l From discussing instances in which action and dialogue and combined, we can now turn to the field of visual, physical action, the field of the gag.
l Comedy writer, It can in fact be used quite legitimately to refer to verbal jokes and humour.
l I shall here restrict the meaning of the term to ‘non-linguistic comic action’, in order to give it some precision and consistency.
l Gag comes to mean ‘a pre-prepared piece of action.’
《old boy》
l Coursodon discuss the feature of a gag. There is a fundamental difference between gags, on the one hand, calls’ comic effects’, on the other hand, sequence. The sequence contains three linked but separate stages: 1, a laying out of its basic components; 2 development of the situation in a particular direction; 3 reversal and ‘punchline’.
l An example of a comic effect would be a ‘platfall’, or a double-take, slow-burn, or some other kind of comic expression. For Coursodon, these effects lack the structural complexity of the true gag. They are single one-off comic occurrences.
l However, because the term ‘gag’ can apply equally to any kind of visual comic effect, it can legitimately be used to refer to all of these forms. Coursodon’s distinction can perhaps best to marked by calling comic effects simply ‘gags’, and sequences involving complex elaboration ‘developed’ or ‘articulated’ gags.
l More importantly, perhaps, the term ‘gag’ is appropriate to all these forms, because they all share a property marked in its meaning as interpolation: they each constitute digressions or interruptions in the progress of a plot or a piece of purposive narrative action. They hence each tend also to involve a degree of surprise.
l In the case of articulated gags, the interruption is sustained, and the internal structure of the gag is marked by variation, digression, and a number of instances of comic surprise.
l Gags and comic structure
l Gags are suited to the articulation of ineptitude and frustration because they are suited to the articulation of failure. They are suited to the articulation of failure because of the potential ingredient of interruption.(just as they suited to the articulation of sudden success because of the ingredient of surprise.)
Reference:
Reference:
Steve, N., and Frank, K., 1990. Popolar Film And Television Comedy. third ed. London: Routledge
BRUCE, 2008. The Visual Story. Second ed. British Library: Kathryn Liston
Wes D. Gehring., 1986. SCREWBALL COMEDY. First ed. London: Marx
Andrew, 1991. COMEDY/CINEMA/THEORY. Second ed. England: Berkeley
YUE FEI, 2006. The comic soul of Chinese low-budget comedy film. M.A. thesis, University of Chong Qing Arts and Science
没有评论:
发表评论