Copyright
2018 by Gary L. Pullman
Jib Fowles, a
professor of communications at the University of Houston, wrote
several books on advertising. In Mass Advertising as Social Forecast, he lists the fifteen
“basic needs” to which advertisements often appeal in promoting
goods and services. In addition, he identifies three “stylistic
features” of ads that influence “the way a basic appeal is
presented”: humor, celebrities, and images of the past and present.
This post concerns how horror novels and movies use humor as a way to
enhance horror.
A
good example of the unlikely mix of humor and horror occurs in
Alfred Hitchcock's 1960 classic, Psycho.
After Norman Bates's alter ego, “Mother,” murders Marion Crane, a
guest at the Bates Motel, he disposes of her body by placing it in
the trunk of her car and pushing the automobile into a nearby pond.
As he looks on, eating seeds or nuts, the vehicle begins to sink.
When it's half-submerged, the car seems to settle, as it stops
sinking. Bates looks horrified. He glances to his right, looks back
at the car, then darts his gaze to his left. As he next looks at the
automobile, it begins to sink again. Bates hazards a slight smile.
The car vanishes completely, the water converging over its roof. It
is altogether lost to sight. Bates's smile broadens. He has succeeded
in covering up “Mother's” crime.
The
television series Buffy the Vampire Slayer
also mixes horror with humor. Examples abound; here are a few:
In
the episode “Helpless,” The Council of Watchers deliberately
strips Buffy Summers of her supernatural powers so she can be “tested”
in a confrontation with Kralik, a psychotic vampire who kidnaps
Buffy's mother, Joyce. At one point, Buffy has trouble opening a jar
of peanut butter. Her friend, Xander Harris, who's often overlooked
because of his lack of superhuman abilities, seizes the opportunity
to show his superior strength, as he smugly offers to open the jar
for her. However, he humiliates himself instead, when, after several
attempts, he is unable to open the jar, and his attempt to impress
Buffy backfires.
In
an encounter with Count Dracula, in “Buffy vs. Dracula,” Buffy
dispatches the vampire with a wooden stake, causing him to burst into
dust; a few moments later, smoke swirls, as he reappears, as good—or
evil—as new. She dispatches him a second time. “Don't you think I
watch your movies?” she asks. “You always come back.” When
Dracula attempts a second comeback, as she waits, stake in hand, she
warns him, “I'm standing right here,” at which point, the swirling
smoke vanishes.
Buffy
episodes are metaphors for the experiences that young adults often
undergo. One such episode, “Living Conditions,” finds its humor
in the metaphor itself, which likens the experience of sharing a dorm
room with another person, whose interests and personality are nothing
like one's own, to living with a demon. Almost everything one roommate does annoys the other. Buffy doesn't like Kathy's cutting her toenails in
their room, she doesn't appreciate her taste in music, and she
disapproves of her roommate's Celine Dion poster. Kathy doesn't like
Buffy's desire to sleep with a window open, her gadding about
campus, or her carelessness about leaving her chewed gum on shared surfaces. Buffy doesn't accept Kathy's suggestion that they each pay
for their own respective telephone calls, nor does she like Kathy's
labeling of the food items in their shared refrigerator or her
borrowing clothes without permission.
In
Psycho, the humor
springs from two sources: situational irony and Bates's (i. e., actor
Anthony Perkins's) reactions to the situation. The irony results from
the unexpected apparent overturn of Bates's intentions, as the car
containing Marion's body seems to come to rest before it's entirely
submerged. As a result, instead of concealing the evidence of
“Mother's” crime, the car, remaining not only visible but in the
middle of the pond, would call attention to itself, and investigators
would soon find Marion's corpse. Bates's shock and worry, followed by
his relief and satisfaction, expressed through his nervousness, his
fear of being discovered (suggested by his glancing about), and his
smiles, show the emotions he feels as his plan is first threatened
and then succeeds.
The
humor of Xander's comeuppance, as he attempts to display his superior
masculine strength as he helps the “helpless” vampire slayer, who
normally possesses many times the might of even the strongest man,
backfires, stems from the deflation of his smug attitude and his
chauvinism. It is one of several examples of humor in Buffy
that is based on deflating unbecoming character traits.
“Dracula
vs. Buffy” parodies the trope of the returning villain. In many
horror movies, the menacing character returns, despite having been
killed, sometimes in particularly brutal, seemingly definitive, ways.
Michael Meyers, the antagonist of the Halloween series
of films, returns, as does A Nightmare on Elm Street's
franchise villain, Freddy Krueger. In some cases, as in Buffy's
own “Bad Eggs,” something remains through which the monster's
offspring may return. The humor of “Dracula vs. Buffy” relies on
viewers' familiarity with the trope and their recognition that it is
being spoofed.
“LivingConditions” exaggerates the conflicts that arise between people who
have different, if not opposing, attitudes, beliefs, habits,
interests, perceptions, principles, and lifestyles. As roommates,
Buffy and Kathy are an odd couple whose differences, thanks to the
influence of the Hellmouth, finally escalate to violence.
Although
for some horror fiction fans, touches of humor can enhance horror
the way salt, added to sweet treats, heightens the taste of sugar, too
much humor or its use at the wrong time can be detrimental to the
story's effect, and it takes an experienced writer to mix humor with
horror in such a way as to add to, rather than to subtract from, the
story as a whole. Both Hitchcock and Buffy's
creator, Joss Whedon, are able to pull it off.
As Fowles warns with
regard to the use of humor in advertising, humor must be used
cautiously. “Humor
can be treacherous,” Fowles cautions, “because it can get out of
hand and smother the product information.” It can also overwhelm
the horror of a horror novel or movie.
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