I still have some small notes on some features of the comic ( here you have the first part). As I said, are scattered and poorly organized ideas, but I hope you find them useful.
- usually Comedy address issues "small" . It is usual for a thriller, a horror movie or seek adventure on a great danger to a city, country or the world. In fact, as I said in Angela post, citing an Albert Zuckerman: the more "monumental" is what is at stake, the more likely is that this story (if talking about novels) the public interest. Nobody is going to take very seriously a psychopath who threatens to burn each month a dumpster. If you kill a virgin each month, the matter becomes more interesting. Kill a world leader in months, perhaps even more shocking. I think it would bombing if the guy tried to kill each month to a world leader who also was a virgin. Well, I'm digress: what I mean is that this is not the case with comedy. The comedy seems to escape the 'big' issues. It is true that there are comic parodies of spy movies or action movies, but it is not common: most of the comedies usually have daily themes: romantic relationships, people who lose their jobs, dysfunctional families ...
With the above paragraph does not I mean, let alone that the issues raised by the plays are smaller, is there anything more important in our life we \u200b\u200blove, work or family? Of course, in real life these issues probably affect us more directly than the possible destruction of the city of Chicago by a Georgian terrorist.
- Maybe something about this, or maybe not, I get the impression that comedies usually pass in a shorter time dramatic. Again, it's just a hunch, but I think that, as is usual in the long drama tells a family saga, the complete story of the life of a person or an epic saga that extends even over several centuries in comedy, dramatic time is generally shorter: a journey to a child beauty pageant did not go quite right, the weeks that a group of unemployed engaged in mounting a striptease number to raise the pasta ... I do not remember great comic sagas. Only, in any case, parodies of epic sagas.
Yes, thinking a bit, I think these two points that I have written are related to each other: the story of a long period of time requires the use of many ellipses and, therefore, challenging the selection of the sequences are dramatically important to understand the story. Instead, the comedy scenes very often requires "minor" dramatically so laughable. The entire sequence of dictator Adenoid Hynkley playing with the ball in the world, even as an unsurpassed portrait of the delusions of grandeur of a dictator, does not advance the plot of the movie.
The same is true of almost all verbal gags: a character can reach a certain site and briefly apologize for the delay. In a comedy could invent a clumsy excuse and explain that the Metro has taken has been hijacked by terrorists demanding that newcomers will take the train to Oviedo. It may be funny but, of course, need not explain. In a story of "long haul" no room for digressions and comedy, I would say, is the kingdom of digressions.
- Comedy is critical. said in the previous post on this subject one just laughs about what he considers bad. So who is laughing about something, he is criticizing or describing the negative. If you tell a friend that is heavier than the Notodofilmfest Newsletter, I'm getting with his insistence (and, incidentally, with the short film festival online.) A guy who makes jokes about everything that surrounds it can be very aggressive: if you laugh at the excessive caution of a friend, the recklessness of another, a third party's stubbornness and lack Friend of the fourth criterion, surely the four end up tired of you. Feel that laughing, you stand above them, in an optimal midpoint, from which you allow yourself to criticize everyone. That is why so ...
- Many comedians make fun of themselves . Funny jokes about his own pathetic situation (eg I'm so lonely that I'm excited to receive the Newsletter of Notodo. The trouble is that the bastard or I answered), their small vices, customs ... allow the public to develop affection for a person who not only has many flaws, but is capable of counting in public so pathetic and funny. The public feels the defects identified with the comic lists, and in a way, relieved that others share their defects, but usually exaggerated to be funny. The comic, in a sense, kneels before his audience, waiting to be caressed by him. From there, from that position, will prove much more acceptable comedian jokes about the rest of the world: the useless dependent on Media Markt, the TSR heavy ... even the audience will laugh when, with mock innocence, comedy laugh a little of it.
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