Visual Gag - Types

Types

The most common type of visual gag is based on multiple interpretations of a series of events. This type is used in the 1935 Alfred Hitchcock film The 39 Steps. Lead actor Robert Donat was kidnapping actress Madeleine Carroll and they were handcuffed. When they checked into an inn, the innkeeper assumed that they were passionate lovers because of the handcuffs. The film used dialogue that could be interpreted both ways.

Another visual gag is a switched image, often at the beginning of a film. A subsequent view of the scene shows something not viewed before. Switched movement may be the gag, such as Charlie Chaplin in The Pawnshop. Chaplin fights with his coworker and punches at him once. Their boss walks in mid-swing and Chaplin changes the motion to act like he was dropping to his knees to scrub the floor. An object may be treated as if it is a different object or be used in an unconventional way, such as acting like a doughnut is a barbell or using a tuba as an umbrella holder.

Read more about this topic:  Visual Gag

Famous quotes containing the word types:

    As for types like my own, obscurely motivated by the conviction that our existence was worthless if we didn’t make a turning point of it, we were assigned to the humanities, to poetry, philosophy, painting—the nursery games of humankind, which had to be left behind when the age of science began. The humanities would be called upon to choose a wallpaper for the crypt, as the end drew near.
    Saul Bellow (b. 1915)

    Our children evaluate themselves based on the opinions we have of them. When we use harsh words, biting comments, and a sarcastic tone of voice, we plant the seeds of self-doubt in their developing minds.... Children who receive a steady diet of these types of messages end up feeling powerless, inadequate, and unimportant. They start to believe that they are bad, and that they can never do enough.
    Stephanie Martson (20th century)

    The bourgeoisie loves so-called “positive” types and novels with happy endings since they lull one into thinking that it is fine to simultaneously acquire capital and maintain one’s innocence, to be a beast and still be happy.
    Anton Pavlovich Chekhov (1860–1904)