Mapping comedic disruptions and continuities: a study of humour in post-millennial Malayalam cinema

Abstract

Comedy and humour, widely recognized as sources of amusement, play a vital role in shaping cultural narratives. Among the diverse forms of comedic expression, motion pictures stand out as the most accessible and widely embraced medium for the widespread appeal of humour. This thesis conducts a thorough examination of Malayalam comedy films spanning from the pre-millennial era (1980s) to the 2020s. It examines the evolutionary changes in genre, thematic elements, and spatial diegetic, tracing their development across eras to reveal the progressive alterations and implicit politics of humour in the post-millennial period, especially within the context of New Generation cinema. In addition to using various theories of humour, the study employs a broader cultural studies framework, integrating concepts from various disciplines including genre studies, disability studies, gender studies, and ethnic studies. By adopting this approach, the research aims to provide a nuanced sociological analysis of humour in Malayalam films. The methodology for film selection considers factors such as explicit categorization, actor influence, and audience reception during different temporal phases. In exploring the historical transformations that paved the way for New Generation Cinema, the research scrutinises not only the emergence of new genres but also the factors that facilitated the integration of this cinematic movement into Kerala‘s cultural landscape. The analysis of comedy films from different eras, including the 1990s and the 2000s, is underpinned by an investigation into the shifting dynamics of humour, genre conventions, and audience reception. An essential aspect of the research involves analysing the politics of humour in shaping and perpetuating stereotypes in films from the first decade of the 2000s. The portrayal of masculinity, particularly through the lead actor Dileep, is examined, highlighting the establishment and revision of hegemonic masculinity through humour. The analysis extends to the politics of representation surrounding the characters of the sidekick and the spatial diegesis employed in comedy films of this period. The exploration of New Generation films reveals the disruptions as well as continuities of the conventional practice of using humour in film narratives. The research identifies a departure from the traditional practice of assigning specific actors to comedy roles along with a trans-generic tendency, and with nearly every character in these films exhibiting the potential for humour at various points in their journey. The study observes the emergence of new genres, including stoner and sex comedies, reflecting societal anxieties of the period. However, despite the departure from established norms and attempts at politically correct comedy, the research observes that humour in these films remains entwined with prevailing ideologies and societal norms. While reshaping masculinity and gender dynamics, New Generation cinema ultimately adheres to hegemonic masculinity, underscoring the influence of cultural and spatial ideologies. In essence, this research contributes to the understanding of humour in Malayalam cinema by providing a comprehensive and multifaceted analysis that encompasses the nature of humour, genres, and comic tropes for laughter in each era, while also focusing on the role of gender, family, spatiality, and related elements that politicise humour. Through an interdisciplinary lens, the study sheds light on the hitherto unexplored realm of scholarly inquiry: the transformative trends and unconventional approaches in humour that characterise the cinematic movement of New Generation Malayalam cinema.