This term paper focuses on the comparison between two Indigenous films, "Boy" by Taika Waititi and "Bran Nue Dae" by Rachel Perkins on the basis of forms and functions of humor that are presented in both films.
Comparing these two films, the viewer might immediately ask the question why the depiction of historical trauma of the two peoples, Māori and Aborigines, is presented in a comical manner. These films are classified as "dramedies". It does not mean that a dramedy is a comedy with dramatic elements or vice versa, it’s a genre of drama that is defined by stories focusing on character development, intense emotions and inner conflict as the primary source of plot. In these films, humor has been selected as a main tool to illustrate the problems of these two nations that have been confronted with social segregation in New Zeeland and Australia. For this reason, such a tragicomically represented humor serves as a difficulty for its appropriate perception on the viewers’ part.
In the movies, the plot revolves in 1969 in Australia and in 1984 in New Zealand, so explicitly in the times of the national revival of Aborigines and Maori. Then, after centuries of discrimination, they were given full rights and became full-fledged members of society. So, a mix of tragedy and comedy is not a coincidence since the Indigenous people who have come through a lot of tragedy had then a reason to cheerfully celebrate their newly obtained equal status.
Table of Contents
1. Introduction
2. Forms and Functions of Humor
3. Analysis of Humor in “Boy”
3.1 Historical Background
3.2 Scene Analysis
3.2.1 Father and Son – Who am I?
3.2.2 Haka Dance
3.2.3 Michael Jackson
4. Analysis of Humor in “Bran Nue Dae”
4.1 Historical Background
4.2 Scene Analysis
4.2.1 “Nothing I Would Rather Be”
4.2.2 Prison
4.2.3 The Condom Tree
5. Critical Reflection on both films
Research Objectives and Themes
This academic paper examines the role of humor within Indigenous cinema by comparing the films "Boy" by Taika Waititi and "Bran Nue Dae" by Rachel Perkins, focusing on how tragicomic elements are utilized to address historical trauma and social identity.
- The function of humor as a survival mechanism and tool for resistance.
- The portrayal of Indigenous identity against the backdrop of colonial history.
- Comparative analysis of "dramedy" as a genre for social commentary.
- The deconstruction of stereotypes through satire and irony.
- The use of popular culture to bridge traditional heritage and contemporary life.
Excerpt from the Book
4.2.1 “Nothing I Would Rather Be”
In Bran Nue Dae, one of the most dazzling scenes shows the hero about to be punished for a minor infraction. After being lectured by the head of the school, Willie is told to hold out his hands and accept a beating while acknowledging the inferiority of his community. At the last moment, Willie withdraws his hands and refutes the idea that his people are inferior. The chapel, where the punishment was to be administered, is turned into a riotous tableau of dancing and singing teenage boys, each crooning that there is “nothing they would rather be than to be an Aborigine”.
Willie literally uses humor to ease (even to withdraw) the pain of dislocation and imposed aspirations and starts to value his culture. With this song, Willie leads a rebellion in the school chapel, he stands up for his culture and the other boys follow him. This scene might disrupt the usual identification process for non-Indigenous peoples. Instead of identifying with the young men as victims of trauma, a non-Indigenous person sees them as agents, and comic agents at that. The young men do not tug at the viewers’ heartstrings but make their own world of joy. The viewer can sing along if they like (and at the film’s end, everyone is invited to be an Aborigine for a short time), but the young men create the world. They overturn the order of the school and the non-Indigenous system. With this scene, Willie’s journey in search of identity, love and security begins. Bran Nue Dae and especially this scene encourages Aboriginal people to come to terms with the past and to gain hope in the future by poking fun at the oppressive European institutions (church, schools, etc.).
Summary of Chapters
1. Introduction: This chapter introduces the comparative scope of the paper, establishing the films as "dramedies" that use humor to navigate the complexities of Indigenous history and social trauma.
2. Forms and Functions of Humor: This section explores the theoretical basis of humor in film, discussing its role as a communicative tool that can debunk stereotypes and facilitate healing through irony and satire.
3. Analysis of Humor in “Boy”: This chapter analyzes the New Zealand film "Boy", focusing on the protagonist's imaginative coping mechanisms and the synthesis of traditional Māori culture with global pop culture elements.
4. Analysis of Humor in “Bran Nue Dae”: This chapter examines the Australian musical film, highlighting its use of musical performance and ironic subversion of colonial narratives to reclaim Aboriginal identity.
5. Critical Reflection on both films: The final chapter synthesizes the findings, concluding that humor serves as a vital cathartic and therapeutic mechanism for both nations to confront historical trauma and assert their presence in modern society.
Keywords
Indigenous Cinema, Taika Waititi, Rachel Perkins, Boy, Bran Nue Dae, Humor, Dramedy, Māori, Aborigines, Colonialism, Identity, Resistance, Satire, Historical Trauma, Cultural Representation.
Frequently Asked Questions
What is the core focus of this research paper?
The paper explores the comparative use of humor in Indigenous films from New Zealand and Australia, specifically how Taika Waititi’s "Boy" and Rachel Perkins’ "Bran Nue Dae" utilize comic elements to address social and historical issues.
What are the primary themes discussed in the work?
Central themes include the impact of historical trauma, the reconstruction of Indigenous identity, the function of humor as a social tool, and the struggle for recognition in post-colonial societies.
What is the main objective of the analysis?
The main objective is to understand how these films employ "dramedy" and black humor to empower Indigenous communities, allowing them to transform narratives of oppression into stories of survival and celebration.
Which scientific methodology is applied?
The paper uses a comparative film analysis approach, combined with sociological and historical context, to deconstruct scene-specific humor and its function in the broader narrative.
What topics are covered in the main body of the text?
The body covers the historical backgrounds of the Māori and Aboriginal peoples, detailed scene analyses—such as the "Haka Dance" in "Boy" and the "Condom Tree" in "Bran Nue Dae"—and theoretical definitions of humor.
Which keywords best describe the paper's content?
Key terms include Indigenous Cinema, Māori, Aborigines, Black Humor, Cultural Identity, Post-colonialism, and Dramedy.
How does the author define the "dramedy" genre within this context?
The paper defines a dramedy not merely as a comedy with dramatic elements, but as a genre where comic elements are derived specifically from character development and the navigation of intense inner conflicts.
Why is the "Haka Dance" in the film "Boy" considered a significant scene?
The Haka Dance is significant because it represents a hybrid performance combining traditional Māori culture with global pop culture elements, illustrating how characters reconcile their local heritage with international influences.
What is the significance of the "Nothing I Would Rather Be" scene in "Bran Nue Dae"?
This scene is pivotal because it depicts the protagonist, Willie, using humor and song to lead a rebellion against oppressive institutional structures, effectively shifting the narrative from victimhood to active agency.
- Quote paper
- Anonym (Author), 2017, Forms and Functions of Humor in Indigenous Films, Munich, GRIN Verlag, https://www.grin.com/document/488868
