International Journal of Smart Home Vol. 9, No. 3 (2015), pp. 71-82 http://dx.doi.org/10.14257/ijsh.2015.9.3.07 The Analysis of the Comical Factors of ‘Olaf’ the Snowman in Frozen - Based on the Laughter Theory of Henri Bergson 1Eunkoung Lee, 1Myoungsik Choi and 2, aKim Cheeyong 1Dept. of Industrial Design KoungHee University 2Dept. of Visual Information Engineering Dong-eui University [email protected], [email protected], [email protected] Abstract From various media, animation is one of the media where the laughter effect can be the greatest. There are many reasons for the good production of the animation “Frozen” but I have focused mainly on the “laughter effect”. Laughter is a main technique in communication and a persuasive way to give interest to the information. There are many theories by theorists on laughter and humor but on the basis of ‘Le Rire’ by Henri Louis Bergson, the Frozen had been applied to the laughter theory and one of the characters who had given a lot of laughter, the snowman, Olaf had been analyzed for its comical elements. Bergson had stated that there is no comical aspect if it is outside the boundaries of being humane, no emotional aspects should accompany laughter and that comedy should appeal for common sense. Olaf, the snowman, had been created through magic in the film and with the humane expressions and exaggerated movements it was shown to be more human-like and the situation of non-reality of being created by magic has left us in a spectator state, where it was accepted as common sense. Additionally, it was a character of good will which met the socially reasonable requests. Bergson had also categorized the types of laughter by shape, movement, situation, word/speech and personality, therefore laughter effect of ‘Olaf’ can be analyzed in these 5 types of laughter. The laughter effect of ‘Olaf’ had been analyzed on the types of laughter theory from many years back and has confirmed that even a newly created character had conformed in the types for character personality and design. Keywords: Laughter, Comic, Humor, Character, Design, Animation, Henri Bergson 1. Introduction The trend to find fun things which gives pleasure has been growing amongst many people in the modern society as they are stressed from hard and tedious work. The preference of news, politics and social issues are less on TV and newspapers as to humor, sports, entertainment which are showing an increasing trend [1]. This shows that humor is pursued more in many industries including the cultural industry. Aristotle stated that people laugh at one’s misfortune (superiority theory) and have defined that comedy is morally superficial. Kant stated that laughter comes from inconsistency (dissonance theory) [2]. Neuroscientist Ramachandran has stated that the origin of smiling had been the Pleistocene man grinning at a stranger to intimidate when encountered and then relaxing the expression when knowing that he is not a threat [3]. There are many theoretical definitions of laughter but it is hard to define in a general theory and as it is also subjective, therefore quantitative analysis is difficult. In the field of Psychology, much research has been done through a long period of time on the laughter of human, but platform on the creation and design of characters which deliver the laughter and ISSN: 1975-4094 IJSH Copyright ⓒ 2015 SERSC International Journal of Smart Home Vol. 9, No. 3 (2015) humor is very tenuous and the sensitivity and sensibility of an artist in character design had been relied upon. Animation had been a long popular item in United States of American and Europe as ‘Gag’ existed from the start and had been part of the media industry to give laughter to the audience. Most of the feature animations were produced by combining the genre of comedy and adventure to create a combined animation of comic, action and adventure [4]. Not only children enjoyed the animation but it has become an entertainment media for adults. Through this cultural flow, techniques and story lines have become more advanced and resulted in further research into the character creation and design. With the analysis to incorporate the comical character creation and design into many different media, this research is expected to be the theoretical base. On the basis of Bergson’s views and types of laughter, the cause of laughter by the character ‘Olaf’ had been analyzed. In addition to understanding the cause of laughter the characteristics of laughter will need to be understood and theoretically analyzed so that it can be effectively incorporated into character creation and design of comical characters. 2. Laugher Theory of Henri Bergson [5-6] 2.1. View of Laughter Firstly, there is no comical aspect if it is outside the boundaries of being humane. Being elegant, noble, worthless or even being hideous can exist but it is never a humorous thing. A view can be beautiful or ugly but it can never be humorous. People laugh or smile at an animal because we have recognized a humane behavior or an expression. We laugh at objects or animals because we have been able to find the similarities of human characteristics on them. Secondly, there should not be emotional aspects accompanied in laughter. Laughter can only have the shaking effect when it is dropped on a mental surface of calm and order. Indifference is the best environment to experience laughter. There is no greater rival than emotion to laughter. People who have the mind that is sensitive to the surrounding, sympathize with life’s ensemble and resonate emotionally to all incidents will not know or understand laughter. Let us try to stand back and look at one’s life as a spectator. Most of the drama will become comical. If we cover our ears to the music in a party, this will be sufficient to make the dancers look foolish. When we forget our emotions and look at a thing in a rational way, we are able to laugh. Thirdly, comedy appeals for common sense. Reaction to laughter is required. Our laughter is always a group laughter. You would have heard the life stories of a tourist in a train or in a restaurant, the people are for certainly laughing because the story is humorous and if you were part of it, you will be laughing too. People think that laughter is genuine but laughter hides the motive that it is sort of an agreement between a person and another (from reality or imaginary place). The more people in a theatre, the more the laughter will spread. Generally, comical effect cannot be translated from one language to another and it has been emphasized several times that it is related to one society’s convention and ideas. It is certain that laughter has a social meaning as laughter is confronting certain requests of the social life. By examining the three collected observation of laughter, it can be said that laughter is created when the sensitivity is suppressed and the body is only operated by intellect and all the attention is focused on one person. 72 Copyright ⓒ 2015 SERSC International Journal of Smart Home Vol. 9, No. 3 (2015) Table 1. View of Laughter View of laughter No comical aspect outside the boundaries of being Humanlike humane Public indifference No emotional aspects should accompany laughter Common sense Comedy appeals for common sense 2.2. Types of Laughter 2.2.1. Laughter by Shape/Form: In aspects to actions, even though a face may be fine, the balance cannot be perfect. A cartoonist’s skill is to catch small details of movement and to exaggerate it so that it can be seen in anyone’s eyes as if to draw the expression when the model grins to the extreme. This would exist as an underlying human nature, crushed by a higher force, the imbalance or ugliness becomes a reality due to not being able to lift the head. Of course it is an exaggeration art but it is not just to express the exaggeration as a purpose. This is because there are caricatures which are more similar to the real person than a portrait, there are animations where the evidence of exaggeration cannot be seen and even with the vast exaggerations there are animations which could not show the true effects. For an exaggeration to be humorous, it should not be shown as a purpose but as a simple way for the artist to use to show us clearly the twists in the platform of the original nature. Instead of continuously renewing one’s self by making contact with a living person, it tries to carve an attitude in a person who is absorbed and sucked into the mechanically operating corporeality. If an object makes the life of the mind dull externally and at the same time solidifies the act, by succeeding in contradicting the elegance, the comical effect will be obtained from the body. Therefore if we justify comicality by comparison to its opposite, it should be opposed to elegance rather than beauty. Being comical is more ‘rigid’ than to being ‘ugly. 2.2.2. Laughter by Movement: Human’s attitude, gesture and movement will induce direct proportional laughter when we associate the movement to a machine. If you want to verify this rule, you can do it by analyzing closely to a cartoonist’s work. In proportional to the perspicuity and carefulness of showing the puppet in a person, in general the picture will become comical. The hint has to be clear as we have to be able to acknowledge the substitutable puppet inside the person like a transparent matter.