This thesis examines the relatively recent and increasingly popular phenomenon of cringe comedy. The characteristic feature of cringe comedy is the exposure of the viewer to prolonged states of social discomfort in the form of vicarious embarrassment, framed in a faux-realist aesthetic. Appearing increasingly since the turn of the millennium, cringe comedies employ the prolonged suspension of discomfort, deviating from the traditional sitcom. Since academic research on the topic has been limited, this thesis incorporates theoretical perspectives on comedy, embarrassment and shame, television and cultural history, insights from the fields of humor research, affect theory, the sociology of emotions and psychology as well as cultural and media studies. Drawing upon these sources, the author attempts to situate cringe comedy within the late capitalist comedic landscape, and analyze it as an aesthetic bound to the post-Fordist traits of hyperflexibility, hyperperformance and the increasingly blurred lines between work and play.
The common experiential thread shared by cringe comedy shows is the endurance – on the part of the viewer – of a kind of voluntary shame stasis, provoked by repeated social faux pas, mixed with desperation and failure, and rarely ending in a comforting comedic resolution. These moments provide an interesting diversion from the usual hyperflexible performances of the late capitalist stage. In allowing for prolonged and awkward gaps, refusing to quickly fill them with socially scripted comfort, and delaying or altogether avoiding a return to a smooth equilibrium, cringe comedy grants us time to question the current methods of managing affective imbalance. In the words of Elspeth Probyn, the benefit of shame (as performed and triggered in these comedies) could be the introduction of “acute sensitivity“ (2) towards ourselves and others. While numerous cringe comedy shows will be referenced,the main analysis centers on the 2005/2014 HBO series The Comeback.
Table of Contents
- Introduction
- 1. Why Cringe, Why Now?
- 1.1 The Comeback: A Comedy Without the Laughs
- 1.2 Post-Fordist Cringing in The Comeback
- 2. Architectures of Cringe Comedy
- 2.1 Mockumentary and Viewer Engagement
- 2.2 Embarrassing Realities, Everyday Stagnations
- 2.3 Complex Comedy, Discomfort Humor
- 3. Stalling vs. Moving: Flexible Affect at Work in The Comeback
- 3.1 Optimization of Emotional Performances
- 3.2 Working Under the Enthusiastic Imperative
- 3.3 Gendered Cringing
- Conclusion
Objectives and Key Themes
This thesis aims to define and analyze the phenomenon of cringe comedy, a relatively recent comedic form characterized by prolonged exposure to vicarious embarrassment. It seeks to understand its popularity and place it within the context of late capitalism, exploring its relationship to concepts like hyperflexibility and hyperperformance. The study draws upon theories of comedy, embarrassment, shame, television, and cultural history, as well as insights from humor research, affect theory, and the sociology of emotions.
- Defining and contextualizing cringe comedy within the history of comedy and television.
- Analyzing the aesthetic and formal characteristics of cringe comedy, particularly its use of mockumentary and faux-realist styles.
- Exploring the relationship between cringe comedy and the affective labor required of contemporary workers.
- Examining how cringe comedy reflects and critiques the hyperflexible and hyperperformative aspects of late capitalism.
- Investigating the role of gender in cringe comedy performances.
Chapter Summaries
Introduction: This introduction sets the stage for the thesis by defining cringe comedy as a genre characterized by prolonged social discomfort and vicarious embarrassment. It highlights the lack of academic research on the topic and outlines the theoretical frameworks used in the analysis, including comedy theory, affect theory, and the sociology of emotions. The thesis focuses on the HBO series *The Comeback* as a primary case study, arguing that cringe comedy offers a unique perspective on the management of affective imbalance in late capitalism.
1. Why Cringe, Why Now?: This chapter provides a working definition of cringe comedy and traces its historical development. It discusses the rise in popularity of cringe comedy since the early 2000s, highlighting key figures like Ricky Gervais, Larry David, and Sacha Baron Cohen. The chapter analyzes the global success of shows like *The Office* (UK), demonstrating a worldwide appeal for this distinct comedic style. It differentiates cringe comedy from Schadenfreude, introducing the German term "fremdschämen" as a more accurate descriptor of the empathetic experience of vicarious shame involved in viewing this genre. The chapter also explores the increasing use of the term "cringing" in recent years.
2. Architectures of Cringe Comedy: This chapter delves into the aesthetic and formal elements that define cringe comedy. It explores the genre's roots in mockumentary and faux-realist aesthetics, examining how these stylistic choices contribute to the viewer's experience of discomfort. The chapter analyzes the ways in which cringe comedy utilizes embarrassing situations and everyday stagnations to create comedic effect, differentiating it from traditional sitcom structures. It also examines the complexities of the humor employed, moving beyond simple comedic resolution towards a more nuanced and uncomfortable viewing experience.
3. Stalling vs. Moving: Flexible Affect at Work in The Comeback: This chapter focuses on the performances of affective labor within cringe comedy, using *The Comeback* as a central example. It investigates how the show depicts and critiques the emotional demands placed upon contemporary workers, examining the optimization of emotional performances and the pressure to maintain an enthusiastic demeanor. The chapter also explores the concept of "flexible affect" as a way of understanding how individuals negotiate emotional demands in late capitalism. It provides a detailed analysis of gendered cringing and how gender roles shape the experience and performance of discomfort.
Keywords
Cringe comedy, vicarious embarrassment, shame, affective labor, hyperflexibility, hyperperformance, late capitalism, mockumentary, faux-realist aesthetic, *The Comeback*, emotional performance, gendered cringing, humor theory, affect theory, sociology of emotions.
Frequently Asked Questions: A Comprehensive Language Preview
What is the focus of this language preview?
This language preview offers a comprehensive overview of a thesis analyzing the phenomenon of "cringe comedy," a relatively new comedic form characterized by prolonged vicarious embarrassment. It uses the HBO series "The Comeback" as a primary case study to explore the genre's characteristics, its relationship to late capitalism, and its reflection of contemporary societal pressures.
What topics are covered in the preview?
The preview includes the title, table of contents, objectives and key themes, chapter summaries, and keywords. It details the thesis's aim to define and analyze cringe comedy, exploring its popularity and its connection to concepts like hyperflexibility and hyperperformance within late capitalism. The analysis draws upon theories from comedy, embarrassment, shame, television, cultural history, humor research, affect theory, and the sociology of emotions.
What are the key themes explored in the thesis?
Key themes include defining and contextualizing cringe comedy, analyzing its aesthetic and formal characteristics (especially its use of mockumentary and faux-realist styles), exploring its relationship to the affective labor of contemporary workers, examining its reflection and critique of late capitalism's hyperflexible and hyperperformative aspects, and investigating the role of gender in cringe comedy performances.
What are the main chapters and their respective focuses?
The thesis includes an introduction defining cringe comedy and outlining its theoretical framework. Chapter 1 defines cringe comedy, traces its historical development, and differentiates it from Schadenfreude. Chapter 2 delves into the aesthetic and formal elements of cringe comedy, exploring its use of mockumentary and faux-realist styles. Chapter 3 focuses on the performances of affective labor in cringe comedy, using "The Comeback" to analyze the emotional demands on contemporary workers and the concept of "flexible affect." The thesis concludes with a summary of findings.
What is the significance of "The Comeback" in this thesis?
"The Comeback" serves as the primary case study, providing a detailed example of how cringe comedy depicts and critiques the emotional demands placed upon contemporary workers. The thesis analyzes the show's portrayal of emotional performance, the pressure to maintain enthusiasm, and the concept of "flexible affect" within the context of late capitalism.
What theoretical frameworks are used in the analysis?
The analysis draws upon various theoretical frameworks, including comedy theory, affect theory, and the sociology of emotions. These frameworks are used to understand the comedic aspects of cringe, the emotional responses it elicits, and its societal implications.
What keywords best describe the thesis?
Keywords include cringe comedy, vicarious embarrassment, shame, affective labor, hyperflexibility, hyperperformance, late capitalism, mockumentary, faux-realist aesthetic, "The Comeback," emotional performance, gendered cringing, humor theory, affect theory, and sociology of emotions.
Who is the intended audience for this thesis?
The intended audience is primarily academic, focused on researchers and students interested in comedy studies, media studies, cultural studies, and sociology. The analysis is structured and professional, suitable for academic discourse and further research.
- Quote paper
- Alena Saucke (Author), 2015, "So funny, it hurts". Cringe Comedy and Performances of Discomfort, Munich, GRIN Verlag, https://www.grin.com/document/307273
