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Investigating How Humour is used as a Relief for Serious themes in Family Animation.Introduction and overview -8826521463000Humour can be categorised under three main theories- The Relief theory, The Incongruity theory and The Superiority Theory. The Incongruity theory?is identified with "frustrated/unexpected expectations", a concept developed by Kant, who states that humour arises "from the sudden transformation of a strained expectation into nothing". Aristotle, however, argues that the best way to get an audience to laugh is to give them certain expectations and instead deliver something different and unexpected “that gives a twist.” This theory of humour states that there is a specific object needed, using certain conditions in order to give the necessary feel of humour. The Superiority Theory claims that all humour involves a feeling of superiority above others, and that feelings of superiority are frequently found in many cases of humour. Plato and Aristotle describe the theory as bursts of feelings of superiority in the fact of us finding something funny to begin with. This third theory is the Relief Theory, which describes humour along the lines of tension as a release model. Rather than defining humour, theorists discuss the structures and processes that produce laughter. Two highly respected relief theorists are Herbert Spencer and Sigmund Freud.? Investigating how the relief theory is used in Family animations to relieve serious situations will be the basis of this essay. The first chapter of the essay will look at the arguments of different relief theorists. Whilst arguing their points, the second chapter will focus on extracting a formula/method from the theories looked at. Finally, the essay will look at case studies, linking them to the formula/method found and how they were used. Chapter 1: Writing Humour, Focusing on the Relief Theory- Freud and SigmundHerbert Spencer and Sigmund Freud both have similar ideas of the relief theory; and have both developed specific views on the theory. Freud argues that humour is a form of energy transfer. He discusses this theory as different forms of laughter, such as comical gags, joking and comical humour. These forms of laughter involve saving physical energy and releasing it through laughter. This theory maintains that one can save emotional energy through a scene that might be emotionally draining, and can instead turn into something comical which is not treated seriously with the emotional build up being released through laughter. This theory of energy saving, can be interpreted as using comical situations to prevent audiences from being emotionally exhausted.Spencer, however, reasons that the relief theory is related to the release of nervous energy, and discusses that excitement and other feelings of energy need to be released in one form or another. He argues that laughter serves as an expressive release for different forms of energy. He puts forward the idea that laughter, however produced, serves to release pent up energy. Chapter 2: Deriving a theory of the use of Comic Relief in Family AnimationThrough both of the above arguments, one can determine that humour as a release mechanism is key. When comparing these theories, similarities in this notion are evident. There is a definite link between Children’s animation and Family animation. Peter Kramer states that whilst Children’s films are made specifically for children, Family films can be defined as films that are aimed at both adults and their children. Although not fully structured, it can be suggested that Family film is an umbrella term used to combine more recognised genres with so called ‘feel good films’ that can be aimed at children.Humour does not have a set theory- and by using the above theories on humour as a relief mechanism, one can assume that what is described as family animations with serious themes have some form of humour/comic release to relieve the tension in these themes. Spencer and Freud’s theories both underline the idea that the build-up of tension throughout must be released. One could argue that this release is done by including certain gag’s and punchlines in the story, however, one could also put forward the argument that these alone would not be enough to relieve the tension from more of the serious themes. Considering the fact that this essay is exploring the more serious themes in animation, it is logical to exclude the idea that gag’s or certain punch lines are the adequate form of release. Through this process of elimination, the next step is to look at the characters as a form of comic relief. Although most have their own charming attributes, it is not enough, in the hope of relieving tensions, for these characters to be the sole form of comic relief. Looking at these studies, one can argue, through observation, that this is where the use of the side character/s comes in. Though initially seeming miniscule, the decision to involve side characters is often well thought out. Characters, even if playing smaller parts, need to be likeable, and in this case, able to relate to the viewers to relieve tension built up in the story through their appearances on screen between these scenes. Through this argument, it is possible to conclude that the way comic relief is used in serious situations in family animation is done through the use of side characters.Chapter 3: Case studies and their link to the theoryThe Hunchback of Notre Dame-In the original hunchback of Notre dame by Victor Hugo, the story tells of complex interplay of light and dark, good and evil, piety and carnality. When adapting the story, Thomas Schumacher made the decision to make humour an important part of the story. This brought by the acknowledgement that they would need to make Quasimodo a likeable character; would show people that he was someone containing compassion and humanity. “By allowing us to laugh with him we see he's a complete person, not just a figure of fear.” (Pg.128- The art of)30397451489075Figure SEQ Figure \* ARABIC 1- Gargoyles sing the comical song ' A guy like you' before the tension of the Festival of foolsFigure 1- Gargoyles sing the comical song ' A guy like you' before the tension of the Festival of fools303974512827000Through observation, one can see how comic relief is displayed throughout the story in between serious situations. There is a certain formula which shows the story alternating between tension and release. Such an example is Quasimodo becoming king of fools, in which the gargoyles sing a comical song full of antics. This song acts as relief before the build-up of tension in the festival in which the fruit is thrown at Quasimodo. 63501352550Figure SEQ Figure \* ARABIC 2- Frollo sings 'The Hell Song', a serious and tension filled pieceFigure 2- Frollo sings 'The Hell Song', a serious and tension filled piece6350-3238500Throughout the story there are more serious scenes such as Frollo singing the ‘Hell Song’, and the capture of Esmerelda. Between these moments, comic relief is added by the gargoyles, Clopin, Phoebus and Djali. All of these characters added both humour and sweetness to the story in different ways. This decision to add the relief of humour in such an alternating way allowed viewers to take a breather between scenes, and combat the darkness in the story.Although not conclusive, it could be argued that the film would not have been suitable for the ‘Family’ genre without these characters adding relief throughout. As the original story is quite serious, if one were to remove the scenes of humour added by the side characters the story left would be left much darker and not suitable for the audience.Beauty and the Beast-When it came to writing the story that we know today, it was important to create likeable characters that would balance the seriousness of the story with humour. This take on the project went through a lot of treatments in terms of script, and a lot of changes were made in order to add substance to the characters.01697990Figure SEQ Figure \* ARABIC 3- The beast frightens Belle and destroys his room when she is next to the rose- one of the most frightening moments in the filmFigure 3- The beast frightens Belle and destroys his room when she is next to the rose- one of the most frightening moments in the film019685000Alone, the story is a serious tale and scenes such as the Beast shouting at Belle and the attack on the castle are frightening and dark. In order for the film to be suitable for family viewing, side characters needed to be added to relieve the tension in between these scenes.19196051795780Figure SEQ Figure \* ARABIC 4- Comic relief portrayed in the song 'Be our Guest'Figure 4- Comic relief portrayed in the song 'Be our Guest'191960541973500 ‘The beast is a hero, villain, victor and victim all together. Creating new characters to expand and further the story was the next major step for the team. The tormented beast is surrounded by a loyal group of household servants, also the victims of enchantment. They add warmth and comedy to a gloomy story. They also help guide the audience and give commentary to the story.’ (Documentary) 6350698500‘LeFou's gape toothed ineptitude provided the comic relief needed to balance Gaston's Villainy.’ -55245130810Figure SEQ Figure \* ARABIC 5- LeFou relieves the tension that Gaston providesFigure 5- LeFou relieves the tension that Gaston providesThe above quotes argue the fact that the side characters were needed in order to relieve the tension in this film. Without the comic relief, the film would have been much darker overall, and one could argue that, although there was still humour in the writing and gags, it would not have been enough to relieve the tension build-up that occurred throughout.Conclusion:From the information above one can come to the conclusion that although humour possesses many forms and traits which may be viewed differently, when it comes to the discussion of how humour is used in family animation the relief theory is most relevant. Although multiple methods may be prominent when looking at comic relief in general, one can argue that the most relevant to this essay is that of the side character. The side character combined with the idea of alternating between the build-up of tension and release can be argued as the main way in which humour is used as a relief for serious themes in family animation. Although it may change from film to film, it would be difficult to underestimate the importance that the side characters possess in regards to the way in which humour relief is evident. ................
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