1. Comedy

2. Comedy
We call cultural content meant primarily to generate mirth “comedy”
All genres include comedic elements
Some argue that any story where the low-born or put-upon rise to a higher station and a better end is a comedy

4. Comedy is not content-specific
May have to do with just about anything
Any setting, everyday or fantastic situations, most any plot, all kinds of characters
However, it is a genre that emphasizes the normal and mundane
Audience familiarity
Combines easily with content-based genres
Romantic comedy
Horror comedy
Political comedy
Cop comedy

5. What is considered funny is not universal
What is fearful, sad, exciting are much more widely agreed upon
What is funny depends heavily upon the viewing context and audience characteristics as well as content
Consequently, comedy does not ‘travel well’
Action/adventure, Horror, etc. seem to be more effective in crossing borders

6. Why do we find things funny?
Incongruity theory
Superiority theory
Disposition theory (Zillmann)
Subversion of authority/norm-breaking
Catharsis theory (Freud)
1. Cognitive scientists have concluded that one of the main sources of pleasure from comedy is the realization that once the content disconfirms our expectations we attempt to make sense of the newly defined content. When we do so we may have a positive affective experience (mirth, happiness, satisfaction)
The “ah-ha” moment
One view is that two scripts are unfolding simultaneously, with one obvious and the other hidden. At some point, the narrative switches the two and the audience member adjusts to the switch.
Too difficult--bothersome or offensive
People don’t ‘get it’
Too easy—not funny, obvious
The second script must remain hidden till the right moment
Humor is often dependent upon cultural knowledge
The audience must have the frame of reference necessary to adjust to the change in scripts
The new connection should not be mundane, but surprising and unusual
This sort of connection can range from the subtle to the bizarre
2. We get an ego boost from looking down on others, enhancing our self-image
Humor is a means to denigrate another that does not require physical violence
However, the more physically or socially dominant normally has the greater ability to engage in cut-down humor than does the lesser
Occasionally, those lower in the hierarchy can claim a victory through wit (especially when the more powerful don’t understand the joke)
Widely-shared humor based on superiority may trade in stereotypes
Allows the comic to say “It’s just a joke”
Those who are not the target have a tendency to see such portrayals as harmless, all in good fun
Members of the targeted groups often find the portrayals offensive because their identity is tied to the group being made fun of
3. Zillmann:
We don’t find good things happening to good people to be funny
The more the victor is liked and the victim disliked, the greater the humor
Perceptions of justice and retaliatory equity
“Humor and comedy seem exceedingly partial to dishing out put-downs, mishaps, insults and outright humiliations” (2000)
4. Humans resent being controlled for even good reasons. There is a natural tendency to push back against social control of any sort.
Mocking the powerful
Flouting social convention
Engaging in bad behavior
Those who break the normative rules of society are often seen as inherently funny for having done so
They may espouse a philosophy that contradicts widely held norms, make a mockery of social custom
5. Release of tensions caused by self-imposed limitations meant to meet societal requirements
Same sorts of predictions as Subversion of Authority, different mechanism
Sexual humor, bad behavior
Gross-out humor

7. Incongruity
Jokes
Punchline provides the unexpected twist
Scenes of dialogue where the two actors misunderstand what the other is talking about
Actions taken that lead to different consequences than the actor/audience member would expect
Satire/Irony
considered the most advanced/cerebral of humor

8. Superiority Silliness/weird behavior Stupidity
Cut-down humor, especially when aimed at the powerless
Pain (but not too extreme)

9. Disposition
Humor in seeing bad behavior punished, good behavior rewarded
May run counter to incongruity

10. Subversion of authority
Political humor aimed at the president
Jokes about the high and mighty
Late-night monologues
Celebrity misfortunes, etc.
Kids swinging the bat, hitting dad in the groin
Beavis and Butthead
The Simpsons
30 Rock

11. Catharsis
Gross-out humor
Sick humor
Dark humor

12. Factors often are combined
For example, surprise and ‘bad behavior’ may be mixed together

14. Important context
Certain clues in the narrative make clear that one is not to take it seriously
Outrageousness of plot, characterization is meant to undermine the realism of the portrayal and the seriousness of the narrative
Once in a comic frame of mind, misfortunes or criticisms evoke humor rather than pity
Unless true pain and suffering are portrayed

15. Comedy subgenres Romantic/Sex Screwball Dark (black) Satire Buddy
Mocumentary
Parody
Road
Slacker

16. Comedy formats Sitcom Dramedy Sketch comedy Stand-up comedy
Improvisational comedy
Animated comedy

17. Situation Comedies Mundane settings Normal main characters
Home or office
Normal main characters
Eccentric but not manic peripheral characters
Comedy from everyday problems
May center around bad behavior on the main character’s part
Usually a continuing goal that generates plots

18. Comedy is generated by exaggerated and unexpected or even foolish behavior intended to deal with problems/accomplish objectives
Surprise comes from eccentric actions of sidekick, etc.

19. Dramedies Mix comedy with important social critique
More ‘cerebral,’ more demanding of audience
Can cause confusion as to the appropriate response
Northern Exposure
M*A*S*H*
Boston Legal

20. David Simpson at: http://condor. depaul