Enrique Cahen Salaberry and Hugo Sofovich: Humor Strategies in the Films Featuring the Duo Alberto Olmedo and Jorge Porcel

  • Fernando Gabriel Pagnoni Berns
Part of the New Directions in Latino American Cultures book series (NDLAC)


Alberto Olmedo (1933–1998) and Jorge “elgordo” Porcel (1936–2006) were two of the most popular and recognized Argentinian comedians in the history of the country’s television and cinema industries. Their work in different media and theater continues to be remembered, celebrated, and imitated by younger comedians and audiences alike. Although their importance to Argentinian popular culture can be conceived separately and individually, Olmedo and Porcel together constitute a formidable and unforgettable pair. Their collective work left such a profound and endearing impression that a movie featuring the duo is concisely referred to as “an Olmedo and Porcel film.”


Sexual Desire Television Show Female Character Military Government Massage Parlor 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Works Cited

  1. Amores Perros. Dir. Alejandro González Iñárritu. Altavista Films, 2000. DVD.Google Scholar
  2. Berger, John. Ways of Seeing. London: Penguin, 1977. Print.Google Scholar
  3. Billig, Michael. Laughter and Ridicule. Toward a Social Critique of Humour. London: Sage, 2005. Print.Google Scholar
  4. Critchley, Simon. On Humour. London: Routledge, 2002. Print.Google Scholar
  5. Easthope, Antony. What a Man’s Gotta Do: The Masculine Myth in Popular Culture. London: Routledge, 1992. Print.Google Scholar
  6. Elias, Jorge. Maten al Cartero. Posdata del Asedio a la Prensa durante las Dictaduras Militares del Cono Sur. Buenos Aires: CADAL, 2005. Print.Google Scholar
  7. España, Claudio. Cine Argentino. Modernidad y Vanguardia, 1957/1983. Buenos Aires: Fondo Nacional de las Artes, 2005. Print.Google Scholar
  8. Esti Rein, Monica. Politics and Education in Argentina, 1946–1962. New York: M. E. Sharpe, 1998. Print.Google Scholar
  9. Falicov, Tamara. The Cinematic Tango. Contemporary Argentine Film. London: Wallflower Press, 2007. Print.Google Scholar
  10. Hanke, Robert. “The ‘Mock-Macho’ Situation comedy: Hegemonic Masculinity and its Reiteration.” Western Journal of Communication, 62(1), Winter 1996: 74–93. Print.CrossRefGoogle Scholar
  11. Horlacher, Stefan. “A Short Introduction to Theories of Humour, the Comic, and Laughter.” Gender and Laughter: Comic Affirmation and Subversion in Traditional and Modern Media. Ed. Gaby Pailer et al. New York: Rodopi, 2009, 17–47. Print.Google Scholar
  12. Htun, Mala. Sex and the State. Abortion, Divorce and the Family under Latin American Dictatorships and Democracies. Cambridge: Cambridge University Press, 2003. Print.CrossRefGoogle Scholar
  13. Lavrin, Asuncion. Women, Feminism, & Social Change in Argentina, Chile, & Uruguay, 1890–1940. London: University of Nebraska Press, 1995. Print.Google Scholar
  14. Martín-Barbero, Jesús. De los Medios a las Mediaciones. Bogotá: Gustavo Gili S.A, 2003. Print.Google Scholar
  15. Meade, Teresa. A History of Modern Latin America: 1800 to the Present. Chichester: Wiley-Blackwell, 2010. Print.Google Scholar
  16. Morreal, John. Comic Relief. A Comprehensive Philosophy of Humor. Chichester: Wiley-Blackwell, 2009. Print.CrossRefGoogle Scholar
  17. Murphy, Peter F. Studs, Tools and the Family Jewels. Metaphors Men Live by. Wisconsin: The University of Wisconsin Press, 2001. Print.Google Scholar
  18. Plácido. Dir. Luis Garcia Berlanga. Jet Films, 1960. DVD.Google Scholar
  19. Pulp Fiction. Dir. Quentin Tarantino. Miramax, 1994. DVD.Google Scholar
  20. Raabl, Enrique. “Porcel o la ilusión de los desposeídos. Los cómicos de hoy no tienen otro cómico que los exprese mejor.” Decíamos Ayer. La Prensa Argentina Bajo el Proceso. Ed. Martín Zubieta and Eduardo Blaustein. Buenos Aires: Colihue, 1998, 575–586. Print.Google Scholar
  21. Rappoport, Leon. Punchlines: The Case for Racial, Ethnic, and Gender Humor. London: Praeger, 2005. Print.Google Scholar
  22. Renzi, Thomas C. Screwball Comedy and Film Noir. Unexpected Connections. Jefferson, NC: McFarland, 2012. Print.Google Scholar
  23. Roehrig, Terence. The Prosecution of Former Military Leaders in Newly Democratic Nations. Jefferson, NC: McFarland, 2002. Print.Google Scholar
  24. Ross, Alison. The Language of Humour. London: Routledge, 1998. Print.Google Scholar
  25. Rouquié, Alain. The Military and the State in Latin America. Los Angeles: University of California Press, 1989. Print.Google Scholar
  26. Sheinin, David M. K. “Sport and the Nation in Proceso Argentina: Dictatorships Ideologies, Media Representations and the Rise of Guillermo Vilas and Carlos Reutemann.” MACLAS. Latin American Essays. Vol. 22, 2008. 24–54.–2008.pdf 8–8–15.
  27. Trahair, Lisa. The Comedy ofPhilosophy: Sense and Nonsense in Early Cinematic Slapstick. Albany: State University of New York Press, 2007 Print.Google Scholar
  28. Turney, Mary Ann. “Humor, Stories, and Cultural Context.” In Tapping Diverse Talent in Aviation. Culture, Gender, and Diversity. Ed. Mary Ann Turner. Hampshire: Ashgate Publishing, 2004, 119–128. Print.Google Scholar
  29. Varea, Fernando G. El Cine Argentino Durante la Dictadura Militar 1976/1983. Buenos Aires: Ed. Municipal de Rosario, 2006. Print.Google Scholar

Copyright information

© Fernando Gabriel Pagnoni Berns 2016

Authors and Affiliations

  • Fernando Gabriel Pagnoni Berns

There are no affiliations available

Personalised recommendations