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Analysing Humour in Disney Animations

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Analysing Humour in Disney Animations “I’M SO TICKED OFF THAT I’M MOULTING!” – ANALYSING HUMOUR IN DISNEY ANIMATIONS Master’s thesis Terhi Autio University of Jyväskylä Department of Language and Communication Studies English May 2021 “I only hope that we never lose sight of one thing — that it all started with a mouse.” Walt Disney in the Disneyland Story, 1954 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistis-yhteiskuntatieteellinen tiedekunta Kieli- ja viestintätieteiden laitos Tekijä – Author Terhi Autio Työn nimi – Title “I’m so ticked off that I’m moulting!” – Analysing Humour in Disney Animations Oppiaine – Subject Työn laji – Level Englanti Pro Gradu -tutkielma Aika – Month and year Sivumäärä – Number of pages Toukokuu 2021 110 Tiivistelmä – Abstract Disney on yksi maailman suurimpia yhtiöitä, ja Disneyn animaatiot ovat useille ihmisille kallisarvoinen pala lapsuutta, johon palataan uudestaan ja uudestaan. Osa Disneyn vetovoimasta tulee sen monipuolisesta huumorista, joka vetoaa eri ikäluokkiin. Huumori taas on monivivahteinen ja tärkeä yhteiskunnallinen, kulttuurinen ja kielellinen ilmiö, jota esiintyy kaikkialla, niin taukohuoneissa kuin elokuvissa. Tämä tutkielma käsittelee huumoria Disneyn animaatioissa multimodaalisesti sekä Bergerin (1997) huumorin keinojen kautta. Dataan kuuluu kolme Disney-renesanssin (1989–1999) animaatioelokuvaa: Aladdin (1992), Lion King (1994) sekä Mulan (1998). Tutkielman tarkoitus on selvittää, mitä Bergerin (1997) huumorin keinoja on käytetty elokuvissa, miten huumoria on rakennettu näiden keinojen avulla, sekä minkä tyyppistä huumoria Disneyn elokuvat sisältävät. Tutkimuksessa elokuvista tunnistettiin Bergerin (1997) 45:stä huumorin keinosta 33 keinoa. Tutkimuksen mukaan elokuvat sisälsivät huumorin kaikkia kolmea päälajia: niin verbaalista, visuaalista kuin fyysistä huumoria. Tutkimuksessa selvisi, että elokuvat sisälsivät huumoria paljon ja monipuolisesti. Tutkituissa elokuvissa huumoria rakennettiin monien keinojen avulla sekä yhdistelemällä eri huumorin keinoja että huumorilajeja. Visuaalinen huumori usein tehosti verbaalista huumoria tai selvensi sitä. Lisäksi tutkimuksessa todettiin, että elokuvat sisälsivät kohdennettua huumoria ja että huumoria oli myös kohdennettu aikuisille. Disney-renesanssin elokuvien huumoria pystyttiin myös alustavasti havainnoimaan tutkimuksen avulla, mutta tarkempia johtopäätöksiä varten tulisi tutkia useampaa, ellei kaikkia aikakauden tuotoksia. Tämä tutkimus lisää ymmärrystä huumorista, sen keinoista sekä Disney elokuvissa esiintyvistä huumorin lajeista. Kielitieteen tutkimukset animaatioiden huumorin parissa usein keskittyvät huumorin kääntämiseen ja sen vertailuun. Tämä saattaa jättää itse huumorin rakentumisen huomioimatta. Tämä tutkimus halusi keskittyä itse huumoriin ja sen rakentumiseen multimodaalisessa alustassa sekä tarjota uudenlaisen näkökulman. Huumori on subjektiivista, mikä on hyvä ottaa huomioon tässä tutkimuksessa. Tämä tarkoittaa sitä, että toiset tutkijat saattavat löytää elokuvista huumoria eri tavoilla. Tämä taas todistaa kuinka monipuolinen ja mielenkiintoinen ilmiö huumori on. Huumorin tutkiminen tarjoaa tietoa sen rakentumisesta ja tätä tietoa voidaan käyttää huumorin luomiseen erilaisilla alustoilla. Huumorin keinojen tutkiminen animaatioissa antaa myös välineitä opettajille ja oppilaille huumorin ja kirjallisuuden tehokeinojen oppimiseen ja opettamiseen. Asiasanat – Keywords multimodal discourse analysis, Disney, humour, comedic devices, linguistic humour study Säilytyspaikka – Depository JYX Muita tietoja – Additional information Table of contents 1.INTRODUCTION ................................................................................................................. 5 2. THEORETICAL BACKGROUND .................................................................................... 8 2.1. The World of Disney ....................................................................................................... 8 2.1.1 Disney eras ............................................................................................................... 10 2.1.2 Disney Renaissance (1989-1999) ............................................................................ 11 2.2. Animated world ............................................................................................................. 12 2.2.1 Multimodal magic and humour in animation ........................................................... 14 2.2.2 Multimodal approach in film ................................................................................... 16 2.3. What is humour? ............................................................................................................ 17 2.3.1 Ways of humour ....................................................................................................... 19 2.3.2 Targeting audience with humour in animation ........................................................ 22 2.3.3 Techniques of Humour ............................................................................................ 26 2.4. Previous research ........................................................................................................... 44 3. THE PRESENT STUDY ................................................................................................... 48 3.1. Aims and research questions ......................................................................................... 48 3.2 Data ................................................................................................................................. 49 3.2.1 Data collection ......................................................................................................... 49 3.2.2 The chosen Disney films .......................................................................................... 49 3.2.3 Aladdin (1992) ......................................................................................................... 50 3.2.4 Lion King (1994) ..................................................................................................... 51 3.2.5 Mulan (1998) ........................................................................................................... 51 3.3 Method of analysis.......................................................................................................... 52 3.3.1 Transcribing and analysing the Disney films ........................................................... 52 3.3.2 The Analysis Process ............................................................................................... 55 3.3.2 Multimodal Discourse Analysis ............................................................................... 56 4. ANALYSING THE HUMORISTIC INSTANCES ......................................................... 60 4.1 Disney’s humour in general ............................................................................................ 60 4.2 Techniques of Humour in Disney ................................................................................... 63 4.1.1 Aladdin (1992) ......................................................................................................... 63 4.1.2 Lion King (1994) ..................................................................................................... 73 4.1.3 Mulan (1998) ........................................................................................................... 85 5. DISCUSSION ..................................................................................................................... 96 5.1 Answering the research questions .................................................................................. 96 5.2 Discussing the findings ................................................................................................... 98 5.3 Evaluating the process and methods ............................................................................. 104 6. CONCLUSION ................................................................................................................. 107 7. BIBLIOGRAPHY ............................................................................................................ 111 THE APPENDICES ............................................................................................................. 121 5 1.INTRODUCTION The Disney Brothers Cartoon Studio, now known as The Walt Disney Company, was founded by brothers Walt and Roy O. Disney in 1923 after finding a distributor in New York (d23 n.d.). What started with a mouse, has grown into a worldwide phenomenon and a multi-industry mass media entertainment company known best for telling stories to all ages and entertaining generations of people since its simple beginning as a cartoon studio. Today, The Walt Disney Company is a globally renowned corporation and has produced some of the best and highest- grossing animation films and is often cited as the company that defined animation (Davis 2019:3; Wells 2016:7). However, Disney is not only a big corporation but as Davis says (2019:2), it is much more: it is often associated with warm and fuzzy connotations and remains a representative of wholesome family-friendly entertainment, one with high-quality. The films Disney produces are magical: they are visually stunning, the characters memorable, and the tales they tell captivating. Disney brings classical fairy tales and stories to life and from time to time creates original stories that become instantly loved by the audience. Its assets include iconic creations
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