美国厕所喜剧是一个比较奇特的文化现象，它们故事简单，笑料低俗，全篇充满着对身体的残害，以及呕吐物、排泄物等一般意义上肮脏恶心的元素，但是虽然厕所喜剧俗不可耐低俗恶心，但是它们往往能以小博大，以一个较低的制作成本，获取极高的电影票房。为什么会出现这种情况呢？观众为什么喜欢看这类影片呢？在后现代的文化背景下，在恶搞成风的时代背景下，我们有必要对此进行研究。经过研究，发现“厕所喜剧”这个概念缺乏学术上的概定，目前学界与之相近的概念有三个：后现代喜剧，无厘头喜剧以及棍棒喜剧。厕所喜剧跟他们有千丝万缕的联系，但是这三个概念中的任何一个难以表明厕所喜剧的特点。而且目前国内还没有论文或者专著对此选题进行过学术研究，本选题有一定的创新性。本文试以厕所喜剧集大成导演法拉利兄弟为代表，对法拉利兄弟厕所喜剧的叙事策略进行分析，总结出四条叙事策略：第一，情节边缘化，搞笑成为故事主体；第二，噱头低俗化，厕所幽默挑战观众胃口；第三，平民化姿态，平等真诚的创作态度；第四，整合旧类型，虽出格但主流。并从传播学、心理学、文艺学以及文化批评学等学科探讨、研究受众观看厕所喜剧的接受心理，主要得出四条结论：第一，厕所喜剧作为市民喜剧，反应了观众的逃避心理；第二，厕所喜剧通过对倒霉蛋笑话的描写，满足观众窥视心理的需要；第三，审丑心理，因为贴近生活所以容易引发共鸣；第四，结构颠覆，打倒类型片的权威与滥套，张扬了后现代文化背景下的主体意识。最后得出结论：厕所喜剧虽然很出格，但是它并没有脱离美国类型片的模式，而是在好莱坞文化工业的体制下，在主流价值观的统率下，填充进了新的内容，满足了后现代文化背景下观众的新需要，是大众文化在当代的一种视觉快餐形式。

As a particular cultural style, American toilet comedy is simple in its plots, and vulgar in its content. It is permeated all through with the ravage on human bodies, and the nauseous elements like vomit and excrement in the general sense. However, despite of all the demerits above, toilet comedy is usually able to shed lights on crucial aspects of our life, and to achieve high box office with low cost. What lies behind this strange phenomenon? Why the audiences favor this kind of movies so much? It is necessary for us to study them in the post-modern cultural background, when Kuso is prevalent.The study shows that ‘toilet comedy’ lacks an academic concept. At present, three other conceptions are similar to it. They are post-modern comedies, kuso comedies and slapsticks. Though toilet comedies are closely connected to them, none of the three can display the characteristics of toilet comedies. What’s more, no theses or works in our country have touched this area, so this study is novel to some extent.Through analyzing the comedies of Peter and Bobby Farrelly, who are extremely successful in toilet comedies, this thesis summarizes four strategies of narrating in the toilet comedies. First, the plot gives way to making fun. Second, the vulgar stunt of toilet humors challenges the taste of the audiences. Third, they are civilian-oriented. Fourth, they integrate the old styles to make them extraordinary but in the main stream. Besides, the thesis studies the mental acceptance of the audience to the toilet comedies. Four conclusions are made. First, as civic comedies, the toilet comedies reflect the audience’s mental problem of escaping. Second, through depicting the people with bad luck, toilet comedies satisfy people’s habit of peering. Third, examining the ugliness is depicted and is welcome because it presses close to life. Fourth, toilet comedies reverse the traditional structure to counteract the authority and stereotypes, advocating the subject consciousness under the post-modern background.At last, a conclusion is made that though the toilet comedy are ridiculous, it does not break away from the American stereotype of this kind. On the contrary, in the cultural industry system of Hollywood, and in the command of main stream values, it adds something new, and thus satisfies the new demand of the audience in the post-modern cultural background. Therefore, it becomes a modern visual fast food of mass culture.