折射漫画:纳内特和来自身份内部的喜剧

IF 2.4 2区文学 Q1 COMMUNICATION

Television & New Media Pub Date : 2022-05-13 DOI:10.1177/15274764221093600

Kiah E Bennett

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引用次数: 2

摘要

本文将单口喜剧的千禧一代迭代理论化：折射喜剧。通过对Hannah Gadsby的《Nanette》（2018）的仔细文本分析，我认为折射喜剧通过拒绝主流世界观和随后以边缘化立场为中心，改变了单口喜剧的信息、情感本质和形式。本文考察了盖茨比在更广泛的工业和文化、性别和种族把关话语中的折射。此外，正如Bo·伯纳姆（Bo Burnham）的《内幕》（Inside）（2021）所示，我研究了折射喜剧如何激发了关于喜剧在共同和集体创伤中的作用的批判性对话。

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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The Refractive Comic: Nanette and Comedy From Inside Identity

This essay theorizes a millennial-era iteration of stand-up comedy: refractive comedy. Through close textual analysis of Hannah Gadsby’s Nanette (2018), I argue refractive comedy alters the message, affective nature, and form of stand-up comedy through a rejection of the dominant worldview and subsequent centering of marginalized standpoints. This essay examines Gadsby’s refraction in a broader discourse of industrial and cultural, gendered, and racial gatekeeping. I examine how refractive comedy, additionally, has inspired critical conversation on comedy’s role in relation to shared and collective trauma, as seen in Bo Burnham’s Inside (2021).

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来源期刊

Television & New Media Multiple-

CiteScore

5.60

自引率

5.00%

发文量

期刊介绍： Television & New Media explores the field of television studies, focusing on audience ethnography, public policy, political economy, cultural history, and textual analysis. Special topics covered include digitalization, active audiences, cable and satellite issues, pedagogy, interdisciplinary matters, and globalization, as well as race, gender, and class issues.