The Social Significance Of Humour: Nathan Barley

The social phenomenon of humour has attracted the interest of theorists with competing views of the role it plays within a social environment. One such theory that attempts to provide an understanding of humour is the 'incongruity' theory which states that humour is formed by aligning two distinct subjects, that appear on the surface to be very different from one another, into one subject thus revealing the truth of that subject, in essence it is satirical. This theory suggests that humour is concerned with critiquing the political and cultural irrationality of institutions and individuals in daily life.

A comedic text which incorporates elements of incongruity to create humour and message is the television show Nathan Barley (2005) written by Chris Morris and Charlie Brooker. The shows premise centres on the rise of new media productions since the increase in digital television availability, and in particular the internet, which gives a platform for expression to those who previously would be unable or excluded from the mass media. The first episode begins by highlighting one example of this in the website www.trashbat.co.ck which is run by Nathan Barley, an example of the idiocy infecting the urban environment and media. His status, and subsequently the status of the followers of this trend, as an 'idiot' is established by Dan Ashcroft's article 'The Rise of the Idiots' as read aloud by Dan and Nathan themselves in the first episode's opening minutes. This article sets the parameters for the comedy and establishes the language and mannerisms of these idiotic urban professionals as the humorous element of the series, by being simultaneously a product of, and parody of the modern media both in the context of the series and in reality. This parodying of aspects of the social and political world is important because “modern laughter is the applause given in a civic theatre devoted to performances in which the discourses of public life are doubled, unmasked, and remediated” (Hariman, 2008: 263). If the article can be considered a linguistic form of wit in connecting opposing realities to reveal the truth, for example, in the lines “the idiots are self-regarding consumer slaves oblivious to the paradox of their uniform individuality, they sculpt their hair to casual perfection” then the opposing characteristics of Dan's melancholy and Nathan's foolishness present two humours. The 18^th century terminology outlined by incongruity theorists for a 'humourist', in being someone “with an extreme character that seemed to compromise a single humour rather than a balance of various humours” (Billig, 2005: 62).

More importantly for the shows comedy the audience is invited to relate to Dan Ashcroft in his ridiculing of those who work within this new media and their tastes in entertainment, fashion, and the cultural contribution, or lack of, that they provide. He is distinguished from the majority of the 'humours' that populate this comedic text by his ability to provide wit in situations that the 'idiots' are unable to understand, often as commentary upon their ridiculous and often immoral nature. An example of this in the re-branding of Sugar Ape, the magazine that Dan Ashcroft reluctantly works for, which changes its logo from reading Sugarape to what appears to be Rape with the suga being incorporated into the structure of the R. The incongruity between the journalists endorsing a re-branding of their magazine into something that is offensive and the usual corporate attitude to negative publicity creates the comedy. This works satirically as the truth is revealed at once in that the shock value of such re-branding can be deemed desirable to some sections of the media, particularly in the new media avenues that Nathan Barley is satirising. From an incongruity theorists perspective, mockery provides a moral purpose and usefulness, it critiques their actions and makes the subject of the mockery question their perspective, or in the case of this comedy highlighting the existence and satirising these media outlets it encourages the audience to question the ethical implications of doing such. Therefore, the societal function of laughter directed at a person or institution is that “it curbs the sallies of eccentricity, it recalls the attention of mankind to the one uniform standard of reason and common sense” (Smith cited in Billig, 2005: 79). In other words it trains individuals through fear of ridicule to understand the importance of, and to conform to certain social values concerning taste.

A less subtle form of incongruity is presented within the comedy of Nathan Barley due to the behaviour of Dan Ashcroft's colleagues at Sugar Ape, often seen playing games and acting in a juvenile manner whilst in the office space. The juxtaposition between the behaviour of the journalists and the professional environment the inhabit seems to be conflicting in its nature, however, it reveals a truth about modern corporate structures that value structured fun as a strategy for improving workplace morale and team cohesion. A further truth is added to this incongruity in that Dan Ashcroft is visibly dissatisfied with this corporate silliness, which echoes the sentiments of many office workers in society. The essence of the comedy in this is that it “lets us see the familiar defamiliarized, the ordinary made extraordinary and the real rendered surreal” (Critchley, 2002: 10) as such it encourages the audience to observe the irrationality of the modern white-collar workplace.

Nathan Barley gains significance through its critique of modern media culture and its influence on the wider society, the comedic text utilises the humour and wit of incongruity to project the ridiculousness of the characters to the audience. The incongruity in the humour encourages the audience to engage with the rationality of practises and taken for granted assumptions in society by revealing their irrational nature. In doing so it reveals the social function of comedy as an important tool for individuals in society to utilise in critically evaluating their understanding of correct mannerisms and taste.

References

Hariman, R. (2008), Political Parody and Public Culture. Quarterly Journal of Speech. 94 (3). 247-272.

Billig, M. (2005). Laughter and Ridicule: Towards a Social Critique of Humour. London: Sage.

Critchley, S. (2002). On Humour. London: Routledge.

Brooker, C and Morris, C. (2005), Nathan Barley, Television Programme: Talkback Productions.