Humorous States: IR, New Diplomacy and the Rise of Comedy in Global Politics

Brassett, James; Browning, C. H.; Wedderburn, Alister

doi:10.1080/13600826.2020.1828302

Cited by 19 publications

(3 citation statements)

References 18 publications

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“…The humorous tone of these formats allows them to demonstrate and denounce questions that concern the viewer and tend to be highly topical. It is, therefore, a genre which says a lot about the identity, affinities, and antagonisms of a collective (Brassett et al, 2021).…”

Section: Politics As Comedymentioning

confidence: 99%

Spanish-Portuguese Serial Fiction as a Politainment Tool: Representations of Politics on Iberian Television

Merayo

Gascón

Baptista

2023

MaC

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This article deals with recent Spanish and Portuguese political television series. Within this sub-genre, it is pertinent to consider the symbolic construction of politics, as well as the differences caused by each series’ geographical adscription. Six Spanish productions have been selected—Isabel (Isabella the Catholic), Carlos Rey Emperador (Charles the Emperor King), La Embajada (The Embassy), Crematorio (Crematorium), Vamos Juan/Venga Juan (Come on, Juan/Let’s go Juan), and El Partido (The Party)—along with three Portuguese productions—A Rainha e a Bastarda (The Queen and the Bastard), Teorias da Conspiração (Conspiracy Theories), and Os Boys (The Boys). The narrative of these audio-visual stories has been examined utilising qualitative content analysis, looking at the plotlines and characters involved. The type of characterisation of politics has been identified by means of the deconstruction of the main characters. The conclusion is that the evaluation is eminently negative, although differential frameworks are present, depending, in particular, on the fiction’s genre, either historical drama, drama-thriller, or comedy.

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Section: Politics As Comedymentioning

confidence: 99%

Spanish-Portuguese Serial Fiction as a Politainment Tool: Representations of Politics on Iberian Television

Merayo

Gascón

Baptista

2023

MaC

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“…There might even be scope for geopolitics and allied disciplines such as IR and political science to find some common comedic cause (e.g. Brassett et al, 2021). The complex and contradictory socio-spatial effects of humour that are traced in Gerlofs’ interrogation of Mexican popular culture would surely resonate with some of the work taking place as part of a ‘comedic turn’ in IR (Brassett, 2016; Foot, 2017; Holm, 2017; Brassett, 2021).…”

Section: Cultivation Of the Less-than-sensiblementioning

confidence: 99%

The distribution of non-sense and the cultivation of the less-than-sensible

Dodds

2022

Dialogues in Human Geography

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Ben Gerlofs’ article on the transgressive qualities of humour reminds us that it humour is a deadly serious business. Getting it wrong can be costly, even fatal. Comedians and humourists have along with journalists and academics been targeted by regimes and individuals who don’t care for interventions that expose either the nonsensical nature of regimes and/or assault cultural and religious norms. In this short intervention, some comments are offered about the popular geopolitics of humour and laughter alongside a discussion about future directions.

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“…This turn to humour is not unprecedented, of course. In an age of nation branding, with social media platforms like Instagram, YouTube and Facebook, the new diplomacy has witnessed a range of highly cultivated and staged uses of humour (Brassett and Browning, 2018). For NATO, humour is a form of strategic communication that is central to Russian hybrid warfare, a mode of communication designed to undermine 'the credibility of western political leaders' and to manipulate and influence the hearts and minds of citizens and non-citizens alike (Austers et al 2017: 6-7).…”

Section: Introductionmentioning

confidence: 99%