Apples – Hybridisation Experiment #1: Parody

House Tour – Hybridisation Experiment #2: Satire

Crime Show – Hybridisation Experiment #3: Genre Hybridisation

This week introduces the concept of genre hybridization. The topic is intriguing because it is different from any idea previously presented in the class. Considering the previous weeks, we talked about how inner and outer influences can input the comedy work as modes. On the contrary, genre hybridization re-examines comedy as a supplement to the non-comedic genre. It means that a non-comedic genre will be the core structure; meanwhile, the comic frame is used discretely to support the main theme. For example, we present a comparison between mockumentary and hybrid documentaries. The slight difference that I was able to spot from the viewing examples was a magnifying editing technique called ‘cutting on significance’. While the mockumentary is called the parody version of the documentary, the hybrid version implies subtle comic devices – not through making fun of the conventional documentary’s aesthetics. The abrupt end, cutting in the middle of scenes, invokes a sense of anomalies, but it is so subtle that even though you spot something slightly off, it is still not reaching ‘that level’ of parody. However, the boundary is so obscure that we could hardly reason why this one is hybrid and not comedy. Branden clarifies that the subject of comedy will determine whether the text has comic elements, as long as we do not change the genre convention. Nevertheless, it will be a challenge to set up comic devices in a non-comedy genre without a slight mocking of that genre. Because laughter comes out of the incongruity effect, it is equivalent that we laugh when something is off. Therefore, our solution is to make a pure crime script that takes place in the interrogation room between detectives and suspects. We try our best to reach the laughter effect while still maintaining the aesthetic of the crime genre. We write a crime/mystery script and envision how some interrogation scenes take place (I imagine the famous Joker vs. Batman interrogation in the Dark Knight series). Then, to make it funny, we visualize what kind of behaviors of suspects are unacceptable during the questioning – as we conclude, a man answers by singing, a girl falls in love with a policewoman, and a man thinks he is the interrogator. Over the past three weeks, I have felt that I am more comfortable proposing ideas and turning them from the proposal into actual records – scripts, visual boards, and shotlists. I have learned by heart how it is to get organized and disciplined with the deadline so that I can still get a hold of my idea flow and become more responsible with groups. I would love to work with people who want to create comedy genre hybridization – maybe web dramas like Stranger Things – but in a hilarious scope.

Reference List:

Middleton, J. (2002) Documentary Comedy in Media International Australia, 104(1), pp. 55–66.

Sketch Link:

https://www.youtube.com/watch?v=HV9uU26v6q0

This week introduces the concept of comedy as a satirical mode. In class, we talk about the differences between parody and satire as two typical comic modes. When parody takes inspiration from the conventions of the original text, the influenced aspects can range from visual storytelling, music scoring, and structure. On the other hand, external factors (social issues to be named) contribute to the content of satirical texts. The weekly reading dissects the exemplifying satirical show Brass Eyes and examines why Brass Eyes is considered a successful convertible of traditional UK news. It compares both the similarities and differences between Brass Eyes and standardized news, from multiple angles, which are mode of address, visual graphic, and editing cut. Typically, it illustrates the way the narrator addresses and engages the viewer by consistently using the pronoun ‘we’ in the dialogue. The vox pop is also a positive addition, through role-playing actors mimicking the interview or whatever format that requires a second narrative (Stephen 2012). I am also impressed with the imitation of motion graphics. It showcases the stereotypical visual choices of intro and outro; however, the odd visual stretching appears as a clear mock. As a result, I adapted these techniques to the weekly sketch, a parody of the celebrity house tour. We want to take advantage of the extravagant characteristics of this typical series. We focus on how the host addresses ‘we’ in the entire sketch to engage compassion with viewers, and the visual selection. We invest in the typical YouTube channel intro and outro, plus the dramatic special effects (sudden fireworks, applause, etc.) to help expose the absurdity. We also use the assessment criteria list of satirical texts to achieve the desired vision of this sketch. In the planning phase, we discuss the angles we attempt for this sketch: What is the target of satire? What comic devices can we use? Setting a goal for the work helps order the ideas hierarchically. Therefore, we agree that the goal is to exploit the distorted boasting of some rich people, with the exaggeration technique. One exemplifying example is when Chloe argues how little she spends on clothes to dress ‘just like all of you (viewers)’.

Reference List:

Meikle, G. (2012) Find Out Exactly What to Think—Next! in Chris Morris, Brass Eye, and Journalistic Authority, Popular Communication, 10(1–2), pp. 14–26.

Sketch Link:

This week switches the comic perspective from genre to mode. As a genre, comedy generates laughter by putting the comic frames across the work. However, it can be misunderstood by another non-comedic genre that also uses comic frames to build tension.  Breaking comedy down into modes captures the pure essence of the genre. How are parody and satire considered modes of comedy? Each contains foundational structures and writing techniques. In parody text, changes to the conventions of the original text initiate the formula (Krutnik and Neale 1990). On the contrary, satire is the mockery of external influence, mostly discussing social or cultural topics outside the text. Also, I picked up helpful filmmaking advice from the weekly reading ‘Parody Sketches’.

Two tips that I extracted from the reading are brainstorming the original video and adding punchlines consistent with the theme (Toplyn 2014). Before shooting, the preproduction stage is significant, especially during the brainstorming phase. Our guest lecturer advises that we should roll out as many ideas initially as possible because good ideas are not always present immediately. Therefore, it is recommended that the film crew arrange planning meetings for idea proposals to execute the most favorable idea. I took this instruction by heart and applied the process to every project. For this week’s sketch, the Disney Channel idea was not the first suggestion during the discussion. We present parody ideas from different shows, for example, Who is Smarter than the 5th Grader? However, the Disney Channel sketch was more intriguing in putting forward some incongruity punchlines that are unacceptable in the context of kid shows. Moreover, we are also familiar with the Disney vibe – how the animated characters normally act (their intonation and bodily figure), the editing style (the colorful kid-theme background), and the visual and sound selection. Next, most narratives would be kept consistent for general children viewing – starting with random conversations about the apple. The tension rises when Sam appears in the frame and spits wicked facts about the apple. The effect – zoom-in faces, dark gloomy vignettes complements the abnormalities.

Reference List:

Neale, S. & Krutnik, F. (1990) Definitions, genres, and forms in Popular Film and Television Comedy. London: Routledge, pp. 10–25.

Toplyn, J. (2014) Parody Sketches in Comedy Writing for Late-Night TV, New York: Twenty Lane Media, pp. 239–261.

Sketch Link: