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This article approaches cringe comedy through the lens of its affectivity, of the somatic experiences through which it puts its audiences’ bodies, and it uses this as a point of departure to think about the genre’s cultural work. Based on the observation that no cringe comedy makes its viewers cringe for the whole duration of its storytelling, the article suggests that cringe comedies thrive on destabilizing and ambiguating the affective valence of their performances of embarrassment, constantly recalibrating or muddying the distance between viewer and characters. They are marked by tipping points at which schadenfreude and other types of humor tip into cringe, and reversely, at which cringe tips into something else. The article focuses on one of these other affective responses, which it proposes to describe as the sneer. It uses the HBO-series Veep as a case study to explore how cringe and sneer aesthetics are interlaced in an exemplary comedy, and how they fuel this particular comedy’s satiric work.

Hoy, en el mundo del arte de Lima, se puede percibir un fenómeno social definido por Robert Hughes (1992) como “Cultural Cringe”. Dicho fenómeno se basa en la incapacidad que tiene el artista para fundamentar su obra en una sociedad en la que el consumidor se ve condicionado por una exposición constante a medios de comunicación masivos. Al parecer, la solución se encuentra en la propuesta de una Escuela de Arte en Barranco, escenario principal de dicho “Cringe”. Dicha casa de estudios debe poder ofrecer una educación integral, teórica y práctica, que permita que los alumnos sean competitivos en una realidad internacional y, eventualmente, debe permitir que el contexto social en el que se encuentra se vea contagiado por el conocimiento y la cultura que la misma imparte. / Defined by Robert Hughes (1992);"Cultural Cringe" is a social phenomenon that can be perceived in Lima’s Art world. This phenomenon occurs when artists are unable to demonstrate their work as conceptually and intellectually coherent pieces, especially as a result of constant exposure to “garbage” mass media. Apparently, said “Cringe” can be corrected with an Art School Project in Barranco, where the problem is more latent. The proposed School should be able to offer a comprehensive, theoretical and practical education that allows students to be competitive in an international reality and, eventually, be the kick starter of a new knowledge and culture based set of customs. / Tesis

Cringe är en känsla som har funnits länge, men dess betydelse har förändrats och användsidag på ett annat sätt än tidigare. Idag betyder cringe för de flesta en kombination av pinsamhet och social obekvämlighet, med inslag av skam. Det som gör känslan cringe unik, är hur känsla uppstår av någon annans handling. Det innebär att känsla kan uppstå beroende på vad som händer i en reklamfilm. Frågan är då om det är något positivt eller negativt förvarumärkesattityden och vad som kan orsaka att konsumenterna upplever en reklamfilm som cringe. Syftet är att finna egenskaper i reklamfilm som orsakar cringe och sedan undersökahur cringe påverkar varumärkesattityden hos konsumenterna. Målet är att hjälpa industrin attgöra reklam som använder cringe till sin fördel eller att undvika cringe för dess nackdelar. Vetenskapligt fyller studien ett kunskapsgap i relationen mellan marknadsföring och cringe. Inledningsvis genomfördes en litteraturstudie för att undersöka den forskning som tidigareutförts inom liknande område. Utifrån det framställdes studiens konceptuella ramverk, somligger till grund för studien. En kvalitativ studie utfördes i form av semistruktureradeintervjuer. Intervjuerna genomfördes med utvalda kandidater inom spannet 18-35 års ålder. Den insamlande datan tillämpades i en tematisk analys för att identifiera mönster irespondenternas svar, vilket utgör grunden för studiens resultat. Resultatet visar tydligt att känslan cringe uppstår när någon bryter mot en social norm. Enreklam som var cringe, genom att vara obekväm eller pinsam, gav ett resultat attreklamfilmen upplevdes sämre, vilket kan skapa en negativ attityd gentemot reklamen och resultera i negativ varumärkesattityd. Samtidigt när känslan cringe kombinerades med humorresulterade det i en positiv syn mot reklamfilmen, således kan det resultera i en positiv varumärkesattityd. / Cringe is an emotion that has been around for a long time, but these days its meaning haschanged and it is used in a different way than before. Today, for most people, cringe means a combination of embarrassment and social awkwardness, with an element of shame. What makes the feeling cringe unique, is how the feeling arises from someone else's action. Which, in this case, means that it is a feeling that can arise from what happens in a commercial. The question then is whether it is something positive or negative for the brand attitude and what can cause consumers to experience a commercial as cringe. The aim is to find characteristicsin commercial films that cause cringe and then investigate how cringe affects the brandattitude of consumers. The goal is to help the industry make advertising that uses cringe to its advantage or to avoid cringe to avoid its disadvantages. Scientifically, the study fills a knowledge gap in the relationship between marketing and cringe. To start with, a literature study was carried out to examine the research that had previouslybeen carried out in a similar area. Based on that, the study's conceptual framework, which is the basis of the study, was prepared. A qualitative study was carried out in the form of semi-structured interviews. The interviews were conducted with selected candidates in the 18-35 age range. The collected data was applied in a thematic analysis to identify patterns in the respondents' responses, which form the basis of the study's findings. From the result, a pattern can clearly be seen that if someone violates a social norm, the feeling of cringe arises. One ad that was cringe, by being uncomfortable or embarrassing, resulted in the commercial being considered less good, which can be interpreted as giving a negative attitude towards the advertisement and thus result in a negative brand attitude. At the same time, some commercials gave a "positive cringe feeling", the respondents thought that acommercial was silly and funny, because the commercial was cringe and combined with a humorous element. Thus, it can lead to respondents strengthening their attitude towards thebrand.

Notre mémoire se veut une lecture de la version américaine de la série à succès The Office (NBC, 2005-2013) à travers la métaphore dramaturgique du sociologue Erving Goffman (1922-1982). Ce rapprochement permet une riche analyse, puisque la série comme le penseur placent le malaise au cœur de leurs projets respectifs. En ayant comme prémisse fictive d’être un documentaire, ainsi qu’en se faisant une satire de l’auto-spectacularisation des participants de télé-réalité, The Office explicite la métaphore dramaturgique goffmanienne. Les personnages de la série, et particulièrement le protagoniste Michael Scott, rendent constamment sensible le fait qu’ils sont en représentation. Le malaise étant une émotion fondamentalement désagréable, la série semble désigner les règles qu’elle considère comme essentielles à la cohésion du groupe en nous faisant subir leur transgression. Le malaise que nous éprouvons deviendrait l’occasion pour nous d’expérimenter les conséquences sociales de transgressions, nous apprenant du même coup l’importance de respecter les normes. D’abord, nous essayerons de déterminer si la série permet quelque chose comme un apprentissage par la négative des règles sociales. Dans un deuxième temps, nous tenterons de prouver que certains épisodes présentent un discours différent de celui de Goffman sur la transgression des normes sociales, présentant des moments où le malaise peut être vécu par les personnages comme des opportunités d’approfondir certaines relations interpersonnelles ou de faire des gains politiques. / Our study is intended as a reading of the American version of the successful series The Office (NBC, 2005-2013) through the dramaturgical metaphor of sociologist Erving Goffman (1922-1982). This rapprochement allows for a rich analysis as both the series and the sociologist place social embarrassment at the heart of their respective projects. With the fictional premise of being a documentary, as well as satirizing the self-spectacularization of reality TV participants, The Office makes Goffmanian dramaturgy explicit. The characters in the series, especially protagonist Michael Scott, constantly make us sensitive to the fact that they are in performance. Embarrassment being a fundamentally unpleasant emotion, the series seems to point to the rules it sees as essential to group cohesion by making us suffer their transgression. The discomfort we feel could become an opportunity for us to experience the social consequences of transgressions, teaching us the importance of upholding norms. First, we'll try to determine if the series allows for something like "negative learning" of social norms. Second, we will try to prove that some episodes convey a different narrative than Goffman's on the transgression of social norms, presenting moments when embarrassment can be experienced by the characters as opportunities to deepen some interpersonal relationships or to make political gains.