Cross-Cultural Enchantment: Exploring the Role of Humor in Indonesian and Malaysian Comedy Films

Marsudi; Muchammad Bayu Tejo Sampurno; Latif Nur Hasan; Tri Cahyo Kusumandyoko; I Nyoman Larry Julianto

doi:10.34630/e-rei.vi12.5780

Autores

Marsudi Department of Design, Faculty of Languages and Arts, Universitas Negeri Surabaya, Indonesia https://orcid.org/0009-0006-9753-7876
Muchammad Bayu Tejo Sampurno Department of Performing Arts, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia https://orcid.org/0000-0003-1735-7498
Latif Nur Hasan Department of Javanese Language and Literature, Faculty of Languages and Arts, Universitas Negeri Surabaya, Indonesia https://orcid.org/0000-0003-0814-4298
Tri Cahyo Kusumandyoko 4Department of Design, Faculty of Languages and Arts, Universitas Negeri Surabaya, Indonesia https://orcid.org/0000-0002-8993-4736
I Nyoman Larry Julianto Faculty of Art and Design, Indonesian Institute of the Arts Denpasar, Indonesia https://orcid.org/0000-0001-9652-9336

DOI:

https://doi.org/10.34630/e-rei.vi12.5780

Palavras-chave:

Negociações Culturais, Humor Intercultural, Mise en Scène, Tecnologia do Encantamento

Resumo

Esta pesquisa qualitativa explora o domínio complexo dos filmes de comédia na Indonésia e na Malásia, revelando os subtis conflitos culturais embutidos na sua mise en scène.
Este estudo examina a função transformadora do humor intercultural , baseando se na noção de Alfred Gell da "tecnologia do encantamento". Ao examinar minuciosamente quatro abordagens específicas de humor, nomeadamente a Língua, a Lógica, a Identidade e a Ação, este estudo ilumina nos sobre a relação interconectada entre negociações culturais e o desenvolvimento de experiências com partilhadas. A análise destes filmes revela o humor intercultural como uma forma de tecnologia encantadora habilmente utilizada pelos cineastas para superar complexas disparidades culturais. Esta pesquisa examina o papel do humor como uma ferramenta de encantamento, capaz de transcender barreiras linguísticas, culturais e sociais e provocar mudanças significativas nos contactos interculturais. Esses filmes combinam efetivamente elementos de terror com humor, integrando sentimentos de nostalgia e temas contemporâneos.
Eles utilizam a animação como meio para facilitar o discurso cultural, destacando a função significativa e elaborada do humor na navegação das complexidades culturais. A investigação destaca a capacidade das narrativas cinematográficas de integrar habilmente humor e aspetos culturais numa história cativante, enfatizando a eficácia do humor intercultural como um mecanismo cativante para navegar complexidades culturais no dinâmico reino dos filmes de comédia indonésios e malaios.

Referências

Bazarkaya, O. K. (2023). Masculinity in German-Turkish Films. Studien Zur Deutschen Sprache Und Literatur, 49, 89–110. https://doi.org/10.26650/sdsl2022-1225119

Bou, N. (2019). The mise-en-discours of sexuality in hollywood classical cinema. Atalante, 28, 19–31. https://www.scopus.com/inward/record.uri?eid=2-s2.0-85078456763&partnerID=40&md5=baa428634f8362461ad42ad75561465f

Brijnath, B., Navarro Medel, C., Antoniades, J., & Gilbert, A. S. (2023). Culturally Adapting Evidence on Dementia Prevention for Ethnically Diverse Communities: Lessons Learnt from co-design. Clinical Gerontologist, 46(2), 155–167. https://doi.org/10.1080/07317115.2022.2101968

Chatfield, S. L., Cooper, R., Holden, E., & Macias, K. (2014). Enhancing the Experience: A Multiple Case Study of Students’ Experiences Using Arts-Based Techniques in Learning Qualitative Research. The Qualitative Report, 19(41), 1–13.

Clark, M. (2013). The politics of heritage: Indonesia-Malaysia cultural contestations. Indonesia and the Malay World, 41(121), 396–417. https://doi.org/10.1080/13639811.2013.804979

Dong, B., Feng, J., & Jiang, Z. M. (2019). Chinese moving image arts, 2015–2017: Observations and reflections. Journal of Chinese Cinemas, 13(2), 164–180. https://doi.org/10.1080/17508061.2019.1670420

Dubowsky, J. C. (2016). Intersecting Film, Music, and Queerness. Palgrave Studies in Audio-Visual Culture Series. https://doi.org/10.1057/9781137454218

Ferreira, C. (2023). The Happy Ending at the Crossroads of Gender and Race: a Study of the Reception of the Film Bendito Fruto. Comunicacao Midia e Consumo, 20(57), 126–147. https://doi.org/10.18568/cmc.v20i57.2696

Gell, A. (2006). Technology of Enchantment and Enchantment of Technology. In E. Hirsch (Ed.), The Art of Antrophology Essay and Diagrams. Athlone Press.

Grossman, J. (2017). Adaptation in Visual Culture. In Adaptation in Visual Culture. Palgrave Macmillan. https://doi.org/10.1007/978-3-319-58580-2

Hardy, D. (2017). Humour in the Visual Arts and Visual Culture: Practices, Theories, and Histories. RACAR: Revue d’art Canadienne, 37(1), 1–9.

Hesse-Biber, S. N., Rodriguez, D., & Frost, and N. A. (2016). A Qualitatively Driven Approach to Multimethod and Mixed Methods Research. In S. N. Hesse-Biber & R. B. Johnson (Eds.), The Oxford Handbook of Multimethod and Mixed Methods Research Inquiry. Oxford University Press.

Kiminami, C. A. G., & Duggan, M. (2022). Locative media communities, social media and cultures of enthusiasm. International Journal of Performance Arts and Digital Media. https://doi.org/10.1080/14794713.2022.2031799

Lamarre, T. (2002). From animation to anime : drawing movements and moving drawings. In Japan Forum (Vol. 14, Issue 2). https://doi.org/10.1080/09555800220136400

Lionis, C. (2021). Humour and the Commodification of Suffering. Third Text, 35(5), 605–623. https://doi.org/10.1080/09528822.2021.1985250

Lucardie, D. (2014). The Impact of Fun and Enjoyment on Adult’s Learning. Procedia - Social and Behavioral Sciences, 142, 439–446. https://doi.org/10.1016/j.sbspro.2014.07.696

Lune, H., & Berg, B. L. (2017). Qualitative Research Methods for the Social Sciences (Ninth edit). Pearson.

Pal, B., & Rahman, M. (2020). Acculturation, cultural resistance, or cultural rigging: A study of folk performances in popular films. South Asian Popular Culture, 18(3), 261–269. https://doi.org/10.1080/14746689.2020.1816256

Pérez Ríu, C. (2017). Constructing filmic intersubjectivity through haptic visuality and poetic language in Sally Potter’s Yes (2004). European Journal of English Studies, 21(3), 304–318. https://doi.org/10.1080/13825577.2017.1369265

Promkhuntong, W. (2021). Fan pilgrimage and Thai genre films: play, space and the search for vernacular cultural sites. Culture, Theory and Critique, 62(3), 249–265. https://doi.org/10.1080/14735784.2021.1991823

Rajas, M., Barral, F. H., & Baños, M. (2023). The sequence shot in Berlanga: comedy languages and techniques. Fotocinema, 26, 65–90. https://doi.org/10.24310/Fotocinema.2023.vi26.15584

Ruppin, D. (2016). “Komedi within Komedi”: Moving pictures and intermedial crossings in turn-of-the-century colonial Indonesia. Kritika Kultura, 2016(27), 103–124. https://doi.org/10.13185/KK2016.02707

Simou, A. (2022). We are in the Army Now: a queer, mediatized, Covid-era theater show. International Journal of Performance Arts and Digital Media, 18(1), 145–153. https://doi.org/10.1080/14794713.2022.2040289

Skjerseth, A. (2020). Multiplying mise-en-scène: Found sounds of the night of the hunter in Lewis Klahr’s daylight moon and Jean-Luc Godard’s histoire(s) du cinéma. Film Criticism, 44(1). https://doi.org/10.3998/FC.13761232.0044.108

Song, G. (2022). The Afterlife of a Tang Monk: Buddhist Masculinity and Transformations of the Image of Xuanzang in East Asia. NAN NU, 24(2), 296–318. https://doi.org/10.1163/15685268-02410049

Su, W. (2021). From visual pleasure to global imagination: Chinese youth’s reception of Hollywood films. Asian Journal of Communication, 31(6), 520–535. https://doi.org/10.1080/01292986.2021.1970202

Tasker, Y. (2016). Sensation/investigation: crime television and the action aesthetic. New Review of Film and Television Studies, 14(3), 304–323. https://doi.org/10.1080/17400309.2016.1187027

Tse, K. Y. N. (2021). Cinematic erasure: Translating Southeast/Asia in Crazy Rich Asians. In Translational Politics in Southeast Asian Literatures: Contesting Race, Gender, and Sexuality (pp. 151–170). https://doi.org/10.4324/9781003036128-8

Türeli, I. (2021). Projections for the Urban Night: A Film-based Exploration in the Design Studio. Journal of Architectural Education, 75(2), 213–223. https://doi.org/10.1080/10464883.2021.1947676

Velkova, J., & Jakobsson, P. (2017). At the intersection of commons and market: Negotiations of value in open-sourced cultural production. International Journal of Cultural Studies, 20(1), 14–30. https://doi.org/10.1177/1367877915598705

Voci, P. (2023). Para-animation in Practice and Theory: The Animateur, the Embodied Gesture and Enchantment. Animation, 18(1), 23–41. https://doi.org/10.1177/17468477231155543

Wei, A. W. W., Pillai, S., & Liu, O. P. (2018). The golden era of the Malaysian film industry: Cross-cultural dialogue and negotiations of ethnicity in a budding nation. Kajian Malaysia, 36(1), 1–24. https://doi.org/10.21315/km2018.36.1.1

Wilcox, E. E. (2016). Beyond Internal Orientalism: Dance and Nationality Discourse in the Early People’s Republic of China, 1949-1954. Journal of Asian Studies, 75(2), 363–386. https://doi.org/10.1017/S0021911815002090

Zemanek, A., & Momesso, L. (2023). Multiculturalism through a lens: migrants’ voice in Taiwanese documentaries. Inter-Asia Cultural Studies, 24(3), 413–430. https://doi.org/10.1080/14649373.2023.2209426

Encantamento intercultural: Explorando o papel do humor nos filmes de comédia da Indonésia e da Malásia

Autores

DOI:

Palavras-chave:

Resumo

Referências

Downloads

Publicado

Como Citar

Edição

Secção

Licença

Idioma