Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd
Discuss the role of absurdity within the humour of Vic Reeves
Big Night Out, Brass Eye and The OfficeScott Daniel Hayden
Tutor Dr. Garin Dowd Course MA Film and the Moving Image Student
number 10227744 Date of submission June 31st 2007
Dissertation submitted to Thames Valley University in partial
fulfilment of the requirements for the award of the Master of Arts
in Film & the Moving Image.
1
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd CONTENTS
Research
ONE PARAGRAPH PROPOSAL..3 RESEARCH PROPOSAL......4 LITERATURE
REVIEW....9
Dissertation
INTRODUCTION.15 PARODY ..18 VIC REEVES BIG NIGHT OUT ...21
CARNIVAL ..32 BRASS EYE 35 UNCERTAINTY...45 THE OFFICE ....47 THE
ABSURD...61
BIBLIOGRAPHY..67
2
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd
Discuss the role of absurdity within the humour of Vic Reeves
Big Night Out, Brass Eye and The Office ONE PARAGRAPH PROPOSAL
Utilizing a range of critical and theoretical approaches ranging
from anthropology to psychoanalysis, it is this Dissertations
intention to identify and elucidate an absurdist sensibility within
the modern comedy of Vic Reeves Big Night Out, Brass Eye and The
Office. By employing intellectual sources and comic theories
ranging from Freud, Esslin, Camus and Beckett to Koestler, Bergson,
Palmer and Critchley, this study aims to examine how these three
diverse comedies rejection of the played with, yet ultimately
reaffirmed logic of traditional comedy serves to articulate a
feeling of the absurd condition whilst expressing the sentiment
that perhaps all does not make sense. Word Count = 102
3
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd RESEARCH PROPOSAL AIMS AND OBJECTIVES
It is the aim of this Dissertation to recognize, highlight and
analyse a particularly style of absurdist humour within modern
English comedy by means of a detailed investigation of three
programmes: Vic Reeves Big Night Out, Brass Eye and The Office. I
hope to clarify for the reader what I will term the absurd comedy
as a comedy where no-one wins, where there is no emancipation, no
tie-ups, no transcendence, no resolution and a persistent denial of
the played with, yet ultimately reaffirmed order so familiar within
the traditionalist comic paradigm. Neither a historical thesis, nor
a totalizing comic theory, it is the specific purpose of this
Dissertation to articulate this humours paradigm shift away from
mischievous but intransigent traditional comedy, to a
deconstructive humour devoid of the returned-to certitude of
re-established, welcome and cosy convention. By demonstrating the
techniques these three very different comedies utilize whilst
endeavouring to examine the processes that mark its approach to
humour as oppositional and distinct from the traditionalist model
of comedy, I hope to exhibit a scholarly depth of understanding on
the subject through a deployment of reputable sources used to
punctuate my examination of this parodic, yet avowedly absurdist
style of humour. Indeed, by expressing a feeling of human
irrationality and pointing toward something altogether less
coherent than the traditional comedy viewer has grown accustomed
to, the specific target of the Dissertation is to reveal the comedy
in question as a play on traditional comedy itself that invites the
viewer to laugh at the very idea there is order, sense and meaning
to be had in the first place. While the term absurd comedy is used
as a convenient device used to discuss the similarities among the
three comedies of this study, it is notable that the comedians in
question do not see themselves as part of a unified aesthetic
programme and therefore the term should not be read as an all
embracing and binding classification but instead as what Esslin
describes (with recourse to his term Theatre of the Absurd) as an
4
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd intellectual shorthand for a complex pattern of
similarities in approach, method, and convention, of shared
philosophical and artistic premises, whether conscious or
subconscious, and of influences from a common store of tradition1
METHODS I opted to exclude certain forms of research
(questionnaires, interviews) due to the highly subjective nature of
the topic and chose instead to take up a multi-disciplined
methodology. Employing a discursive yet, somewhat appropriately
digressive argument, the Dissertation is structured around three
central analytical studies (3,000 to 4,000 words on each programme)
and is supplemented with a comparing/ contrasting of examples of
comic theory pertaining to traditional comedy. To demonstrate a
sufficient academic grasp on the role of comic absurdity and how it
differs within these comedies I studied at the British Film
Institute library to access journals and other hitherto
inaccessible articles, annotated print-outs of texts at The British
Library and spent several weeks in the Learning Resource Centre
trawling through academic periodicals such as Educational Theatre
Journal and Screen on the Universitys Athens electronic database to
provide me with the research necessary to convince the reader that
the argument is articulated with a scholarly authority. In
addition, six months of email correspondence with Dr. Robert Edgar
Hunt of St. John York University (contacted through the BFI website
as a specialist in comic theory) helped me to grasp a greater
understanding of the philosophy of the Absurd that would underpin
the study and also encouraged me to explore the link between parody
and Absurdism, making me aware of texts and scenes I would never
have otherwise considered fertile enough ground for analysis.
SUMMARY Starting with a discussion of traditionalist comedy with
recourse to Mick Eatons notion of the playful yet intransigent/
returned to inside of the conventional comic mould, the
Dissertation states its intent to reveal the absurd comedy as a
play on1
Esslin, 1965: p. 14
5
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd televisual conventions that parodically deconstructs
form to leave a more open-ended and uncertain comedy.
Contextualising the term parody that has been subject to much
scrutiny under numerous studies of pastiche and meta-fiction, the
paper then highlights the deconstructive elements of the idiom as a
mode able to be used on any given codified generic form as a
self-reflexive intertextual discourse that plays on the level of
ubiquity within a respective discourse. Accordingly, the first
section of textual analysis concerns Vic Reeves Big Night Out and
provides relevant parodic examples that demonstrate how when a
situation presented under a normalized setting that seeks order
meets absurdity, the comic is created as a result. Consequently, by
utilizing an understanding of this logical absurdity of the jokes
structure through the studies of Elder Olsen, Arthur Koestler and
Jerry Palmer the analysis considers the plausible foolishness of
Vic and Bobs rejection of the normal rules of light entertainment
logic in the context of parody and comedy. This leads to a
discussion of Freuds work on jokes with recourse to the jokes
ability to undermine the rites of rational adult criticism.
Concurrently, Big Night Out is described in opposition to the
traditionalist obligation to cohesive form as its rejection of
order and convention is reduced to an irreconcilable amorphousness.
Additionally, the self-contained traditional comedy that reiterates
the model it temporarily transgresses is shown to be opposed by the
freedom that is the result of Big Night Outs disruption of
normality, opening conventions, and then leaving them that way.
Drawing parallels with Lear, Carroll, Kafka, the Dadaists and
particularly with reference to the Theatre of the Absurd the absurd
comedy of Big Night Out is further discussed as a complete
(non-temporal) breakdown of order as the shows lack of pay-off/
reconciled normality is discussed as a joke on traditions
pretensions to order. Bakhtins concept of carnival then provides
some context to the deconstructive nature of the comedy, uncovering
as it does the cracks in discourse while using tradition as the
basis of its humour by subverting it until all is seen to be
6
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd illogical. At this point the differentiation between
traditional and absurd comedy is further discussed with reference
to Peter Bergers idea of laughter as transcendence. The second
analysis of Brass Eye and its take on the investigative news
programme considers the usage of Russian formalist techniques to
illustrate the shows simultaneously Brechtian parodic/ Swiftian
satiric impulse. After a consideration of the validity of Bergsons
idea of laughter as something provoked when the humane is
transformed into the machinic, the study focuses on Brass Eyes
protaganists (unwitting) demonstration of the reduction of all that
was once familiar into incoherent irrationality. Subjecting a
series of quotations to textual analysis, the section analyses how
by rigorously and stringently utilizing convention the show is able
to highlight its own ridiculous nature. As the shows hopes for
general rules and all-encompassing explanatory answers are shown to
be essentially futile, the absurd comedy of Brass Eye is compared
to Becketts Waiting for Godot and Endgame aswell as Ionescos The
Bald Soprano and Sternes Tristram Shandy in an effort to the
decribe its tone and further clarify this comedys differentiation
from the traditionalist model. At this point the Dissertation
progresses onto the final example of The Office and focuses on its
ironic realist denial of farcical comedic tropes before analysing
examples of its unsettling lack of comforting convention and its
incessant disruption of the normative comic patterns expected of
its (docu-) sitcom format. Emphasizing meaninglessness and
repetition, the shows unorthodox circularity is dicussed so as to
set up a consideration of the central characters, which in turn
allows for a discussion of Freuds concept of humour and his
emphasis on the super-ego/ ego dichotomy necessary to finding
ones-self ridiculous. To conclude I shall discuss Camus
philosophical notion of absurdity in relation to the nature of the
absurd comedys objectivity, recognition and acceptance of the
absurd as a way of mitigating the metaphysical gulf between the
individual and the indifferent, irrational environment. Indeed, by
highlighting the absurd comedys consciousness of the incongruity
between the want for meaning in opposition to the absurd world it
displays, the humour of the study serves to mitigate its sense of
hopelessness by
7
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd inviting the audience to recognize and laugh the
illogicality of traditional expectations. Finally, the conclusion
of the paper aims to elucidate for the implied reader
(Postgraduates with an interest in English comedy and the
aesthetics/ mechanics of humour), that the absurd comedy is an
invitation to the audience to recognize an element of humanity
within the comedies struggles, a reminder that the meaninglessness
it presents is, however hopeless, still essentially laughable. Word
Count = 1, 426
8
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd LITERATURE REVIEW The following is a summary of six
key sources in the area of research I have chosen to help me
investigate the topic of the Dissertation. Each section briefly
discusses and examines how the respective text in question
influenced and contributed toward addressing the central argument
outlined in the one paragraph proposal. JOHN MORREALL THE
PHILOSOPHY OF LAUGHTER AND HUMOUR (1987) John Morrealls study
condenses the theories of laughter into three broad categories: the
first is Superiority theory, the classical philosophical
perspective (its origins with Plato and Aristotle) which views
humour in terms of laughing at rather than laughing with, as seen
with notions of religious, racial and cultural superiority
propounded throughout various societies (e.g. reactionary ethnic
jokes). The second is the Relief theory of Herbert Spencer in the
19th century where laughter is explained as a release of pent up
energy, elaborated and enunciated by Freud, where the energy that
is relieved and discharged in laughter provides pleasure because it
allegedly economizes upon energy that would ordinarily be used to
contain or repress psychic activity. And finally, the Incongruity
theory, that is, the felt incongruity between what we know or
expect to be the case and what actually takes place in the joke
(its origins in Kant, Schopenhauer and Kierkegaard). While it is
clear throughout his study that neither totalising theory should be
seen as correct in its own right2, what I took from Morrealls work
was an understanding that all three approaches stem from an
enlightenment-to-modernity base and therefore view elements of the
comic as a loss of logic and rationality. Following the notion of
modernity being fundamentally connected with the oppression of
anyone who stood outside its discourse, Morreall inadvertently
highlights a clear path to the notion that the comic has always
been at the expense of others. Whilst Morrealls work is never2
In much the same way, Morton Gurewitchs efforts to
compartmentalize comedys varied sub-genres (satire, humor, farce
and/ or irony) in Comedy: The Irrational Vision only served to
highlight the many problems of creating exclusive definitions of
comedy. (Gurewitch, 1975: p. 9)
9
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd directly utilized in my study it provided a broad
philosophical framework for me to delve deeper into individual
theorists (primary sources in many cases) that developed the
overall argument. DAN HARRIES FILM PARODY (2000) Harries definition
of what King called the parodic mode3 represented the most succinct
articulation of parody I encountered in my research. Drawing on the
classical work of Aristotle through to contemporary theorists such
as Rose and Hutcheon, Harries concept of parody connoting both
closeness and distance was integral to my understanding of the
parodic elements of this studys oscillation between similarity to
and difference from its respective target/ source text (variety
show, investigative news programme and sitcom). Identifying the
basis for parody as we know it now by contrasting the logical,
Aristotelian universalized stories and plot with the form of the
lampoons disjointed series of jokes and comic routines with no
necessary or probable connection between them4, Harries method of
compare and contrast provided a frame of reference for me in which
to distinguish the differences between the traditional and the
absurd comedy. Recognizing that within parody the spectator finds a
signifier comic due to the recognition of an element of accuracy
contained in the gag as the signifier deploys the force of
discourse against itself by exposing the ideological framework upon
which it depends, Harries study persuaded me to concentrate on the
parodys exposure of artistic devices and then the systems to which
they belong. MIKHAIL BAKHTIN RABELAIS AND HIS WORLD (1941, 1965)
Bakhtins concept of the carnivalesque as a social institution is
used briefly in the study to draw parallels with the contemporary
notion of parody and enables me to3 4
King, 2002: p. 157 Aristotle in Golden, 1968: p. 49b7-9
10
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd emphasize Bakhtins insistence on the plural quality
of meaning (heteroglossia) within seemingly finite and ordered
tradition. In the same way Bakhtin (prefiguring post-structuralism)
viewed novels as necessarily inter-textual, referencing an entire
complex web of past and present discourses within culture, the
comedy of this studys incorporation of broad forms that mix the
sanctified and the irreverent to become subversive5 so as to
transgress its usual bounds is prefigured by Bakhtins study and
provides the Dissertation with an authoritative reference point on
the reduction of the seemingly concrete to the forever unfinished6
SIGMUND FREUD JOKES AND THEIR RELATION TO THE UNCONSCIOUS (1905 )
Throughout Jokes Freud showed that in jokes (and dreams)
word-representations, that is, verbal signifiers that are located
in the conscious, are treated as if they were thing
representations, that is, pre-verbal signifiers or representations
of the outside world buried in the unconscious. Indeed, it is
Freuds explanation that it is only in the passage from
thing-representation to word-representation that an image acquires
the index of quality or seal of the conscious that demonstrated to
me the jokes potential ability to highlight the unstable nature of
language. Exploring the spaces between words to demonstrate the
unreliability and potential nonsensicality of language,
particularly with regards to the nonsensicality/ logorrhoea
encountered in all three of the comedys and their protagonists
attempts to attain significance and meaning within essentially
absurd situations, reading Jokes I began to think about the jokes
potential to disrupt other lexicon aswell, particularly televisual
grammar which led me to elaborate on the study of parody in a
greater detail than I was anticipating.
5 6
This is an issue noted and examined in Krutnik, 1984: pp. 50-59
Bakhtin: p. 26
11
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd
SAMUEL BECKETT From the comic business of Waiting for Godots
(1952) clowning with boots, cross talk about the bible and joking
about the audience (that bog) to the vaudevillian wordplay of
Endgame (1957), I took an interest in Becketts propensity to find
humour within essentially absurd and futile situations. The
over-bearing tone of his work, positioning his characters within
the midst of nothingness, without religion, safety or salvation,
embodied the sense of being thrown into a hopeless position I
wished to articulate of the absurd comedy and its absurd
protagonists. His characters need to repeatedly talk, to persist
and exist in attempts to try and make sense of their environment
(Why this farce, day after day?7), striving to communicate (return
the ball wont you?8) and struggling to express a sense of being
(the disembodied mouths stand alone soliloquy in Not I (1972))
presented ideal orientation to help me express the humour of this
study as unlikely parables of human absurdity. Beckett most
succinctly surmises the central problem that took my interest in
L'Innommable; Dans ma vie, puisqu'il faut l'appeler ainsi, il y eut
trois choses, l'impossibilite de parler, l'impossibilite de me
taire, et la solitude (One must speak; man cannot possibly
communicate with his fellows, but the alternative silence - is
irreconcilable with human existence.)9 The idea that habit is a
great deadener10, that Didi and Gogos Sisyphian repetitions, while
not tending more toward any conclusion, display a need to stay, a
need to sustain idle discourse and keep silence at bay offered a
weight of strength to the three examples in my attempts to show
how, ultimately, what the audience is invited to laugh at in the
absurd comedy is a realization of essential absurdity and the
immutable dislocation with the world.
7 8
Beckett, 1957: p. 10 Beckett, 1952: p. 48 9 English translation
by Beckett published as The Unnamable: 1958 10 Beckett, 1952: p.
84
12
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd ALBERT CAMUS THE MYTH OF SISYPHUS (194211) While
Kierkegaard was one of the first thinkers to describe how the
absurdity of certain religious truths prevents humans from reaching
God in a comprehensible and rational manner, and Sartre recognized
absurdity on an individual subjective basis, it is the philosophy
of Albert Camus, interested as it was with the idea that life is
not absurd, but rather that the Absurd is life, that best surmises
the concept of what has come to be known as Absurdism that concerns
the final section of the study. Articulating the twentieth century
disillusionment in Christian and humanist notions of civilization
as part of a divinely ordered creation with established social and
metaphysical definitions of meaning (stretching from the
Enlightenment to Nietzsches pronouncement of the death of God),
Camus viewpoint of human abandonment that finds solace in
hopelessness, a distrust of consolidation and a denial of external
meaning provides the Dissertation with its overarching
philosophical tone. In the context of a discussion of parodys
breakdown of the conventions of artistic representation, Camus
direction to the individual to seek not the divine fable that
amuses and blinds, but the terrestrial face, gesture, and drama in
which are summed up a difficult wisdom and an ephemeral passion12,
influenced me to consider the absurd comedy as a stage for such
difficult wisdom. Opposing the traditional (divine) comedy with the
irrational, the unreasonable and the at times incomprehensible, I
took the absurd (difficult) comedys un-ceasing revolt, its refusal
to accept any easy, tidy answers or reconciliation in its struggle
as the analogy that would shape the overall tone and conclusion of
the Dissertation. Word Count = 1, 418
11
While originally written in 1942, the paper was not available as
an English text until Justin OBriens translation in 1955 12 Camus,
1960: p. 87
13
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd
Discuss the role of absurdity within the humour of Vic Reeves
Big Night Out, Brass Eye and The OfficeScott Daniel Hayden
14
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd INTRODUCTION In their book Popular Film and
Television Comedy Neale and Krutnik speak of how the comedic
inclination toward anti-verisimilitude13 via departures from rules,
conventions and types is in itself an expectation of comedy, and
therefore cannot really be regarded as dissident because within
comedy subversion is something of a generic requirement.
Consequently, because a comedy audience expects the unexpected, any
deviation can be seen as a permissible deviance, within what Neale
and Krutnik call the appropriate site for the inappropriate, the
proper place for indecorum; the field in which the unlikely is
likely to occur14. However, and perhaps somewhat paradoxically, the
genre of comedy has itself grown to establish its own rules,
conventions and types within which the aberrant nature of the comic
is seen to be tamed and contained within conventional/ traditional
structures. A general model of this is described within Steve
Seidmans work on film humour (equally applicable to television) as
he shows how traditionally comedy has been seen to act as a way of
negotiating the balance of the disruptive, playful pre-Oedipal
pleasures of the comic with the integrative, structured, adult
conformity of the Oedipal, thus offering a narrative model for how
to evolve into a coherent individual, taking ones place in the
social order, and for regulating difference15. Interestingly,
Seidman notes how the basis on which the mainstream comic films of
which he speaks are sold (comic fantasy) are often diametrically
opposed to the generic problems of individual evolution and
cultural initiation as he describes how narrative issues are often
resolved at the expense of what makes the genre interesting16 as
the irregular and disruptive comic is eventually contained,
controlled and reconciled within a traditional scheme of normality.
In this sense it is possible to view the traditional comedy as
providing a reaffirmation of cultures belief in social conformity17
as while initially appearing bizarre and fantastical, the
traditional comedys ultimately neat resolutions present a world
that eventually reaffirms the13 14
Neale and Krutnik, 1990: p. 93 Neale and Krutnik, 1990: p. 91 15
Seidman, 1981: p. 146 16 Seidman, 1981: p. 141 17 Seidman, 1981: p.
78
15
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd order and stability it was seen to transgress. Thus
Seidmans idea of a dialectical exchange between the pre-Oedipal and
the Oedipal followed by a resultant compromise between the two
poles in a movement towards adult/ social integration suggests a
temporary suspension of customs, as he sees most traditional
comedy, to pick up norms and play with them before eventually
returning them to their correct place18. Indeed, this is a common
observation, Mick Eaton noting that comedys transgression of the
familiar always involves a familiarisation of the transgression19
as any humorous pleasure involved in a joke is, as Frank Krutnik
has stated; inextricably linked to a replacement of transgression
in relation to ideology, a re-setting of boundaries20. Neale and
Krutnik go so far as to argue that most traditional comedy
(particularly sitcom) can represent something of a reactionary
communalizing role, appearing as a microcosm of broadcast
television in general that extends the bonding activity of the gag
by imbricating the viewer into its traditionalist ideology in what
they call an institutionalizing of the pleasures and processes
involved in joke-telling21. By disrupting norms only to then
re-establish them, this notion of subversion/ re-confirmation can
also be seen to align the viewer with what Gillian Swanson has
referred to as systems of propriety, or norms of acceptability22,
thus re-affirming cultural customs and the highly recognizable
model of what Eaton has identified as a returned to neat, smooth
inside23, that is, a world that ultimately makes sense. It is at
this juncture that the disparity between the traditional model of
comedy and the comedy that concerns this study becomes
perceptible.
18
For example, Catherine Johnsons study of the formative social
realist comedy of the 1950s demonstrated how the traditional
comedic play between identification and distention that lightly
violates serious codes only set up deviations from norms/ rules in
order to eventually reinstate them, thus placing the audience in a
position whereby any transgression of established social codes
(e.g. social decorum) was always seen as a transgression, and were
therefore essentially conformist. (Johnson, 1980: p. 74) 19 Eaton,
1981: p.25 20 Krutnik, July-October 1984: p. 58 21 Neale and
Krutnik, 1990: p. 243 22 Swanson, 1984: p. 34 23 Eaton, 1978: pp.
65-8
16
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd Indeed, it is the marked non-correspondence between
the comedy of this studys situational normality (the situation to
which each respective episode returns), and the familial normality
which Eaton identifies as the ideological touchstone of the
traditional comedy, that demonstrates how for what I will term the
absurd comedy, the coherent notion of an inside that traditional
comedy has been seen to restore is persistently undermined.
Utilizing the three very different examples of Vic Reeves Big Night
Out (Channel 4, 1990-91), Brass Eye (Channel 4, 1997 and 2001) and
The Office (BBC 2, 20012004), I hope to show how the avowedly
absurdist nature of this studys comedy can be seen as distinct from
the traditionalist model of comedy in that its play with norms is
followed, not by reconciliation and order, but by a refusal to
return said norms to their correct place, thus creating an
altogether less stable and perhaps more unsettling brand of humour.
By dismantling the comfortable certainties of traditional
televisual orthodoxy whilst displaying certain specificity through
a heightened awareness of medium that renders familiar and
conventionalized acts as somewhat strange and illogical, I aim to
show how the comedy of this study utilizes the characteristics/
mode of parody to exhibit the seemingly rational and logical
elements of convention in a jarringly unfamiliar light before
refusing to settle back into the comforting sense that traditional
comedy audiences have grown accustomed to. Therefore, before
discussing the three examples of this study it is perhaps prudent
to take time to consider the varied implications of the
problematical term parody so as acquire a clearer understanding of
its meaning and influence on the humour of this study.
17
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd
PARODY In considering the varied resonances of the original
Greek term parodia, Linda Hutcheons influential study is
particularly helpful as she draws attention to the prefix para
having connotations of contra (against) suggesting mockery and/ or
ridicule, but also able to mean besides24. Margaret Rose also
traces the term from Aristotles parodia to describe Hegemons comic
imitation of epic verse in 3BC, before ultimately defining parody
as at first imitating and then changing either, and sometimes both,
the form, and content, or style and subject matter, or syntax and
meaning of another work, or most simply, its vocabulary in what is
essentially a comic re-functioning25. Similarly, Dan Harries speaks
of parodys inherent duality of similarity and difference as it
utilizes elements of its own composition in what is a
re-contextualization of a target or source text through what he
calls the transformation of its textual (and contextual)
elements26. For example, by faithfully replicating the semantic/
lexical settings of genre characters, the syntax of narrative based
structures and the overall tone/ style, one can view parody as
operating in terms of logical absurdity (which I shall return to in
more detail later), with one dimension needed to ensure logic
(similarity) and another for creating absurdity (difference).
Harries eventually defining parody as a method to modify either the
lexicon, syntax or style by way of creating a signifier that
ironically suggests an opposite meaning from its employment in the
target text27, indeed, Hutcheon calls this an ironic inversion28,
that is, a repetition with a critical element which emphasizes
difference rather than similarity.
24 25
Hutcheon, 1985: p. 11 Rose, 1979: pp. 33-46 26 Harries, 2000: p.
5 27 Harries, 2000: p. 55 28 Hutcheon, 1985: p. 32
18
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd While Mikhail Bakhtin viewed the parodic as a
natural development in the life cycle of any genre29, Geoff King
has noted that parody can be seen as a recycling of the products of
the past as part of the process any genre is likely to go through
once it reaches a series of stages that culminate in a state of
over-familiarity, clich or decadence ripe for parody30.
Appropriating the conventions and iconography of other cultural
forms, even in academia (e.g. Sokal31), the modern prevalence and
inclination of the parodic is seen by Harries as a play with the
ironic super-saturation32 of existing forms, or what Hutcheon calls
a demonstration of the post-modern state of culture and society as
culture and is seen to turn on its own traditions. Although it is
tentative that any popular cultural products develop in ways other
than through amalgamations of re-combined or re-visited elements,
the greater media/ film literacy among the viewing public as a
result of technological (VHS/ DVD) advancement and growth of media/
film studies from the 1960s onwards has undoubtedly developed an
increased level of self-conscious awareness regarding media genre
styles and conventions, Hutcheon noting that historians of parody
agree that parody prospers in periods of cultural sophistication
that enable parodists to rely on the competence of the reader of
the parody33. Notably, the first significant comedies to utilize
the audiences knowledge in this manner and create what was to
become the blueprint for modern parody were the radio/ television
versions of The Goon Show (BBC 1951-1960), Spike Milligans Q (BBC,
1969-1983) and Peter Cook and Dudley Moores Not OnlyBut Also (BBC
1965-1970) coming about as they did during the demise of the
established forms of theatre, music hall and variety by the first
generation to have the common reference point of television. These
comedies general mocking and/ or abandonment of traditional forms
displayed the bilingual nature of the parodic (speaking with and
against that which it parodies) within a technique
contemporaneously associated with Monty Pythons Flying Circus (BBC
1969-1975) and since identified by Roger Wilmut as the format
sketch, that is, a comic method to take something with a29
Bakhtin: 1981 King, 2002: p. 120 31 I refer of course to Social
Text and their un-knowing publication of Sokals article on
Morphogenic Field which preposterously linked Lacan with Quantum
gravitational theory. 32 Harries, 2000: p. 1 33 Hutcheon, 1985: p.
1930
19
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd strong and recognizable style or presentation (e.g.
news, sports, chat shows) and proceeding to empty out the content34
before replacing it with something altogether more strange. Taking
its cues from these antecedent format sketch comedies, I hope to
demonstrate how the absurd comedy of this studys markedly
self-reflexive style similarly creates a sense not only of a
distinctive and extensively parodical world, but of a world
pertaining to television that serves to expose its limits and
absurdities through a making strange of the all too recognizable.
Furthermore, I hope to reveal how the absurd comedy develops the
parodic idiom of the format sketch by not only adopting a
frame-work before turning it against the grain of itself, but also
by displaying a strikingly absurdist sensibility that serves not
only to deconstruct the adopted form but also to highlight the
illusion of its targets traditionally neat and coherent logic. All
of which leads us to our first example of the absurd comedy Vic
Reeves Big Night Out.
34
Wilmut, 1980: p. 198
20
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd
VIC REEVES BIG NIGHT OUT Throughout Vic Reeves and Bob Mortimers
break-through act Vic Reeves Big Night Out, the central
protaganists visually and verbally inventive deviations within the
cyclical normality of its variety show/ music hall template
presents a comedy that continually aims to defer and subvert the
patterns and norms on which it is built. For example, when Vic is
introduced as Britain's Top Light Entertainer and Singer and
brought to the stage by Captain Birdseye (Bob in a grey beard and
nautical outfit) on a Harley Davidson whilst singing Aquarius the
entrance is largely made comical through a prerequisite knowledge
of the naturalistic manner that has been previously seen to the
audience as the traditional hosts entrance (from a door/ the side
of the stage/ curtains opening etc.). Indeed, it is only once the
premise (of a lightentertainment variety show) has granted a
measure of plausibility, can what Jerry Palmer calls the liberation
of nonsense35 take place. After the entrance, every episode begins
with Vic sitting behind his cluttered prop strewn desk before
adressing his audience with manic irreverence (e.g. About this time
of the evening I like to slip a Petri dish under a squirrel),
introducing his labcoat wearing assistant Les (always demonstrating
Less love of spirit levels and his inordinate fear of chives) and
greeting The Man with the Stick (Bob in an enormous paper helmet
holding a stick with a mystery item at the end) before proceeding
to introduce the acts on the nights show. Novelty Island is one
such segment whereby Vic introduces various talents to perform from
the centre of a small paddock, a traditional format appropriate to
the light entertainment genre. However, acts such as Mr. Wobbly
Hand, Earl Cooper and35
Palmer, 1987: p. 181
21
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd Hats Off To Harry Nilsson, a man whose hat floats
off of his head whenever the music of Harry Nilsson is played,
Judith Grant with Dusty The Sighing Caterpillar and the Slitherer,
a man covered head to foot in bin bags and slithers around to the
sound of Morse Code, all provide jarring contradictions to the
general expectation of what is stereotypically seen to be the more
usual talent show contestant (singers, comedians, magic acts). It
is in this sense that by displaying what Wolfgang Kayser calls
fantastical caricatures36 of the borrowed codes and conventions of
its subject matter, Big Night Out can be seen to systematically set
and then break up the elements it suggests before displacing them
freely so that the usual correlations and associations prove
in-operative in its own intentionally and overtly paradoxical
version. In The Theory of Comedy (1968) Elder Olsen explains this
comedic tendency as he notes how comedy always requires an agent
contrary to the kind required to make the act serious before
stressing how there must also always be normality in the abnormal
for a joke to work, noting how the basis of the ridiculous and the
ludicrousis the unlike37. Therefore we can see that the laughable
lunacy Vic and Bob seek to conjure is the result of a plausible
foolishness born from the simultaneous freedom of imaginative ideas
(incongruity) and the reason of a fixed idea (format). Olsens idea
is further explained in Arthur Koestlers concept of bisociation
which describes how the emotional dynamic that leads to the
production of laughter, in response to a logical structure, is the
result of a disjunction between operations of emotion and reason in
the delightful mental jolt of a sudden leap from one plane or
associative context to another38. For example, while thought
processes can change direction, nimbly, at a moments notice;
emotions possessing greater inertia cannot, as Koestler ultimately
views laughter as the mechanism through which emotion is released
after a shift of association deprives it of its original object; it
is emotion deserted by thought that is discharged for laughter39.
Accordingly, we can transfer from Koestler that it is the
simultaneous presence of two frames of reference (absurd and
logical) that is central to the comic effect as it creates a
perception of situation in36
Kayser, 1966: p. 30 Olsen, Elder, 1968: p. 15 38 Koestler, 1980:
p. 328 39 Koestler, 1980: p. 33337
22
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd two mutually compatible associative contexts as two
different meanings of the same idea are put into play. The sudden
bisociation of a mental event with two habitually incompatible
matrices results in an abrupt transfer of train of thought from one
associative context to another as; the emotive charge which the
narrative carried cannot be so transferred owing to its greater
inertia and persistence; discarded by reason, the tension finds its
outlet in laughter40. Elaborating on Francis Hutchesons influential
Thoughts on Laughter (1725) that simply describes the laugh as a
response to the perception of incongruity41, Koestlers concept
shows that it is the swift clash between two mutually exclusive
codes or rules which is seen to produce the comic result, as the
audience is compelled to perceive situations in two self-consistent
but incompatible frames of reference, that is, in a joke the
audience is asked to function simultaneously on two different
wave-lengths42. This model is in turn enunciated within Jerry
Palmers The Logic of the Absurd (1987) to identify and articulate
the structure of comedy, and particularly of the joke. For example,
Palmer describes the comic as acting in two stages; firstly, the
moment of disruptive surprise and secondly, the moment of semantic
and logical resolution to express respectively the loss and
restoration of the position of power and control. To do this Palmer
discusses how jokes necessarily involve incongruity (whereby
departures from the norm are discussed in terms of semantics and
logic) and then surprise (where departures from the norm are
identified, concieved, measured, and adressed in terms of their
temporal articulation)43. Palmers model shows how in comedy one
line of reasoning always tells us that what we see is implausible,
whereas a second contrary line of reasoning tells us that the event
does have a measure of plausibility relative to social and
aesthetic norms. However, while the joke structure consists of two
antithetical syllogisms, one plausible, one implausible, it is the
implausibility syllogism that carries the greater weight and thus
guarantees the status of gags and jokes as comic. Therefore, for
Palmer each gag is constructed out of two, contradictory
unconscious systems of reasoning, which work from a major premise
to a minor premise down to a40 41
Koestler, 1984: pp. 27-100. Hutcheson in Berger, 1997: p. 22 42
Koestler, 1984: p. 328 43 Palmer, 1987: p. 29
23
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd conclusion. For example, when during a discussion of
home improvements Vic says to Bob that; You know Iron Maiden, I was
thinking of cutting their hair off and using it to thatch my roof44
we can apply Palmers model accordingly: A - The sensible and
established method of covering a roof in the thatched style would
be to use vegetation such as straw, water reed, sedge, rushes and
heather, a fairly well known and traditional method (major
premise). B - i - Vic wants to use the hair of a middle-aged heavy
metal band to do this job (empirical observation, minor premise).
ii Using the human hair of a middle-aged heavy metal band is
impractical and inadequate for the task of covering an entire house
(second minor premise). C Conclusion = Vics proposed method is
implausible. However, Vics comment also carries a second
simultaneous yet contradictory line of reasoning that tells us that
the statement does in fact have a measure of plausibility: A The
hair of a heavy metal band like Iron Maiden is, stereotypically,
long and thatch-like. B Iron Maidens band members have long
thatch-like hair not entirely dissimilar to the vegetation used for
making thatched roofs C Conclusion = Vics proposed method has a
degree of plausibility The resulting imbalance between the
simultaneous implausibility and plausibility syllogisms creates the
consequent peripeteia (a sudden change/ reversal of circumstances),
it is this moment that unleashes the process of reflection analysed
in the two syllogisms. For Palmer there are two distinct
peripeteia, one involves a contradiction of knowledge/ values/
expectation about the outside world that the audience may be
assumed to derive from their ordinary everyday experience
(discourses of social formation) as seen here with Vics proposed
home improvement. The second peripeteia is the contradiction of a
series of common sense expectations concerning the prospective
course of events (for our purposes) on screen that are the product
of44
Vic Reeves Big Night Out, series one, episode six
24
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd the televisual grammar/ extra-textual knowledge up
to that point. This is demonstrated during Big Night Outs
mock-theatre group segment which sees Vic and Bob take a serious
tone as they don white t-shirts reading action image exchange to
perform a piece entitled The facelessness of bureaucracy45. The
change in tone, the t-shirts and an earnest Bob explaining how he
will be portraying the pigs/ brutes hiding behind the pensioners
house ready to steal her coal while Vic plays the pensioner, grants
a conceivable premise for an avant garde piece of performance art
(plausibility). The house band (dressed as jockeys) play a Mack
Sennett silent comedy style jaunty instrumental as both Vic and Bob
put on curly wigs attached to Sean Connery masks; Bob holds some
talcum powder, Vic some male underpants which they proceed to move
in time with the music for thirty seconds. Punctuated by the sound
of breeze to illustrate a pensioner being attacked by some police
officers the act completely denies the serious analysis of the
system of government their set-up may have suggested
(implausibility). While the visual humour displays the joke
structure of expectation and peripeteia (common in all comedy), it
is the overwhelming pointlessness of the routine, wholly emblematic
of the precarious illogicality the show is seen to revel in that
differentiates this comedy from the traditionalist model. Consider
this sentence, one of Vics many monologues between acts; You would
not believe whats going on around the back there. St. Michael, the
patron saint of pre-packed sandwiches, has inserted a nice, really
quite coloured hen into an acoustic guitar in order to up sales in
the Netherlands Although Vics many addresses to the audience may
make a loose grammatical sense; they are still in essence a
semantic nonsense akin to the mellifluous word incompatibility of
the anglo-saxon riddles and limericks of which Big Night Out
undoubtedley bears the hallmarks. Such contradictions of common
sense often occur as segues between further examples of visually
nonsensical behaviour such as Vic pretending to drink from a pink
watering can, trying to eat a whole fruit bowl in one attempt or
Bob appearing on stage to nail a leek to the side of his new
table.45
Vic Reeves Big Night Out, series one, episode three
25
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd The enjoyment afforded by such subversion of common
sense expectation of a light entertainment show can be understood
with recourse to Freuds Jokes and Their Relation to the Unconscious
(1905) where he argues how the source of pleasure such humour
provides works by lifting the internal inhibitions of the ego by
undermining the rites of rational adult criticism. For example,
Freud describes how by prolonging the yield of pleasure from play,
jokes serve to silence the objections raised by criticism which
would not allow the pleasurable feeling to emerge, consequently
Freud believes it is not technique that defines the jokes peculiar
pleasure46, but rather it is their capacity to give an economy of
psychic expenditure by undermining rational adult criticism
(traditional norms) and recreating the fluid, unstable play the
child loses in the process of maturation47. As a result, since it
is normal practices and expectations that are undermined in Big
Night Out we can consequently view its subversion as relating to
the comic predisposition identified in Creative Writers and
Daydreaming (1907) where Freud viewed jokes/ comic play as
fantasies constructed through adult daydreaming as a continuation
of and a substitution for the play of childhood translating reality
in accordance with the pleasure principle48. Concurrently, we can
see that while the reality principles traditional, coherent,
common, familiar televisual world of shared practices and symbolic
acts (rites) are seen to derive their meaning from a cluster of
socially legitimated symbols, it is therefore pertinent to utilize
Mary Douglas theory that Vic and Bobs jokes therefore exist as
anti-rites, serving to mock, distort and deride the habitual
practices that serve to reaffirm dominant cultural norms of
traditional orthodoxy, Douglas noting that;
46 47
Freud, 1905: pp. 178-9 Notably, Todorov said of Freuds work that
the reduction of psychic economy that is typical of jokes derives
from the subversion of rational criticism through the return to
primitive nonsense. However, rather than take Todorovs view of
nonsense as an opposite of critical rationalism that excludes all
other possibilities (constituting an over-simplification of Freuds
thought); it is perhaps more sensible to view the comedy as being
rooted in a mixture of sense and nonsense (not in nonsense alone).
(Todorov, 1976: p. 313) 48 Freud, 1907: pp. 286-7
26
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd A joke is a play upon form that affords an
opportunity for realising that an accepted pattern has no
necessity, its excitement lies in the suggestion that any
particular ordering of experience may be arbitrary and
subjective49. Similarly, Howard Bloch speaks from a linguistic
basis when he speaks of the jokes profoundly ambiguous character
exploiting the capricious nature of signification, noting how; The
joke disrupts the assumptions of a natural relation between
language and meaning and, at the same time, serves as a screen for
the fact that such a relation never really existed in the first
place50. It is thus in recognition of what Simon Critchley calls
the sheer contingency51 of the un-thinking traditions/ social rites
in which we engage that the resultant release of usually repressed
forces that the joke provides momentarily permits the subject to
return to the un-structured primal pleasures of infancy, offering a
liberating contrast to the constraints of the traditional (adult)
social arena. It is in view of this that one can begin to view the
humour of the Big Night Out to harness this potential by turning
the jokes method against traditional television itself, encouraging
the audience to acknowledge the absurdity of its constructed
convention whilst systematically dismantling any of its pretensions
to sense and order. Indeed, by contrasting the restrictive clichs
of televisual grammar Big Night Out displays an aimless repetition
that stands diametrically opposed to any meaningful narrative
strand. Basic causality is seen to break down and traditional
set-ups/ events are shown to be illogical and anti-rationalist as
each episode, hinging upon an indistinct uncertainty, proceeds from
the mere semblance of a design (a loose narrative whereby it is
Vics show and that he is incapable of holding it together) into a
poetic nonsense in the vein of Lear or Carroll.
49 50
Douglas, 1968: p. 365 Bloch, 1986: pp. 127-8 51 Critchley, 2000:
p. 10
27
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd At this juncture it is possible to view the
preposterously irregular and fragmented proclivity of Big Night Out
as reminiscent in terms of its effect of what Martin Esslin termed
the 'Theatre of the Absurd' with regards to playwrights of the 50s
and 60s (notably Samuel Beckett and Eugene Ionesco). Here we can
see how the manner in which Big Night Out departs from realistic
characters and situations ordinarily associated with televisual
norms is akin to said playwrights negation of traditional theatre,
as meaningless plots, repetitive dialogue and elaborate
non-sequiturs prevail whilst time, place and identity become
ambiguously fluid. Therefore, within the unreality of Big Night
Outs intentionally and overtly paradoxical universe, the rules of
convention are seen to no longer apply as the dream-like play with
circularity and arbitrariness amongst Vic and Bobs oneiric shifts
between numerous characters serve to undermine structure whilst
displaying a refusal to give way to any formal resolution or
closure52. Indeed, Seidmans idea that the mainstream comics
dialectical exchange between the pre-Oedipal play of jokes and the
Oedipal world of order is always followed by a resultant compromise
between the two poles in a movement towards adult/ social
integration is directly opposed as Big Night Outs absurd comedy
refuses to pander to such solid logic. While Seidmans concept of
mainstream comedy being inevitably tied to the formation of a
coherent personality53 is clear within most conventional
traditionalist humour as a path to the integrative, structured,
adult conformity of the Oedipal as it shows any transgression to be
a transgression, thereby reaffirming the model, in contrast the
language, characterisation and setting in the numerous sketches of
Big Night Out does not coalesce into a unified representation of
human behaviour, and audiences cannot easily assimilate the
fragmented, disjunctive and contradictory Dada-esque images put
forward. While the audience may, of course, attend superficiality
to the apparantly alogical sequence of images and enjoy the
performance as an exercise in theatricality, it is the persistent
reiteration of the impossibility of Vic and Bobs attempts at
meaning that is over-bearing as rather than52
Indeed, the loose narrative thread, the large number of
characters who appear for only a short scene and its language an
amalgamation of high literature and slang, much of it invented was
all foreshadowed by Alfred Jarrys puppet play Ubu Roi (1896),
itself a notable predecessor of the Absurd Theatre, in which the
central character Ubu Roi, a mythical figure epitomising the animal
nature of mans cruelty, becomes King of an archetypical Poland and
begins to kill and torment all for no apparent reason. Jarry
expressed man's psychological states by objectifying them on the
stage decorated with a childish naivet so as to underline their
horror. 53 Seidman, 1981: p. 141
28
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd reconciling the chaotic, fragmented irrationality
into an eventual meaning, Vic and Bob instead fill every show by
incessantly performing their series of character sketches devoid of
purpose (narrative or otherwise) without hope of change or
significance. For example, in answer to the amount of racial
prejudice in the world these days, Vic proposes that they put a
stop to it with Talc & Turnips (his interpretive theatre
performance group) as he and Bob, accompanied by slapstick piano
music don false teeth, huge wigs, tin-foil hats and pillows stuffed
down their matching red leotards. Evoking/ parodying the commedia
dell-arte, pantomime, vaudeville and music hall traditions, Vic and
Bob then grunt and pratfall through apple-lined hoops, skid on the
floor around a tin of custard, nail a plum to a piece of wood and
hold up a sign that reads squirrel in bucket of hot trout = racial
harmony. As they display these outlandish physical gestures to
express themselves the audience is left with a feeling that they
are only ever exacerbating the fact that they never manage to
articulate anything. It is precisely this meaninglessness and
denial of narratological clarification in Vic and Bobs numerous
sketches that draws attention to the very same exaggerated
behaviour the traditional comedy contextualises in order to justify
(e.g. drunken-ness, mind-control or a mis-understanding), therefore
ultimately reaffirming the familial normality it was seen to
transcend. In Big Night Out such exposition of information that
could explain such bizarre incongruities as Talc & Turnips or
Vic yelling Oh mambo, mambo whilst drumming two sticks of celery,
is forever frustrated. Even when such traditional norms such as the
straight man archetype are alluded to in the form of Vics nemesis
Graham Lister (Bob in wig, glasses and overcoat), a character who
routinely expresses anger at the vacuous nature of what is
presented each episode on Novelty Island (a criticism that is quite
correct in and of it-self), it is soon after deflated as Lister
still wishes to be a part of said inanity, or to essentially
replicate Vic, and so again the whole purpose of the act is seen to
be without end as the episodic repetition continues. The characters
do not develop, their motives are unsubstantiated/ non-existent and
cause, effect and connections between their actions and the events
of their sketches 29
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd oscillate between the tenuous and the arbitrary.
Certainly, by abandoning causal motivation and narrative
integration for the sake of comic effect the show can be seen to
exhibit what Harold Bloom terms the anxiety of influence54 in that
it finds continuity in abnormality as the digressions from the
formats to which the audience is familiar act as a self-conscious
contrary to the traditional ideas that character traits produce
action and clear-cut motivation produces events. Much like an
Ionesco play Big Night Out instead takes its structure from
accelerating rhythms and/ or cyclical repetitions as its
protaganists are seen to disregard psychology and coherent dialogue
as each sketch develops more by loose association than logic and
can therefore be seen as equivalent to the ambiguous dream-like
image carrying a multitude of connotations at one and the same time
as it accepts abstraction and points to a disjunctive
open-endedness stripped of neat narratives until all is seen to be
completely illogical. By embracing the irrational and refusing the
obligatory clarification the audience is accustomed to, Big Night
Out relentlessly contradicts the models, actions and behaviour of
tradition to the point of complete impossibility. As Vic and Bob
disregard what Creighton Peet called such customary necessities as
the laws of gravity, common-sense, and possibility55 the
culmination of their excitement of motion sees them revel in vigour
and speediness as their dancing and fighting gives a distorted,
disjunctive, speeded-up expression of light-entertainment reality.
Yet in spite of how frantically Vic and Bob perform, it only ever
underlines the fact that nothing happens to change the situation.
Novelty Island continues to exhibit increasingly meagre acts (as
noted by the sinister old man who appears every episode to shout
Youre wasting your time! at Vic), The Ponderers (Vic and Bob as two
semi-naked Swiss men in white make-up contemplatively stroking
their long chins before deciding whether or not to butter them)
still ponder, and un-employed would-be talk-show hosts Donald and
Davey Stott are still completely incompetent at recreating famous
television shows (we are both completely redundant). The overall
effect is analogous to that of a carousel ride in that while the
show moves up and down, digressing on its axis, it endlessly
repeats the same path, continuously moving54 55
Bloom: 1973 Peet in Maltin, 1987: p. 26
30
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd yet never progressing as every episode Vic and Bob
resume their process of entrance, Les, Man with the Stick, Novelty
Island etc. until this habit forms a pattern that begins to operate
as its unifying principle of organisation, thus replacing the kind
of plotting that spectators traditionally percieve as development
or transition. Seemingly locked in an eternal cycle of arousal,
activity, then rest, each of the Vic and Bob characters and their
respective pantomimes evoke a feeling akin to the pointless tasks
of A and B in Becketts Act Without Words II (1959)56 and their
carrying of sacks when prompted by a goad. Although never leading
to anything of any significance, as Lamont notes; there are no
triumphs, no resolution57, each turn in Big Night Out displays a
similarly repetitive and mechanical display of futility without any
accomplishment or meaning ever being achieved. Just as Esslin
believed that the basis of the well-made play carries the implicit
assumption that the world does have logic and does make sense, the
traditional (wellmade) comedy that depicts actuality as solid and
secure with all outlines clear and all ends apparent is therefore
denied by Big Night Outs continuous inability to give endings
(Donald and Davey Stott walking off stage after their act fails)
and/ or meaning (Bob deciding to nail bacon to the wall) as it
perpetually negates coherent thought and instead embraces nonsense
by revelling in the freedom that is the result of its disruption of
traditional normality. It is in this sense of play and inversion of
the unifying tendencies of the traditional that it is possible to
draw parallels between the discordant style of the absurd comedy
and Mikhail Bakhtins concept of Carnival58.
56
While Bair (1990) claims Beckett worked on the play from as
early as 1956 and Ackerley and Gontarski (2006) state that the work
was written in 1958, it is 1959 that seems to be the general
consensus amongst Beckettian scholars such as Webb (1974) in his
analysis of Becketts mimes 57 Lamont, 1987: p. 57 58 The
theoretical concept of Carnival is developed in most detail in
Bakhtin: 1984, it is important to differentiate between the
theoretical notion of Carnival (capitalised) and the medieval
carnival (noncapitalised) as a social event. For further detail on
the concept of Carnival see Dentith, 1995: pp.65-87, Stam, 1989:
pp.85-121 and/ or Arnold, 1994: pp.54-60.
31
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd CARNIVAL In Rabelais and His World Bakhtin describes
the Middle Ages as rigorously hierarchical and founded on
scrupulously austere ideas of order and status. However, in certain
privileged moments of carnival and festival Bakhtin details how the
usual hierarchies and restrictions were seen to be held in
suspension as all that was usually permanent and customary was open
to what Geoff King has since called a change, renewal and a
constant state of becoming59 A boundless world of humorous forms
and manifestations opposed the official and serious tone of
medieval ecclesiastical and feudal culture. In spirit of their
variety, folk festivals of the carnival type, the comic rites and
cults, the clowns and fools, giants, dwarfs, and jugglers, the vast
and manifold literature of parody - all these forms have one style
in common: they belong to one culture of folk carnival humor.60 By
making strange or ridiculous the seemingly rational elements of
tradition and existence, carnival is portrayed by Bakhtin to
uncover cracks in discourse, not by creating incongruous events on
which to base humour, but by utilizing and inverting the somewhat
mechanical conventions that were already in place61. Carnival must
not be confused with mere holiday play... Carnival is a gap in the
fabric of society. And since the dominant ideology seeks to author
the social order as a unified text, fixed, complete, and forever,
carnival is a threat.62 Although Clark and Holquists view that the
function of Carnival as a danger is worth consideration we must
differentiate between the task of the isolated pre-enlightenment
carnival to the way it can be seen to function in contemporary
times as the shift59 60
King, 2002: p. 64 Bakhtin, 1984: p. 4 61 Bakhtin raises the
importance of the function of, what appears to be, a homogenous
folk culture, however, while in writing about Rabelais he is
focusing on what is ostensibly a Christianic folk culture (Jewish
communities were excluded from this, denying uniformity in this
sense), nonetheless links can still be made to disparate cultural
groupings and the way that this highlights certain character types,
forms and archetypes which transcend any socio-cultural base. 62
Clark and Holquist, 1984: pp, 300-301
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Dr. Garin Dowd between carnival as an annual event to a regular and
culturally dominant form of contemporary post-modern expression has
been seen to alter its effect significantly63, as Kristeva notes;
The carnivalesque cosmogony has persisted in the form of an
anti-theological (but not anti-mystical) and deeply popular
movement. It remains present as an often misunderstood and
persecuted substratum of official Western culture throughout its
history.64 Here Kristevas emphasis on the faithless stance of the
carnivalesque draws attention to the more metaphysical and
intangible aspects it demonstrates as it confronts and rejects
foundational certainty and refuses to be rooted in any recognisable
system of traditionalist principles or reason. It is in this sense
that by undermining audience assumptions of a re-confirmed
traditional order that one can view the carnivalesque inclination
of the absurd comedy to pull the rug from under the Enlightenment
view of humanity by drawing attention to an acceptance that the
illogical has always existed. Indeed, by rejecting rationalist and
empiricist philosophical positions one can view the absurd comedy
to transcend the concern for stability that comes with these
positions as it is seen to be connected with a final,
post-enlightenment freedom which comes with an acceptance of the
irrational. Therefore, by focusing on a collapsing of the
structures of traditionalist order and stability the style of the
absurd comedy can be seen to typify the contemporary period of
post-modernity/ post-enlightenment as at the bottom line of a
collapse of structure, all that is structure-less starts to make
more sense once one acknowledges that the rudder has been lost.
Jacques Derrida highlights that the problem with Western
philosophical thought is that its claims to truth have always been
nothing more that a process of covering the fact that absolute
meaning and absolute truth will always remain elusive notions.
Whilst Derridas focus is primarily on linguistics and the
instability of language63
It is notable here to mention the argument of modern comedy as
Carnival owes to Ellis, 1992: pp.2337 and his view that cinema has
the potential to become like a contemporary version of the medieval
carnival. 64 Kristeva, 1995: p.49
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Dr. Garin Dowd through the concept of differance, he follows up the
implications for philosophical thought describing the concept of
Aporia as the problem of logic in any given theoretical or
philosophical text where it no longer follows the rules of logic
that the text itself has set up65. There is an immediate connection
here with the notion of incongruity and the humour of this study,
as the essence of the absurd comedy is to make explicit these
Aporias, these gaps in logic, therefore dismantling traditional
comedys pretence of the ultimately logical and the unified. So
while Peter Berger chooses to align humour with the holy world,
suggesting that in laughter the limitations of the human condition
are miraculously overcome by letting us see the madness of the
world by affording us a glimpse of another via a signal of
transcendence66, we must nonetheless view this perception of
laughter as transcendental epiphany as problematic. Instead, it is
perhaps wiser to view the laughter that the absurd comedy seeks to
provoke in its audience, not as a means of escape that delivers the
audience from the world, but as a means of returning them to it
after temporarily distracting them from it by defeating their
expectations in a refusal of the customary. Therefore its madness
does not come from an alternative world, but rather from taking the
constructed norms of this world and subverting them ad absurdum,
its pleasures lay in the bursting of the bounds of traditional
logic revealing it as an illusion.
65 66
For a detailed analysis of Derridas concept of Aporia, see
Derrida: 1978 Berger, 1997: p. 210
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Dr. Garin Dowd BRASS EYE Much like Big Night Out, Chris Morris
Brass Eye aims to pull the viewer away from the world on screen via
the Brechtian method of the Verfremdungseffekt67 (translating as
distancing, estrangement and/ or alienation effect) to provoke a
selfreflective viewpoint of its formalistic subversion. By
employing this technique the show encourages the audience to
acknowledge the conspicuous feeling of irrationality that is the
outcome of the parodic and selfobjectifying portrayal of the
illogical environment displayed. Indeed, it is through the shows
un-folding and revealing of the systematic deceptions of carefully
cultivated media conventions that Brass Eyes take on the
investigative news magazine programme and sensationalist portrayals
of social ills utilizes the absurdity that comedy provides to
undermine both televisual and societal logic. Consequently, while
Brass Eye exhibits intramural (parodical) tendencies through its
accurate facsimile of its targets textures and tones and the
un-necessary aestheticisation of content via the shows alarmist
music and ridiculous excess of CGI, it is also seen to carry heavy
extramural (satirical) tendencies aswell. Escalating the debates of
each episode (with titles such as DRUGS and CRIME) to
illogicalities, the show juxtaposes between the familiarity of its
form and the ridiculous nature of content by using the devices and
techniques of its format to invoke the plausibility necessary for
its ridiculous jokes as its conventions apparent support of the
implausible is seen to undermine the aura of authority of both the
devices themselves and the form of institutionalised broadcasting68
that accommodates it. This is particularly apparent as Brass Eye
asserts the arbitrary relationship between images and ascribed
meaning as footage is often taken from its original source to
support the absurd premise of its reports through highly selective
editing and voice over. For example, during the DECLINE episode, a
Jerry Springer Show (1991- )67
Brechts term Verfremdungseffekt is heavily rooted in the Russian
formalist notion of ostranenie (defamiliarization) see Tomashevsky:
1965. 68 Throughout the show absurd jokes are strung onto
ridiculous reports e.g. in BOMB DOGS the audience interprets that
dogs cant explode, and that it is therefore implausible, however
the IRA do plant bombs in seemingly innocuous places, dogs are
innocuous, therefore there is a measure of plausibility.
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Dr. Garin Dowd style segment entitled Priests who say they must
pack a piece to keep the peace escalates into a fight between
parishioners as stock footage of a tank storming the streets of
Vietnam is supplemented with a voice-over that explains how two
priests exited the show in an armoured tank, shooting as they left
the studio. Employing a method analogous to the meta-linguistic
literary parody that the Russian formalists so admired, Brass Eye
consistently takes entire sections of an original text and then
simply juxtaposes or subjects them to minor syntactic changes in
order to alter the overall semantic meaning of the piece in a comic
manner. Concurrently, by inverting televisual standards and making
clear to the audience that the constructs in operation are
discursive fabrications Brass Eye draws self-conscious attention to
norms that are usually naturalised and rendered relatively
indiscernible by the text as its play with traditional devices
systematically exploits them as images of mere performance, thus
providing a disjunction that serves to disorient the audience. The
show is presented by Christopher Morris himself, playing an anchor
character whose reliance on pie charts (the Moralometer reads now
at just two morals per head), nonsensical diagrams (So much for
recorded crimes, crimes we know nothing about are going up aswell),
and other grammatical conventions that can so often be confused
with truly genuine logic and valid information, steadily expose a
programme drained of any of the finite significance it desires.
Indeed, throughout each episode the audience sees how Morris and
his teams ostentatious endeavours at explanation, so often called
philosophy or politics, can often appear as ossified fiction and/
or empty repetitive chatter, consider Morris voiceover from
ANIMALS; The evil in our relationship remains a paradox, if you
plot, number of animals abused, against, what makes people cruel,
versus, intelligence of either party, the pattern is so unreadable
that you might aswell draw in a chain of fox heads on sticks, and
if you do that, an interesting thing happens, the word cruel starts
flashing69. While representing the serious as the trivial (what
Mast describes as precisely the aim of much contemporary comedy70),
Brass Eyes ridiculing of clich formed a69
70
Brass Eye, ANIMALS Mast, 1979: p. 9
36
Scott Hayden (student no. 10227744), MA Film and the Moving
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Dr. Garin Dowd more overtly cynical brand of comedy than was
comfortable for many critics, snubbing the lyrical, urbane Horatian
style indicative of Pope in favour of a more brooding, misanthropic
Juvenalian satire evocative of Swift at his most distrustful. For
example, during the HIV debate in the SEX episode a member of the
audience is thrown out because it transpires that he does not have
good-aids but bad-aids (the difference depending on how one
contracts it). The consequent response of the real audiences jeers
and disgusted looks at the HIV+ homosexual gentleman (played by
Morris collaborator Mark Heap) highlighting to the Brass Eye
viewers the astonishing ignorance and hysterical misconception of
mob reaction that can be a result of the self-important, ignorant
and polarising Media portrayals. If a madman broke his way into the
studio and shot you with a machine gun, anyone in this audience
yawning could get your blood in their mouths. (Audience applause)
Youve got bad-aids you shouldnt have come, (to security), can we
have him removed in the next break71. Ironically, it is the Morris
character and his army of like-minded campaigners exaggerated
reverence for dominant social values and excessive respect for
authority that is seen to act as the subversive source of the shows
humour. Citing Gilles Deleuze work on masochism, Steven Shaviro
notes how by scrupulously applying the law we are able to
demonstrate its absurdity and provoke the very disorder that it is
intended to prevent or conjure72. It is in this sense that the
Morris character seeks an organized, yet perpetually unattainable
clarity, that is, an irrefutably ordered inside. Whether it be the
verdict on science as innocent or guilty for crimes against
humanity (answer = there is no verdict as the jury is dead from
pollution) or the conclusion on the relationship of humans and
animals/ drugs/ sex, Morris continually asks whether we have it
right or wrong (cue the answer prancer who then dances between two
halves of a circle, one labelled RIGHT, one labelled WRONG, musing
over the answer). While in the Deleuzian sense, the masochist is a
rebel, a humourist who seeks to reduce the law to its logical
consequences, he never possesses the force to bend and distort
rules that characterises the true radical, in this sense the
Morris71
72
Brass Eye, SEX Shaviro, 1993: p. 88
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Dr. Garin Dowd character is inadvertently an anarchist because of
his hyper-conformism, disseminating disorder and what Deleuze
simply calls chaos while he is; in the course of earnestly trying
to do exactly what bosses, psychoanalysts, media specialists, and
other technicians of normalising power want him to do73. Shaviro
notes that any degree of identification with a character such as
Morris archetypical host opens the door not to solidification, but
to a schizophrenic fragmentation and disintegration of
personality74. Brass Eye avoids this by maintaining a distance
between the viewer and any of the crazed principals whose reports
and investigations propel the show, as Robert Kolker notes, the
satirical mode requires the audiences observation and judgement
rather than identificationthe conventions of psychological realism
and character motivation are removed75. Concurrently, it is from a
distanced position that the audience is encouraged to laugh at
Brass Eyes rigorously professional and intransigent convention and
its elaborate rational machinerys attempts to bring univocal order
and incontestable meaning to a world that can never have either. As
the Morris characters mechanical displeasure at humanitys problems
and resultant longing for unanimity increase, so too does the
audiences awareness that the shows sincere attempts to act as a
guiding light for civilization and solve societys wrongs by
bringing back single rules of general validity are to be seen as
essentially futile endeavours. In this sense one can see the Morris
characters automated behaviour to recall Henri Bergsons didactic
thesis on laughter that describes how when something mechanical is
encrusted onto something living and the transformation of a person
into a thing occurs, the comic is created. For example, in
functionalist Bergsonian terms, laughter is viewed as a social
gesture of mockery toward those who are not behaving in a flexible,
context sensitive way76, providing utility in society as a social
cure for the disease of mechanical inelasticity77, that is, an
attack on those who lack the commonsensical ability to observe73
74
Shaviro, 1993: p. 110 Shaviro, 1993: p. 121 75 Kolker, 2005: p.
113 76 Bergson, 1902: pp. 118 & 121 77 Bergson, 1902: p. 23
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Dr. Garin Dowd what is happening around them and to adapt their
behaviour accordingly. However, it is notable that writing in 1900
Bergson equated natural behaviour with social behaviour (as opposed
to anti-social behaviour and un-natural mechanical behaviour);
whereas paradoxically, the modern comedy sees a far more
antithetical temperament between nature and society. Indeed,
laughing at the un-thinking flaws in ones character does not always
mean urging the target/ butt to correct its behaviour as Bergson
suggests, for the mechanical in-elasticity shown in the modern
comic is rarely morally reprehensible. It is therefore perhaps more
fitting to say that we laugh at the appearance of a mechanism in
life in a more abstract sense than Bergson foresaw, in fact, it is
perhaps more appropriate to consider Masts interpretation of
Bergson that our laughter aims to turn the human machine back into
malleable flesh and soul78. How this applies to Brass Eye is most
apparent in its illustration of how its team of societal
representatives (once the landed gentry, now celebrities) have
become encrusted with an absurdly mechanical conduct completely
metonymic of the irrational world the shows comedy aims to expose.
For example, when Brass Eyes celebrities present fictional
campaigns against conjured outrages by reading polemical scripts to
camera (purportedly for inclusion in televisual information videos)
they are seen to cease being themselves, that is, a conversion to
machine-like archetypes generally appropriating faade and standards
is seen to take place. This is typified in the appeal for the
elephant that has become so depressed he has stuffed his trunk in
his own anus, on which the audience sees magician Paul Daniels
remark; Ill give you another one that you can cut in later. Ill
just say that and you can cut it in later go to the elephant, go to
somewhere else. And All right? Still rolling? (Pauses, adopts
serious expression, points to camera) Come on help us get that
trunk out79. The business-like indifference and prosaic
pseudo-concern (according to whether or not it was being recorded)
expose how Daniels is encrusted with a grotesquely rigid
mechanical-like nature, and is therefore (according to Bergson)
worthy of ridicule. By78 79
Mast, 1979: p. 21 Brass Eye, ANIMALS
39
Scott Hayden (student no. 10227744), MA Film and the Moving
Image, Thames Valley University, 21/12/2011, Dissertation, Tutor -
Dr. Garin Dowd revealing the caricatures that the numerous
celebritys on-screen personalities perform behind, Brass Eye
exposes them as mechanisms in the true Bergsonian sense. Whats more
is that by offering no effort to extricate the usage of language as
a genuine instrument for logic from the shows ridiculous and
illogical diatribes devoid of meaning, the shows incessant waves of
information present to the viewer an incongruous dialectic of often
pataphysical nonsense within the plausible contexts of legitimate
campaigns. Consider TV presenter Nick Owens warning of the dangers
of heavy electricity; Heavy electricity is regularly flattening
cattle in Sri Lanka, afterwards the poor beasts look like giant
fur-covered slugs thrashing about on their backs and made of what
scientists call wobbly matter, I wont go into it here, but
basically its caused by sodomized electrons which rush to the cows
head-end, now, just apply that to a young girl, its an appalling
thought isnt it, Gita is fifteen-yearsold, and now because of heavy
electricity she is only eight inches tall, now just imagine that,
she cant speak, but she must feel quite dreadful80. In the DRUGS
episode television presenter/ artist Rolf Harris holds up a
foot-long fluorescent yellow pill of Cake, which he informs the
viewer is a made-up (made from chemicals, not plants),
psycho-active, metabolycally bi-sterbile drug, Noel Edmonds
enunciates; What is cake? Well, it has an active ingredient which
is a dangerous psychoactive compound known as dimesmeric
ansenphoshate and it stimulates the part of the brain called
Shatners Bassoon and thats the bit of the brain that deals with
time perception, so, a second feels like a month, well, it almost
sound like fununless youre the Prague schoolboy who walked out into
the street straight in front of a tram, he thought he had a month
to cross the street81. As the Brass Eye activists speak in clichd
glib platitudes (scientific terms/ emotional examples) draped on
skeletal points/ messages (the appeals of the80 81
Brass Eye, DRUGS Brass Eye, DRUGS
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Scott Hayden (student no. 10227744), MA Film and the Moving
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Dr. Garin Dowd depressed elephant/ Heavy Electricity/ Cake), the
objective audience is shown how the habitual repetition of
celebrity autocue rhetoric has degenerated any remnant of meaning
and destroyed the power of their words to signify. Just as Luckys
jumbled and repetitious speech in Becketts Waiting for Godot (1953)
displays an oratory discourse reduced to habitually performed
formulaic debris, so too does the dialogue in Brass Eye (while
still having a residue of intellect) contain only a mere suggestion
of significance as over-laying plates of accumulated knowledge
(numerous authorities, abstract formulae, allegorical
generalisations) collapse into eachother amidst a seemingly endless
repetition of meaningless reports, stories and investigations. By
mocking the language of beliefs and science in this way, Brass Eye
highlights how while initially presented and performed as an
honourable instrument of genuine communication, televisual idiom is
slowly and surely reduced to an ambiguous unfamiliar noise. Once
recognizable scenes turn into ones of absurdity and confusion as
fragmented, trite and mechanical language is subjected to what
Freud refers to as the laws of the sub-conscious. Words are no
longer seen to act according to their unequivocal meanings in their
linguistic (signifier-signified) sense as implication is
transferred from one signifier to another; consequently the play of
the signifier becomes predominant. A semiotic elaboration of the
subconscious primary processes, or what Palmer calls the play, the
slippage, of condensation and displacement82 comes into play as
Brass Eye utilizes the adult rationality of the reality principle
and its localised mechanism of denotation and then undermines the
literal signified meanings of signs to demonstrate the inherent
figurative ambiguity and unreliability of the language it employs.
For example, as any term is seen to be capable of evoking a set of
connotations it can be seen to belong to a paradigm, therefore
within the context of a particular chain of terms in an utterance
(a syntagm), Brass Eye continually evokes connotations that are
incompatible with the sense of the rest of any of its speeches
chains so as to destabilize any hint of meaning the chain may
suggest. So when Radio and TV presenter Dr. Fox informs the
audience that Genetically, Paedophiles have more genes in common
with crabs than they do with you and me,82
Palmer, 1987: p. 220
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Scott Hayden (student no. 10227744), MA Film and the Moving
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Dr. Garin Dowd now that is scientific fact - theres no real
evidence for it but it is scientific fact, the audience recognises
that while the term crab has loose colloquial associations with sex
(-ual disease) and therefore a degree of plausibility, it is also
incompatible with the specific context presented of a scientific
analogy/ description of a sex offender, an implausibility, and
therefore constitutes what Palmer refers to as a semiotic anomaly
in the speeches chain. Consequently the statements jarring
disruption results in a contradiction that leads to the surprise of
humour, the ignorance of the mechanical speakers of Brass Eyes
celebrities commenting on anything so as to give themselves more
press coverage adds a further peripeteia. In accordance with Kants
brief description of the cause of laughter in his Critique of
Judgement (1790) as an effect that arises if a tense expectation is
transformed into nothing83, the audience is invited to express
amusement at how Brass Eyes aporia-laden logic dressed up as
crucial discourse completely lacks in sagacity or tension, thus
affording the viewer relief from intellectual effort (an element
Freud argued to be a key reason for the jokes unique pleasure) as
all impact and all significance is turned into nothingness.
Ludicrous comments such as Dr. Foxs contribute to the overwhelming
absurdity of the shows ineffectual attempts at unequivocal meaning
as dialogue is persistently rendered illogical whilst appeals for
answers and order only ever seem to leave the audience with a view
of types/ characters speaking a language that does not make sense
while in pursuit of ridiculous objectives that they cannot
comprehend. However, despite the utilization of individual
ignorance it is still the general and not the personal that is the
target of its jokes, for as in the Swiftian sense; no individual
could resent/ where thousands were equally meant as by pointing at
what all mortals may correct84 Brass Eye offers a universally
therapeutic objective to bring about a realization that any
pretensions to attain unified meaning and undeniable certainties
are themselves irrational and senseless. All assurances of
incontestable guide-lines are unmasked as nonsensical illusions and
empty chatter as Brass Eye reveals a comic environment best
described by Critchley as the world with its causal chains
broken,
83
84
Kant: 1790 Swift: 1977
42
Scott Hayden (student no. 10227744), MA Film and the Moving
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Dr. Garin Dowd a world that is, with its social practice