20 Types and Forms of Humor

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There are many, many different types of humor. A stand-up comedian may employ one or more of the types of humor described here. I hated Friends when it first aired. If I were going to theorize, I might say that very strong Fe users might find the uncomfortable humor a little too uncomfortable.

Pam often aids Jim in pranks against Dwight, and even at times pulls her own pranks on him. In television, things have to change. Negative thoughts manifest into chemical reactions that can affect your body by bringing more stress into your system and decreasing your immunity. I laugh at everything!...

What type of humour do you have?

You could spend a lot of time exploring the differences between British and American comedy only to reach the conclusion that, ironically, they're pretty much the same. Back when director Edgar Wright and myself were writing our debut feature, Shaun Of The Dead, we were certainly banking on a comic universality in the story of a suburban waster battling the living dead. We had every confidence that the humour would translate. The film went on to enjoy surprising success in the US, suggesting that surmounting the supposed gulf between our respective senses of humour requires nothing more than a light skip. When it comes to humour, however, there is one cultural myth that just won't die. They don't get it. They never had it. They don't know what it is and, ironically, they don't want it anyway. Although it is true that we British do use irony a little more often than our special friends in the US. It's like the kettle to us: it's always on, whistling slyly in the corner of our daily interactions. To Americans, however, it's more like a nice teapot, something to be used when the occasion demands it. This is why an ironic comment will sometimes be met with a perplexed smile by an unwary American. It was the first time he ever paid for the drinks. This tendency is also apparent in our differing use of disclaimers. Americans can fully appreciate irony. They just don't feel entirely comfortable using it on each other, in case it causes damage. A bit like how we feel about guns. It's not so much about having a different sense of humour as a different approach to life. More demonstrative than we are, Americans are not embarrassed by their emotions. They clap louder, cheer harder and empathise more unconditionally. It's an openness that always leaves me feeling slightly guilty and apologetic when American personalities appear on British chat shows and find their jokes and stories met with titters, not guffaws, or their achievements met with silent appreciation, rather than claps and yelps. We don't like them any less, we just aren't inclined to give that much of ourselves away. Meanwhile, as a Brit on an American chat show, it's difficult to endure prolonged whooping without intense, red-faced smirking. Of course, it's the mainstream output of our respective entertainment industries that tends to shape our general opinion of each other. Ask the average American what they perceive British comedy to be and you will most likely be quoted shows such as Benny Hill and Are You Being Served? The fan demographic for both shows is markedly more diverse than in their country of origin. This is probably due to their parochial peculiarity, rather than the quality of the comedy although both shows had their moments and perhaps explains why the American audience took to Shaun Of The Dead with such affection. A refusal to occupy that transatlantic middle ground that sometimes scuppers British films intent on appealing in America means that the film plays as resolutely British. That approach does risk certain social and cultural references being lost in translation. The only joke in Shaun Of The Dead that never got a laugh in the States was Ed's request for a Cornetto ice cream at 8am on a Sunday morning. Overall, the cast's understated reserve in the face of flesh-eating zombies just added another layer of amusement for American viewers. When it comes to their mainstream, America's emotional openness has often given way to a sentimentality that jars with our more guarded and cynical outlook. This is why the initially enjoyable Happy Days became blighted by saccharine lessons in family values, as Henry Winkler's originally subversive Fonzie was mercilessly appropriated by the middle-class American family, castrated by Marion Ross's Mrs Cunningham and forced to sit on it although it's interesting to note that in outtakes from the series, Winkler and Ross would often play out an irresistible sexual tension between them with stolen gropes and kisses, solely for the enjoyment of the live studio audience, hinting at darker, more interesting themes than the show itself ever tackled. Generally speaking, sentimentality isn't easy for us. It makes us nervous and uncomfortable. We become edgy and dismissive of these brazen displays of emotion. As the global village conurbates, however, our emotional habits are shifting. We are easing towards a slight liberation from our national inhibitions - although hopefully not losing them completely. Our uptightness is, after all, a huge part of our charm. So much so that two years after its final episode, a day barely passes without its inclusion in the schedules. Could it be any more ubiquitous? I hated Friends when it first aired. The very title was anathema to me. It immediately evoked the embarrassing, droopy-eyed longings of the sickeningly hug-happy new American youth. The thought of all that togetherness, untempered by ironic undermining, made my skin crawl. Yet it drew me in. When were you under me? In fact, it arguably even opened us up a little. I certainly went from sneery to teary at Ross and Rachel's passionate, reconciliatory smooch. This moment might actually hold the key to a middle ground between British and American humour, specifically when it comes to heartfelt, emotional expression. The British aren't against it; we just believe it comes at a price. The success of the emotional climax in that particular scene is due entirely to the comedy preceding it. Ross's perm, Monica's fat suit, Rachel's nose all go toward setting the tone for the payoff, which the audience wholeheartedly accept. This device works in the best situation comedy on both sides of the Atlantic. The difference is perhaps simply that the average American is prepared to accept it sooner. Still, who could deny Del Boy a tearful pat of Grandad's chair, after his Keaton-worthy tumble through the wine bar? Or scoff at the field of poppies that fills the screen at the close of Blackadder Goes Forth? So perhaps we're not so dissimilar, after all. One of the best exponents of worthy sentiment is a show that could easily be argued to be the greatest sitcom the US has ever produced. A razor-sharp, joyously dumb and potentially endless treatise on the American family and its suburban environment, The Simpsons is a remarkable show in that, in what is essentially a children's medium, it has established itself as a constant and often highly critical reflection of America itself. Yet at the same time the show exudes an enormous warmth and sentimentality, and holds at its heart great positivity about the linchpin of the American dream: the family. George Bush Snr once declared that Americans should be more like the Waltons and less like the Simpsons. Both families are praying for the end of the Depression. Shows such as Arrested Development, Family Guy, Curb Your Enthusiasm and The Larry Sanders Show all display a highly sophisticated sense of irony. The Office is a perfect example of how edgier comedy can work on a grand scale on both sides of the Atlantic. The British and American versions have their own cultural and emotional specificities, but both work as painful satires on a lifestyle familiar to millions of Britons and Americans alike. A film that we hope surfs the wave of subtle difference between our two countries, until it crashes red and frothy on to both shores. As if Tony Scott were to guest-helm an episode of Heartbeat, Hot Fuzz takes the most shamelessly histrionic excesses of American cinema and smashes them into that conservative and profoundly territorial enclave of Britishness, the country village, never once faltering in the assumption that everyone out there will understand. After all, we may all be different, but we're all capable of getting the same joke. In a world beset by prejudice and difference, how ironic is that? · Hot Fuzz goes on general release on Friday.

Does that mean that they will then share the same sense of humour, or can differences still occur. In a culture where we control our own narratives through the curation of photos and status updates on social networks, it's no surprise that these modern, relatable characters feel met by a camera crew wresting that control away. According to research from institutions as serious as Wharton, MIT, and London Business School, every chuckle or guffaw brings with it a host of business benefits. He explains that numerous studies suggest that people who share a u, positive sense of humor tend be more likable and are viewed as being more trustworthy. I was talking to a Brit expat from York a few weeks ago and he use a lot of irony in the way he joked. Are you travelling by car or by ring. Don't laugh at the expense of others. Here are names and descriptions of the varieties of comic expression: 1. Yet at the same time the show exudes an enormous warmth and sentimentality, and holds at its heart great positivity about the linchpin of the American dream: the el. British tend to be more reserved and the audience has a ho hum chuckle. Oh, only the ten million-plus people what kind of humor does the office have watched as you pepper sprayed the living daylights out of Roy for trying to pop Jim in the face last night. To what extent is this glad, if at all?.