Television beyond the pleasure principle: The death drive in The Office (UK) and other cringe comedy

IF 0.9 2区艺术学 0 FILM, RADIO, TELEVISION

Critical Studies in Television Pub Date : 2025-05-19 DOI:10.1177/17496020251344580

Marshall Meyer

引用次数: 0

Abstract

This article argues that in order to adequately understand what motivates viewers’ desire to become viscerally uneasy when watching the subgenre of cringe comedy, one must enlist the help of the later Sigmund Freud and Jacques Lacan, whose work underscores a drive toward self-sabotage that exists beyond the pleasure principle. It demonstrates the fruits of this interpretive approach with a close reading of various kinds of British and American cringe comedies.

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超越快乐原则的电视：《办公室》（英国）和其他令人畏缩的喜剧中的死亡驾驶

本文认为，为了充分理解是什么促使观众在观看退缩喜剧的亚类型时产生内心不安的欲望，人们必须寻求后来的西格蒙德·弗洛伊德和雅克·拉康的帮助，他们的作品强调了超越快乐原则的自我破坏驱动。它通过对各种英国和美国畏缩喜剧的仔细阅读，展示了这种解释方法的成果。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Critical Studies in Television FILM, RADIO, TELEVISION-

CiteScore

2.10

自引率

30.00%

发文量

期刊介绍： Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.