{"title":"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","authors":"Marshall Meyer","doi":"10.1177/17496020251344580","DOIUrl":null,"url":null,"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.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"32 1","pages":""},"PeriodicalIF":0.9000,"publicationDate":"2025-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Television beyond the pleasure principle: The death drive in The Office (UK) and other cringe comedy\",\"authors\":\"Marshall Meyer\",\"doi\":\"10.1177/17496020251344580\",\"DOIUrl\":null,\"url\":null,\"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.\",\"PeriodicalId\":51917,\"journal\":{\"name\":\"Critical Studies in Television\",\"volume\":\"32 1\",\"pages\":\"\"},\"PeriodicalIF\":0.9000,\"publicationDate\":\"2025-05-19\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Critical Studies in Television\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1177/17496020251344580\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Critical Studies in Television","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/17496020251344580","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
Television beyond the pleasure principle: The death drive in The Office (UK) and other cringe comedy
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.
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.