Skip to main content

Why Is Shrek Funny?: DreamWorks and the Intertextual Gag

  • Chapter
  • First Online:
DreamWorks Animation

Part of the book series: Palgrave Animation ((PAANI))

  • 673 Accesses

Abstract

This chapter looks at comedy in DreamWorks’ films and in particular the pop-culture references which characterise their approach to humour. Through comprehensive discussion of these gags, delineating the different forms that they can take, it employs and reformulates existing theories of comedy to explain the humour behind them. The chapter applies a variety of approaches to three very different intertextual gags from Shrek 2. It engages with the notion that comedy derives from incongruity and therefore from the contrast between these intertexts and the contexts in which they are used, combining this theory with the little-explored idea of the ‘comedy of recognition’, to explain the basic comic appeal of specific familiar intertexts.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

eBook
USD 16.99
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 16.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 109.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

References

  • Barrier, Michael. 1999. Hollywood Cartoons: American Animation in Its Golden Age. Oxford: Oxford University Press.

    Google Scholar 

  • Buchan, Suzanne. 2006. “The Animated Spectator: Watching the Quay Brothers’ ‘Worlds’.” In Animated Worlds, edited by Suzanne Buchan, 15–38. Eastleigh: John Libbey Publishing.

    Google Scholar 

  • Critchley, Simon. 2002. “Did You Hear the One About the Philosopher Writing a Book on Humour?” Think 1: 103–112.

    Google Scholar 

  • Dunne, Michael. 2001. Intertextual Encounters in American Fiction, Film, and Popular Culture. Bowling Green: Bowling Green State University Press.

    Google Scholar 

  • Furniss, Maureen. 2007. Art in Motion: Animation Aesthetics. Rev. ed. London: John Libbey.

    Google Scholar 

  • Genette, Gérard. 1997. Palimpsests: Literature in the Second Degree. London: University of Nebraska Press.

    Google Scholar 

  • Grodal, Torben. 1999. Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition. Oxford: Clarendon Press.

    Google Scholar 

  • Holliday, Christopher. 2018. The Computer-Animated Film: Industry, Style and Genre. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Jordan, Thomas H. 1975. The Anatomy of Cinematic Humour. New York: Revisionist Press.

    Google Scholar 

  • Klein, Norman. 1995. Seven Minutes: The Life and Death of the American Animated Cartoon. London: Verso.

    Google Scholar 

  • Lippitt, John. 1992. “Humour.” In A Companion to Aesthetics, edited by David E. Cooper, 199–203. Oxford: Blackwell.

    Google Scholar 

  • Magedanz, Stacy. 2006. “Allusion as Form: The Wasteland and Moulin Rouge!Orbis Litterarum 61: 160–179.

    Google Scholar 

  • Mast, Gerald. 1979. The Comic Mind: Comedy and the Movies. Chicago: University of Chicago Press.

    Google Scholar 

  • McCallum, John. 1998. “Cringe and Strut: Comedy and National Identity in Post-War Australia.” In Because I Tell a Joke or Two: Comedy, Politics and Social Difference, edited by Stephen Wagg, 202–220. London: Routledge.

    Google Scholar 

  • Morreall, John. 1983. Taking Laughter Seriously. New York: SUNY Press.

    Google Scholar 

  • Neale, Steve, and Frank Krutnik. 1990. Popular Film and Television Comedy. London: Routledge.

    Google Scholar 

  • Olson, Elder. 1968. The Theory of Comedy. Bloomington: Indiana University Press.

    Google Scholar 

  • Palmer, Jerry. 1987. The Logic of the Absurd: On Film and Television Comedy. London: BFI.

    Google Scholar 

  • Palmer, Jerry. 1994. Taking Humour Seriously. London: Routledge.

    Google Scholar 

  • Stott, Andrew. 2005. Comedy. London: Routledge.

    Google Scholar 

  • Suls, Jerry. 1983. “Cognitive Processes in Humour Appreciation.” In Handbook of Humor Research, Vol. 1: Basic Issues, edited by Paul E. McGhee and Jeffrey H. Goldstein, 39–57. New York: Springer-Verlag.

    Google Scholar 

  • Summers, Sam. 2018. “From Shelf to Screen: Toys as a Site of Intertextuality.” In Toy Story, edited by Susan Smith, Noel Brown, and Sam Summers, 127–140. London: Bloomsbury.

    Google Scholar 

  • Thompson, Kristen. 1980. “Implications of the Cel Animation Technique.” In The Cinematic Apparatus, edited by Teresa de Lauretis and Stephen Heath, 106–120. London: Macmillan Press.

    Google Scholar 

  • Turnbull, Sue. 2016. “‘Look at Moiye, Kimmie, Look at Moiye!’: Kath and Kim and the Australian Comedy of Taste.” Media International Australia 113: 98–109.

    Google Scholar 

  • Wells, Paul. 1998. Understanding Animation. London: Routledge.

    Google Scholar 

  • Wells, Paul. 2002. Animation and America. Edinburgh: Edinburgh University Press.

    Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to Sam Summers .

Rights and permissions

Reprints and permissions

Copyright information

© 2020 The Author(s)

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Summers, S. (2020). Why Is Shrek Funny?: DreamWorks and the Intertextual Gag. In: DreamWorks Animation. Palgrave Animation. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-36851-7_2

Download citation

Publish with us

Policies and ethics