Laurel and Hardy, who first teamed up in 1927 and made over 100 films together which came out 'fresh' every time, are other examples of comedians whose humour travelled well. Hong Kong's own martial arts expert and stunt man, Jackie Chan, sometimes dubbed 'Hong Kong's favourite son,' has become successful, both in the Far East and Hollywood, by combining Chinese kung fu and bits of slapstick.
Another good example is Mr Bean who, because he doesn't say anything, has no difficulty in getting his humour ‘across the Great Wall' and into countries in Asia. It is interesting that, to most British audiences, Bean is funny, foolish and unenviable in every way. He is the last person they would wish to work with or be associated with (Cairnes, 1998). The Japanese and many Asians, however, see him rather differently. They see Bean as a pathetic, lonely figure who deserves pity and would be fun to have around. Yet even he does not appear funny to everyone.
Visual, universal humour, such as the puppy licking the baby's ice-cream, has a much better chance of crossing frontiers, although the television series, America's funniest home movies, does not always receive the same reaction in countries outside the United States, and indeed not even by all Americans. As a group of Chinese and Britons discussing humour agreed: 'If you've seen one showing of America's funniest home movies you're seen them all.' In fact the reaction to these movies seems to be mixed. An American woman living in Hong Kong told the author that the humour was not subtle enough for her but her two children enjoyed these films. Other Americans, however, said they found them 'funny and relaxing'.
According to American Brent Ambacher, who was raised in Hong Kong and works as a part-time comedian, more and more Westerners today expect more sophisticated, 'highbrow' (sometimes termed 'three-dimensional') humour. This more profound variety should, as it were, embrace a ‘moral lesson.' This may depend on the cultural background and the awareness and intentions of the artiste. It may, for example, concentrate on slamming pomposity, condemning underhanded politics or corruption, or some other topical subject. Today's audiences often expect a comedian who is more 'civic minded,' who will deliver his act in a philosophical way and will give them something of substance to evoke deep afterthought. All this as opposed to the shallow
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Laurel and Hardy, who first teamed up in 1927 and made over 100 films together which came out 'fresh' every time, are other examples of comedians whose humour travelled well. Hong Kong's own martial arts expert and stunt man, Jackie Chan, sometimes dubbed 'Hong Kong's favourite son,' has become successful, both in the Far East and Hollywood, by combining Chinese kung fu and bits of slapstick.
Another good example is Mr Bean who, because he doesn't say anything, has no difficulty in getting his humour ‘across the Great Wall' and into countries in Asia. It is interesting that, to most British audiences, Bean is funny, foolish and unenviable in every way. He is the last person they would wish to work with or be associated with (Cairnes, 1998). The Japanese and many Asians, however, see him rather differently. They see Bean as a pathetic, lonely figure who deserves pity and would be fun to have around. Yet even he does not appear funny to everyone.
Visual, universal humour, such as the puppy licking the baby's ice-cream, has a much better chance of crossing frontiers, although the television series, America's funniest home movies, does not always re- ceive the same reaction in countries outside the United States, and in- deed not even by all Americans. As a group of Chinese and Britons discussing humour agreed: 'If you've seen one showing of America's funniest home movies you're seen them all.' In fact the reaction to these movies seems to be mixed. An American woman living in Hong Kong told the author that the humour was not subtle enough for her but her two children enjoyed these films. Other Americans, however, said they found them 'funny and relaxing'.
According to American Brent Ambacher, who was raised in Hong Kong and works as a part-time comedian, more and more Westerners today expect more sophisticated, 'highbrow' (sometimes termed 'three- dimensional') humour. This more profound variety should, as it were, embrace a ‘moral lesson.' This may depend on the cultural background and the awareness and intentions of the artiste. It may, for example, concentrate on slamming pomposity, condemning underhanded poli- tics or corruption, or some other topical subject. Today's audiences often expect a comedian who is more 'civic minded,' who will deliver his act in a philosophical way and will give them something of sub- stance to evoke deep afterthought. All this as opposed to the shallow
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