Namuri Migotuwio

JOUISSANCE DALAM FILM KARTUN “HAPPY TREE FRIEND”

Introduction

Jouissance dalam film kartun “happy tree friend”. Telusuri jouissance dalam kartun 'Happy Tree Friends'. Analisis psikoanalisis (Freud & Lacan) mengungkap bagaimana kekerasan kartun memicu kenikmatan sadistik bagi penonton, didukung survei.

Abstract

Pengalaman rasa sakit tidak selalu bermakna negatif, dalam konteks tertentu justru mampu memunculkan sensasi kenikmatan. Dalam psikologi, fenomena ini dikenal sebagai istilah "pain and pleasure", yang banyak terepresentasi dalam karya seni populer, termasuk film kartun. Penelitian ini mengeksplorasi bagaimana unsur sadisme dalam serial kartun berjudul "Happy Tree Friends" dapat membangkitkan kesenangan bagi penontonnya. Kartun yang biasanya diasosiasikan dengan humor bagi anak-anak, dalam hal ini justru menyajikan kekerasan ekstrem dengan balutan estetika kartunal. Metode yang digunakan adalah studi kasus dan analisis deskriptif, dengan pendekatan psikoanalisis Sigmund Freud khususnya pada teori "Thanatos" dan "Graph of Desire" oleh Jacque Lacan untuk memahami konsep "jouissance" (kenikmatan yang melampaui kesenangan). Survei terhadap 338 responden menunjukkan bahwa 75% merasa terhibur oleh adegan sadisme dalam serial tersebut. Hasil ini menunjukan fakta bahwa tayangan kekerasan dalam kartun dapat membangkitkan sensasi kenikmatan sadistik, meskipun disajikan dalam visual kartun dan eskpresi humor. Hal tersebut disebabkan oleh kesadaran bahwa kekerasan tidak dialami secara nyata oleh penonton, serta pelepasan naluri kematian "thanatos" yang secara alami dimiliki oleh manusia melalui tayangan sadistik. Sensasi jouissance terbentuk ketika "Ego Ideal" (I(A)) didorong oleh hasrat (d) yang tidak akan mungkin terlampiaskan karena berbagai aturan (A) yang ada ($<>D) di dunia nyata.

Review

The paper, "JOUISSANCE DALAM FILM KARTUN “HAPPY TREE FRIEND”," addresses a fascinating and often overlooked aspect of media consumption: the pleasure derived from seemingly negative stimuli, particularly violence. The chosen subject, "Happy Tree Friends," is an exceptionally pertinent and provocative case study, as it starkly juxtaposes the conventional innocence of cartoons with extreme graphic violence. This immediately positions the research as highly original and relevant to discussions on media effects, aesthetics, and popular culture's psychological underpinnings. The clear articulation of the research question – how sadism in this cartoon elicits pleasure – sets a strong foundation for the subsequent analysis. The methodology, employing a case study and descriptive analysis, is robustly supported by a sophisticated psychoanalytic framework. The integration of Sigmund Freud’s concept of "Thanatos" and Jacques Lacan’s "Graph of Desire" to deconstruct "jouissance" (a pleasure that transcends conventional enjoyment) is a significant strength, providing a deep theoretical lens through which to interpret the observed phenomena. The inclusion of empirical data, specifically a survey of 338 respondents revealing that 75% felt entertained by the sadistic scenes, offers compelling evidence to substantiate the theoretical claims. The paper effectively argues that this jouissance arises from the viewer's awareness of the unreality of the violence and the release of innate death instincts, further elaborated by Lacanian ideas regarding the tension between the Ego Ideal and unfulfilled desire. While the paper presents a compelling argument, further nuanced exploration could enhance its contribution. The abstract mentions that 75% felt entertained, but a deeper qualitative dive into *why* they felt entertained, beyond the psychoanalytic frameworks, might reveal additional layers of engagement (e.g., humor, catharsis, social commentary, or even a transgressive appeal). Additionally, while the link to Thanatos and Lacanian desire is strong, exploring demographic variations within the 338 respondents (e.g., age, gender, prior media consumption habits) could provide a more granular understanding of who is most susceptible to this form of jouissance. Future research could also comparatively analyze "Happy Tree Friends" with other forms of violent media (e.g., live-action, horror films) to precisely delineate the unique role of the "cartoon aesthetic" in facilitating this specific form of pleasure. Nevertheless, this paper offers a significant and insightful contribution to the understanding of complex psychological responses to popular culture, skillfully applying intricate psychoanalytic theories to a widely consumed, yet critically underexplored, media phenomenon.

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