Abstract

The perception of the same film often differs across countries due to cultural heterogeneity. This is especially evident when we are looking at comedies, which frequently rely on exaggeration, irony, stereotypes, and taboo topics. Analysing how comedies are received in different countries can therefore provide insight into broader cultural attitudes, such as perceptions of gender roles, the acceptability of dark humor, sensitivity to violence, or the degree of cultural or contextual knowledge required to understand the humor. The thesis explores whether the aspects that drive main sentiment drivers of comedies pattern across countries in ways that correspond to those countries’ scores on Hofstede’s cultural dimensions The corpus comprises 100 films from ten countries (USA, UK, Germany, France, Italy, India, Japan, South Korea, Brazil, Russia), distributed across five release periods between 1995 and 2020. Each film is coded holistically for humour type, gender portrayal, and violence framing through an LLM-assisted content analysis of proxy materials.

Results/Implementation/Project Description

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