell, S.K. (2016) Humor and satire on contemporary television: Animation and the American joke. London: Routledge.

The story arc:

• Ordinary world: Coraline is a young girl who moves with her parents to a new house in the countryside. She is bored and unhappy with her life, as her parents are busy and neglectful, and the house is old and creepy.
• Call to adventure: Coraline discovers a small door in the living room, which leads to a parallel world that is similar to her own, but better. There, she meets her Other Mother and Other Father, who are kind and attentive, and who offer her everything she ever wanted.
• Refusal of the call: Coraline is tempted by the parallel world, but she also notices some strange and sinister things, such as the fact that everyone there has buttons for eyes. She decides to go back to her real world, but promises to visit again.
• Meeting with the mentor: Coraline meets a black cat, who can talk in the parallel world, and who warns her about the dangers of the Other Mother. He tells her that the Other Mother is a witch who lures children into her world and steals their souls. He also tells her that she is not the first victim, and that there are three other children who are trapped in the parallel world.
• Crossing the threshold: Coraline returns to the parallel world, hoping to rescue the other children. She finds out that the Other Mother has kidnapped her real parents and locked them behind a mirror. She also learns that the Other Mother wants her to stay in the parallel world forever, and that she has to sew buttons on her eyes to do so.
• Tests, allies, enemies: Coraline refuses to sew buttons on her eyes, and challenges the Other Mother to a game. She bets that if she can find her real parents and the souls of the other children, she and they can go free. If she fails, she will stay in the parallel world and sew buttons on her eyes. The Other Mother agrees, and gives her a limited time to complete the task. Coraline faces many obstacles and dangers along the way, such as the Other Father, who is turned into a monstrous puppet; the Other Spink and Forcible, who are turned into giant bats; and the Other Bobinsky, who is turned into a huge rat. She also meets some allies, such as the cat, who helps her to see through the illusions of the parallel world; and the ghost children, who guide her to their souls, which are hidden in the form of eyes.
• Approach to the inmost cave: Coraline manages to find the souls of the other children, and returns to the living room, where the Other Mother is waiting for her. She also finds her real parents, who are trapped in a snow globe. She demands that the Other Mother let them go, but the Other Mother reveals that she lied about the game, and that she will never let her go. She transforms into a grotesque spider-like creature, and tries to capture Coraline.
• Ordeal: Coraline runs away from the Other Mother, and tries to escape through the small door. However, the door is locked, and the key is in the Other Mother’s hand. Coraline tricks the Other Mother into throwing the key at her, and catches it with the help of the cat. She opens the door, and pushes the snow globe through it. She also throws the cat at the Other Mother, who is distracted by him. She then slams the door shut, and locks it with the key.
• Reward: Coraline returns to her real world, and finds her parents safe and sound. They have no memory of being kidnapped, but they are more loving and attentive to Coraline. Coraline also frees the souls of the other children, who thank her and move on to the afterlife. She also keeps the cat as a friend, who can still talk to her in her dreams.
• The road back: Coraline decides to get rid of the key, as she fears that the Other Mother might still come after her. She plans to throw it down a well in the garden, but she is attacked by the Other Mother’s severed hand, which followed her through the door. She fights off the hand, and drops it and the key into the well. She then covers the well with a heavy lid, and seals it with cement.
• Resurrection: Coraline celebrates her victory, and enjoys her new life. She makes friends with her neighbors, such as Wybie, a boy who gave her a doll that looks like her; Spink and Forcible, two retired actresses who live downstairs; and Bobinsky, a circus performer who lives upstairs. She also reconciles with her parents, who are more involved in her life. She realizes that she has everything she ever wanted in her real world, and that she doesn’t need the parallel world anymore.
• Return with the elixir: Coraline returns to her house, and finds a surprise party waiting for her. Her parents and her neighbors have prepared a cake and gifts for her, and they celebrate her birthday. Coraline is happy and grateful, and she shares her story with them. She also sees the cat outside, who winks at her and disappears. She smiles and closes the door, ending the film.

Characters: The main characters of the film are:

• Coraline: The protagonist and the hero of the story. She is a young girl who moves to a new house with her parents. She is bored and unhappy with her life, and she discovers a parallel world that offers her everything she ever wanted. She realizes that the parallel world is a trap, and she escapes from it. She also rescues her parents and the souls of the other children. She learns to appreciate her real world and her real family and friends.
• The Other Mother: The antagonist and the villain of the story. She is a witch who creates a parallel world that lures children into her trap. She pretends to be a kind and loving mother, but she is actually cruel and selfish. She wants to steal the children’s souls and sew buttons on their eyes. She tries to keep Coraline in her world, and she transforms into a monstrous spider-like creature. She is defeated by Coraline and locked in her world.
• The cat: The deuteragonist and the mentor of the story. He is a black cat who can talk in the parallel world, and who warns Coraline about the Other Mother. He helps Coraline to see through the illusions of the parallel world, and to escape from the Other Mother. He also becomes Coraline’s friend, and he can still talk to her in her dreams.
• The other characters: The supporting characters and the allies or enemies of Coraline. They are the inhabitants of the real and the parallel world, who have different roles and personalities. They include Coraline’s parents, who are busy and neglectful in the real world, but kind and attentive in the parallel world; Wybie, a boy who gives Coraline a doll that looks like her, and who helps her to fight the Other Mother’s hand; Spink and Forcible, two retired actresses who live downstairs, and who are friendly and eccentric in the real world, but glamorous and vain in the parallel world; Bobinsky, a circus performer who lives upstairs, and who is weird and funny in the real world, but impressive and talented in the parallel world; and the ghost children, who are the previous victims of the Other Mother, and who guide Coraline to their souls.

How does film language convey the meaning and value of animated films in terms of their themes and viewpoints？

Animated film is a special form of film, it is not limited by reality, it can create a variety of imaginary scenes and characters, but also can learn from and imitate the real film language, to enhance the sense of reality and expression of animation. Animated films have rich meaning and value. They can reflect and criticize social reality, show and inherit cultural traditions, and express and inspire life philosophy.

Film language conveys the meaning and value of animated films through various techniques and techniques, among which symbolism, metaphor and contrast are the most common and effective ones. A symbol is the use of a concrete object or image to represent another abstract concept or emotion, 0 metaphor refers to the use of one thing or image to imply the characteristics or relationships of another thing or image and so on.

How is the significance and value of American culture to contemporary animated films reflected in the themes and perspectives of animated films

American animation has a significant impact on national culture all over the world, and the output of its culture and value can be a good entry point for this paper. How can cross-cultural communication values be reflected in the language of animated films through the analysis of American cartoons

The question of whether animated documentaries are legitimate or not depends on how we view animation as a way of showing reality. Can animation tell the truth and be ethical, or does it always change and twist the facts because of how it is made? Some scholars, like Christina Formenti, think that animation belongs to docu-fiction, a genre that mixes reality and fiction, because she believes that what we see on the screen is not objective. But other scholars, like Annabelle Honess Roe, say that animation can be an effective way of making documentaries, because it can show the feelings, thoughts, and memories of the people involved, and also keep a distance from what happened.

One example named Persepolis (2007) is an animated film that deals with issues of equality, diversity, and social injustice. It is based on the true story of Marjane Satrapi, who wrote and directed the film with Vincent Paronnaud. The film shows her life in Iran during and after the Islamic Revolution, and how she faced problems with her identity, freedom, and exile. The film uses a simple animation style in black and white, like the comic book that it is based on. The film contrasts her personal story with the political situation, the differences between people and groups, and the changes over time. The film also questions the stereotypes and prejudices that Western audiences may have about Iran and its people, and reveals the rich and diverse culture and history of Iran. The film is a strong and moving example of how animation can be used to show and share personal and social issues, and to challenge the dominant stories and images of reality.

Hayao Miyazaki, the co-founder of Studio Ghibli, is a director who has left a lasting mark on the animation industry. His films, such as Spirited Away, Princess Mononoke, and My Neighbor Totoro, are widely acclaimed for their stunning animation, rich storytelling, and memorable characters. Miyazaki is a master of various animation techniques, from hand-drawn to computer-generated, and he pays close attention to every detail of his work. He oversees every stage of the production process, from storyboarding to editing, to ensure his vision is realized on the screen. Miyazaki’s films also reflect his distinctive style and vision, which are influenced by his personal views and beliefs. He explores themes such as nature, environmentalism, feminism, pacifism, spirituality, and childhood in his films, and he creates complex and nuanced characters who face moral dilemmas and challenges. He often features strong, independent, and courageous female protagonists who defy stereotypes and expectations. He also incorporates elements of Japanese culture, folklore, and mythology into his films, creating a unique and captivating world for his audience. Miyazaki’s films are not only entertaining but also thought-provoking. He expresses his love and admiration for nature and its beauty, as well as his nostalgia for a simpler and more innocent time. He also criticizes the problems of war, pollution, human greed, and social injustice that plague the modern world. He challenges the conventional notions of good and evil, heroism and villainy, and presents ambiguous situations that invite the audience to think and question. Miyazaki is an auteur who has a unique and influential voice in the world of animation.

• Categorization: Collision is a short film that uses abstract animation to show the conflict between the US and the Islamic world. It uses the colors and shapes of their flags to create a visual metaphor of war and violence. The film has a dark and tense mood, and it makes us think about the theme of war and its consequences. The film also challenges us to question our own views and biases, and to look for dialogue and understanding between diverse cultures. The film is different from other animations because it does not use any words or stories, but only abstract images and symbols.
• Form and Function: The film is a short animation that lasts for 2 minutes and 21 seconds. The film’s goal is to send a message of peace and harmony through visual art, and to make us feel and imagine things. The film’s challenge is that it does not tell us what the images mean, and it depends on what we know and think. The film’s style is a mix of 2D and 3D animation, using computer graphics and digital effects.
• Process: The film’s technique is based on the idea of “synesthetic animation”, which is the art of making visual music, or turning sound into images. The film’s material is the flags of the US and some Islamic countries, which are broken down and put together into different patterns and shapes. The film’s technology is the use of software like Adobe After Effects, Photoshop, and Cinema 4D. The film’s message is that the flags, which are signs of who we are and where we belong, can also cause problems and fights, and that they can be changed into something new and beautiful. The film’s medium is the screen, which lets us see the film’s colors, movements, and sounds in a lively and immersive way.
• Formal Elements: The film’s use of space is based on the difference between the front and the back, which creates a sense of depth and perspective. The film’s composition is based on the balance and imbalance of the shapes and patterns, which creates a sense of order and chaos. The film’s light and color are based on the main colors of the flags, which are red, white, blue, green, and black. The film’s movement is based on the spinning, moving, and changing of the shapes and patterns, which creates a sense of rhythm and energy. The film’s timing, pacing, and transition are based on the matching of the images and the music, which creates a sense of harmony and discord. The film’s audio relationship is based on the use of electronic music, which creates a sense of mood and atmosphere. The film’s music is made by Jemapur, a Japanese musician who makes experimental and ambient music. The film explores the formal elements of animation, and how they can be used to make a meaningful and expressive work of art.

Without saying, color is a key element in the short film Collision (by Max Hattler), as it not only creates a stunning visual effect, but also expresses the film’s message and meaning. The film uses the colors and patterns of the American flag and Islam to represent two diverse cultures and political views. The film depicts the clash, conflict and dialogue between these two forces by transforming, rearranging, colliding and merging these colors and patterns. The color scheme of the film also matches the pace and tone of the film, such as:

• The film starts with simple and static colors, with only red, white and blue, showing the American perspective.
• The film progresses with diverse and dynamic colors, with green, yellow, black and others, showing the Islamic culture.
• The film ends with chaotic and violent colors, with purple, orange, gray and others, showing the intense confrontation between the two forces.

This short film is a dazzling display of colors, and the way they mix and clash reveals the author’s observations and opinions.

This short film tells its story through a narrator, who brings the audience into the story world with his words, gestures, and expressions. He is not just a voice-over, but also a character who interacts with the others and influences the story. This narration style gives the short film a theatrical and literary flair, and keeps the audience engaged with the plot. Unlike conventional films, this film can be seen as a story that can be read as well as watched.

Symmetry is a signature style of Wes Anderson, who uses it to create a balanced and orderly visual effect. In The Swan, there are many shots that are perfectly symmetrical, such as:

• The opening shot, where the narrator stands on a stage that has identical props and lights on each side.
• The shot where the narrator walks into a scene that has matching trees and flowers on each side.

These symmetrical shots are beautiful, but they also create a sense of discomfort and irony for the audience, as if they are trapped in the story world.