Israeli-Palestinian intersectional cringe dramedy: HaTasritai ( The Screenwriter ) as case study

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

Critical Studies in Television Pub Date : 2026-05-07 DOI:10.1177/17496020261450920

Itay Harlap

引用次数: 0

Abstract

This article examines the emergence of ‘intersectional cringe dramedy’ in the Israeli television landscape, following the concept of the ‘feminist cringe comedy’ (Nussbaum, 2017) and building on Havas and Sulimma’s observation on dramedies dealing with ‘intersectional relations of identity politics’ (Havas and Sulimma, 2020). The study first surveys how the Israeli sitcom has been influenced by American and British sitcoms, both in textual characteristics and discursive features, eventually leading to the rise of ‘cringe dramedy’. The article then analyses HaTasritai ( The Screenwriter ) as a case study, examining how generic awareness facilitates viewer identification with the series’ Palestinian-Israeli protagonist as he navigates the contradictions of Palestinian cultural production within Israeli society. This complex identity position, as I will argue, becomes central to both the narrative of the series and the cringe-inducing viewing experience for the Israeli audience.

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以色列-巴勒斯坦交织的畏缩戏剧：哈塔斯利泰（编剧）作为案例研究

本文根据“女权主义畏缩喜剧”（Nussbaum, 2017）的概念，并以Havas和Sulimma对处理“身份政治的交叉关系”的戏剧的观察（Havas和Sulimma， 2020）为基础，研究了以色列电视领域中“交叉畏缩喜剧”的出现。这项研究首先调查了以色列情景喜剧是如何受到美国和英国情景喜剧的影响的，无论是在文本特征还是话语特征上，最终导致了“畏缩喜剧”的兴起。然后，本文以HaTasritai （The Screenwriter）为例进行分析，研究在该系列的巴勒斯坦-以色列主角在以色列社会中驾驭巴勒斯坦文化生产的矛盾时，一般意识如何促进观众对他的认同。正如我将要论证的那样，这种复杂的身份定位成为了该系列叙事和以色列观众令人畏缩的观看体验的核心。

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.