Investigating how humour is used in family feature animation in order to relieve serious situations

Introduction and overview

Humour can be categorised under three main theories, which all focus on specific roles that humour plays in different situations. (Monro, 1951) These theories are listed below.

The Incongruity theory is identified with strained expectations being reduced to nothing; a concept developed by Emmanuel Kant, who states that humour ‘arises from the sudden transformation of a strained expectation into nothing.’ (Kant I. (1914), pg233). This theory builds on the idea that the element of surprise is what is important in making something funny, along with using things that give the story ‘a twist’.

The superiority theory claims that all humour involves feelings of superiority above others, and that these feelings of superiority are frequently found in many cases of humour. Thomas Hobbes, a theorist on superiority, states that laughter is ‘The sudden glory arising from the sudden conception of some eminency in ourselves, by comparison with the infirmity of others’ (Hobbes, (1994) Part 1-pg.54)

The third theory is the relief theory which, whilst being most relevant to this essay, describes humour along the lines of a mode of tension release. Rather than defining humour, theorists discuss the psychology that produces laughter and link it to the release of tension.

Investigating the relief theory and its use in Family feature animations to make serious situations and subjects palatable will be the focus of this paper.

In order to understand the relief theory more clearly it is imperative to look at arguments from different relief theorists, in this instance, Herbert Spencer and Sigmund Freud.

Investigating the ideas brought forward by these theorists and applying them to animated feature films will prove that aspects of the relief theory are highly prominent tools within animated family features when relieving tension and an appropriate case study will be presented and reflected upon to evidence these findings.

Chapter 1: ‘Relief Theory’ – Spencer and Freud, and its components.

Spencer and Freud share similar ideas on the ‘relief theory’ and have both developed specific views on the matter.

Freud argues that laughter arises from the release of previously existing static energy. He states that our enjoyment of a joke is based on combining its substance with its effectiveness.

On the classification of Jokes, Freud states-

‘The classification that we find in the literature rests on the one hand on the technical methods employed in them (e.g. punning or play upon words) and on the other hand on the use made of them

in speech (e.g. jokes used for the purposes of caricature or of characterization, or joking snubs).’

Additionally, Freud breaks down the idea of joke techniques into three parts as listed below:

I. Condensation

II. Multiple use of the same material

III. Double meaning

This theory maintains that these forms of laughter involve saving physical energy and then later releasing it. One can save emotional energy through a scene that might be emotionally draining which instead becomes something comical that is not treated seriously-with the emotional build up being released through laughter. This concept of energy saving can be interpreted as using comical situations to prevent audiences from becoming emotionally exhausted.

Spencer, however, reasons that laughter 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 more as an expressive release for different forms of energy and puts forward the idea that laughter, however produced, serves as a break of tension.

‘Mirth is caused by the gush of agreeable feeling that follows the cessation of mental strain’

Through both of the above arguments, one can determine that humour as a release mechanism is key.

When comparing the above arguments to animated film, one can attempt to link Spencer’s theory of humour as tension release with Freud’s idea of the use of puns, play on words, Jokes and characterization.

Through watching animations, it is logical to note the fact that the use of the above are each adequate forms of tension relief in their own way, however, the question stands whether these elements, both individually and combined, are in fact enough to relieve more serious situations.

It is crucial to not only look at tension release in the use of puns, word play and Jokes, but to also consider the writing of humorous characters in characterisation in speech (as Freud states above) which, when combined with the build-up and release of tension is adequate enough to relieve serious situations.

The case study investigated will involve studying the individual elements of humour found in the above theories in order to determine whether they enough are adequate to relieve tension.

Chapter 2: The Hunchback of Notre Dame – The use of Gags, Jokes and Punchlines

‘The gargoyles help us see the warm and funny side of Quasi that shuts down when Frollo's around, not only does this add humour and lightness to the film, it shows an aspect of his character you

wouldn't otherwise see, an aspect that he isn't allowed to express to others.’

Investigating the case study for the above humour, one can conclude that the most prominent form, if not the only appropriate form found, is in the gag.

Gags found throughout -

'I'm free!' ‘Dang it!’

‘Dang it!’'I'm free!'

The continuous 'gag' that no one knows the gargoyles are alive. In this case, this caused Djali to act comically confused, adding relief sporadically

This recurring gag involves an old man whom escapes imprisonment simply to be trapped again. During the course of the film, this gag appears twice.Initially, it appears after Quasimodo is taunted at the Festival of fools, in which Esmeralda then tries to escape after freeing him. During all the tension, it appears. It then appears during the fight with the entire town after Esmeralda evades being burnt at the stake.

These sparse intervals of comic relief hinder the overall success of relief in the scene.

This next gag, which appears twice, involves Phoebus’s horse ‘Achilles’ being ordered to sit on a guard, whom is the ‘bad guy’ in both situations. It is done in such a way as to be laughable in the midst of seriousness.

In both of these instances, the gags are used as an attempt to relieve the tension built up from more serious situations shown previously. Although one could argue that it is indeed comical, through personal opinion, it is arguable that this alone is not enough to release such a momentous amount of tension achieved throughout, leaving discomfort even after the gags have been done.

This humour is evident as being portrayed by the characters themselves. One could argue that this humour is inexplicably linked to comic relief through characterisation, which would not be possible to accomplish without the use of the side character itself.

Chapter 3: The Hunchback of Notre Dame -The use of characterisation of the ‘sidekick’

‘Though the gargoyles are the most prevalent purveyors of comic relief in the movie, elements of humour and lightness are threaded into the story by many of the supporting characters, including

Phoebus, Clopin, Djali, and even Esmeralda, who each subtly oppose the sombre stiffness and rigidity that Frollo represents.’

‘Achilles, Sit!’ ‘Achilles, Sit!’

‘Fly my pretties, Fly!’ - Reference to the wicked witch of the west

‘No, you're the fat and stupid one' –Character relief at their own expense.

‘The city of love is burning, true, that’s because it’s on fire' –During the siege

The characters themselves offer relief and break the tension by their continuous jolliness and humour. Although other characters are evident in providing relief, such as Phoebus, Clopin and Djali through various ways, as stated above, the gargoyles are clearly the most prominent characters.

The use of relief through characterisation is evident sporadically throughout the film. Although its presence is prominent within the gargoyles, through noting instances in which they appear to offer comic relief, it can be argued that it does not appear nearly enough to be an effective output to counter such serious situations.

The above scenarios portray comic relief in the midst of tension filled scenes. It is noted that these relief scenes appear a lot more often than any other time throughout the film during its climax, where tensions are raging high from current events and as a result of build-up of tension from other scenarios throughout the film. This however, is arguably not enough humour for the state of tension provided, as even though the humour is more evident, it is still inserted quite late into the feature in order to offer adequate relief.

Conclusion

The use of Characters as a relief for serious situations is immensely important, not only in order to make the gags and jokes throughout come across well, but also in terms of using their own personality traits in order to be comical and likeable.

Gags, Jokes and Characterisation are linked in such a way that they alone are arguably not enough, but used together are able to work in a way to relieve tension brought about by serious situations through appearing at certain intervals.

Through this argument, it is imperative to note the importance of the Sidekick character as the main practice for tension relief. Although, in the case study provided, these factors were arguably not

‘It’s hopeless!' 'You're telling me, I'm losing to a bird!’ – Comical comment whilst the city is under attack

‘Oh great, I could use a drink' -As Esmeralda cleans his wound with alcohol

Clopin adds relief through his silliness in impersonating others

satisfactory in relieving the tension; it is crucial to communicate the fact that they helped a lot in making the film more palatable for the target audience.

It is this likeableness added with the use of inserted gags and jokes that makes the use of the sidekick character the most prominent and effective use of comic relief.