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Mediasprawl: Springfield U.S.A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Iowa Research Online Iowa Journal of Cultural Studies Volume 3, Issue 1 2003 Article 10 SUBURBIA Mediasprawl: Springfield U.S.A Douglas Rushkoff∗ ∗ Copyright c 2003 by the authors. Iowa Journal of Cultural Studies is produced by The Berkeley Electronic Press (bepress). https://ir.uiowa.edu/ijcs Mediasprawl: Springfield U.S.A. Douglas Rushkoff The Simpsons are the closest thing in America to a national media literacy program. By pretending to be a kids’ cartoon, the show gets away with murder: that is, the virtual murder of our most coercive media iconography and techniques. For what began as entertaining interstitial material for an alternative network variety show has revealed itself, in the twenty-first century, as nothing short of a media revolu tion. Maybe that’s the very reason The Simpsons works so well. The Simpsons were bom to provide The Tracey Ullman Show with a way of cutting to commercial breaks. Their very function as a form of media was to bridge the discontinuity inherent to broadcast television. They existed to pave over the breaks. But rather than dampening the effects of these gaps in the broadcast stream, they heightened them. They acknowledged the jagged edges and recombinant forms behind the glossy patina of American television and, by doing so, initiated its deconstruction. They exist in the outlying suburbs of the American media landscape: the hinter lands of the Fox network. And living as they do—simultaneously a part of yet separate from the mainstream, primetime fare—they are able to bear witness to our cultural formulations and then comment upon them. -
The Simpsons in Their Car, Driving Down a Snowy Road
'Name: Ryan Emms 'Email Address: [email protected] 'Fan Script Title: Dial 'L' for Lunatic ******************************************************* Cast of Characters Homer Simpson Marge Simpson Bart Simpson Lisa Simpson Maggie Simpson Bart's Classmates Charles Montgomery Burns Wayland Smithers Seymour Skinner Edna Krebappel Moe Szyslak Apu Nahasapeemapetilon Barney Gumbel Carl Lenny Milhouse Van Houten Herschel Krustofsky Bob Terwilliger Clancy Wiggum Dispatch Other Police Officers Kent Brockman Julius Hibbert Cut to - Springfield - at night [theme from 'COPS' playing] Enter Chief Clancy Wiggum [theme from 'COPS' ends] Chief Wiggum This is a nice night to do rounds: nothing to ruin it whatsoever. [picks up his two-way radio] Clancy to base, first rounds completed, no signs of trouble. Enter Dispatch, on other side of the CB radio Dispatch [crackling] Come in, 14. Chief Wiggum This is 14. Over. Dispatch There's a report of a man down in front of Moe's bar. An ambulance has already been sent. How long until you get there? Chief Wiggum In less than two minutes. [turns siren on, and turns off CB radio] This will be a good time to get a drink in [chuckles to himself] [Exit] Cut to - Springfield - Moe's Tavern - at night Enter Chief Wiggum Chief Wiggum [to CB radio] Dispatch, I have arrived at the scene, over and out. [gets out of the car] Enter Homer Simpson, Moe Szyslak, Carl, Lenny, Barney Gumbel, and Charles Montgomery Burns Chief Wiggum What exactly happened here? Homer [drunkenly] We.saw.a.mur.der. Chief Wiggum Say again? You saw a moodoo? Homer Shut.up.Wig.gum. -
The Performance of Intersectionality on the 21St Century Stand-Up
The Performance of Intersectionality on the 21st Century Stand-Up Comedy Stage © 2018 Rachel Eliza Blackburn M.F.A., Virginia Commonwealth University, 2013 B.A., Webster University Conservatory of Theatre Arts, 2005 Submitted to the graduate degree program in Theatre and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Dr. Nicole Hodges Persley Dr. Katie Batza Dr. Henry Bial Dr. Sherrie Tucker Dr. Peter Zazzali Date Defended: August 23, 2018 ii The dissertation committee for Rachel E. Blackburn certifies that this is the approved version of the following dissertation: The Performance of Intersectionality on the 21st Century Stand-Up Comedy Stage Chair: Dr. Nicole Hodges Persley Date Approved: Aug. 23, 2018 iii Abstract In 2014, Black feminist scholar bell hooks called for humor to be utilized as political weaponry in the current, post-1990s wave of intersectional activism at the National Women’s Studies Association conference in San Juan, Puerto Rico. Her call continues to challenge current stand-up comics to acknowledge intersectionality, particularly the perspectives of women of color, and to encourage comics to actively intervene in unsettling the notion that our U.S. culture is “post-gendered” or “post-racial.” This dissertation examines ways in which comics are heeding bell hooks’s call to action, focusing on the work of stand-up artists who forge a bridge between comedy and political activism by performing intersectional perspectives that expand their work beyond the entertainment value of the stage. Though performers of color and white female performers have always been working to subvert the normalcy of white male-dominated, comic space simply by taking the stage, this dissertation focuses on comics who continue to embody and challenge the current wave of intersectional activism by pushing the socially constructed boundaries of race, gender, sexuality, class, and able-bodiedness. -
The Fifth Simpsons Packet.Pdf
Ground Zero; About Me; Model U.N.; International Relations; Web Pages; Internet Links The following packet was written by Hayden Hurst. Please direct any comments to [email protected]. The Fifth Simpsons Packet Toss-Ups 1. The Simpsons' first Emmy win for Outstanding Music and Lyrics in 1997 came for "We Put The Spring In Springfield". It's second came one year later, with a song that involved no traditional Simpsons cast members. It is, however, a relatively elaborate number - moving from Los Angeles to elsewhere in California - all while never leaving New York. Oh, and it also involves strapping down Liza Minelli. For ten points, name this song, a key feature of the Broadway play "Kickin' It". ANSWER: You're _CHECKING IN_ (accept ''I'm Checking In") (accept "We Put The Spring In Springfield" before it's said) 2. Its adjunct gets its name from Chief Starving Bear, and it's located on Bid Snake Lake and below Mount Avalanche. It was originally run by Mr. Black - afterwards, it was worse than Vietnam, Afghanistan, and Iraq put together. For ten points, name this Krustiest place on Earth. ANSWER: _KAMP KRUSTY_ 3. The answer is sort of a tie. In any case, it does not involve running around a beer truck or marrying Marge. It may involve a Krustyburger, an hour-long episode of Mama's family, and Lisa's birth. However, it's probably involves skipping church, winning a radio contest, making moon waffles, and finding a penny. For ten points, what am I talking about? ANSWER: _BEST DAY OF HOMER'S LIFE_ (accept equivalents) 4. -
Simpsons Comics- Colossal Compendium: Volume 4 PDF Book
SIMPSONS COMICS- COLOSSAL COMPENDIUM: VOLUME 4 PDF, EPUB, EBOOK Matt Groening | none | 27 Sep 2016 | Titan Books Ltd | 9781783296552 | English | London, United Kingdom Simpsons Comics- Colossal Compendium: Volume 4 PDF Book Burns Mr. Burns commandeers the Springfield public beach in the middle of a heat wave; Ralph gets left home alone, Duffman shows his esprit de corps by carrying his message to the ends of the universe; Milhouse takes on an impossible mission; Cletus lays down the law in the backwoods; and McBain faces his archenemy The Left Behinders! Qty: 1 2 3. Modified on October 4, , at Use your keyboard! July 15, Burns forces Lisa to battle him in a game of Scrabble; she accepts and after a while she gets upset and smashes the board. So one issue might be issue , the next and the next etc. This will not affect the original upload Small Medium How do you want the image positioned around text? Many Simpsons Comics have been reprinted and collected in trade paperbacks by the American publisher HarperCollins since It has been published around September— October, for Halloween , every year since Ow, Quit It! Stock photo. Seasons 1—20 Seasons 21—present. The postman turns out to be Ned Flanders and while he gives her a tour through the wondrous world they get caught by Mr. Comment and Save Until you earn points all your submissions need to be vetted by other Comic Vine users. Folio: The Magazine for Magazine Management via findarticles. The third and the rarest variant was a reprint of the comic and it had the top right portion of Bart Simpson's head covered over the original bar code. -
1 the Polis of Springfield: the Simpsons and the Teaching of Political Theory
University of Huddersfield Repository Woodcock, Pete The Polis of Springfield: The Simpsons and the Teaching of Political Theory Original Citation Woodcock, Pete (2006) The Polis of Springfield: The Simpsons and the Teaching of Political Theory. Politics, 26 (3). p. 192. ISSN 0263-3957 This version is available at http://eprints.hud.ac.uk/id/eprint/9515/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ The Polis of Springfield: The Simpsons and the Teaching of Political Theory Pete Woodcock – The University of Huddersfield Abstract When students commence the study of political theory, they often lack the vocabulary necessary for that study and any specific examples of political societies other than their own. As a result of this, this article examines The Simpsons for examples that might help teachers of political theory to communicate key themes in political thought to undergraduates. -
Simpsons and The
"The Simpsons" and the Law: Revealing Truth and Justice to the Masses By Kevin K. Ho* I. INTRODUCTION In Law, Lawyers, and Popular Culture, Lawrence Friedman argues that legal culture and popular culture share a symbiotic relationship, with popular culture transmitting distorted information about the law to a generally ignorant public.' Friedman notes that relatively few members of the general public read casebooks, statutes, or administrative rules, unless they themselves need access to the legal system. 2 He theorizes that, as legal culture becomes more Byzantine and removed from the mainstream, popular culture will remain the main source of legal information for the general public. Unfortunately, it appears likely that members of the public will be even more reluctant to access the legal system after they have been exposed to the negative depictions of both the law and the legal actors often seen in the contemporary media. Furthermore, when this reluctance is considered in light of the fact that entertainment value is paramount in popular media, the prospects for an actual increase in the * J.D. Candidate, Boalt Hall School of Law, University of California at Berkeley. M.A. London, B.A. Washington University. I'd like to thank my friends, family and colleagues at Boalt Hall for helping me complete this comment. Lawrence M. Friedman, Law, Lawyers, and Popular Culture, 98 YALE L.J. 1579, 1594 (1989). 2 Id. (internal citations omitted). 276 UCLA ENTERTAINMENT LAW REVIEW [Vol. 10:2 general public's knowledge of the legal system seem even more dismal. References to the law in popular media, while pervasive, are not necessarily accurate. -
P30-32 Layout 1
30 Established 1961 Thursday, May 3, 2018 Lifestyle Music & Movies Watching the detectives: The movie sleuths saving silent cinema n the Spanish colonial-style environs of Hollywood’s knowledge amassed over a lifetime, information that can- reels, any of which could be lost through nitrate deterio- Roosevelt Hotel, around 100 film buffs chew pencils, not simply be culled from the Internet Movie Database or ration, fires or floods. Picture houses failing to return Ipolish spectacles and furrow brows in the flickering crowd sourced on Twitter. prints, poor handling, silent-era bootleggers and faulty glow of long-forgotten silent movies. These cinema projectors were among the hazards a studio would face sleuths are being shown a selection of snippets from We’re very proud’ trying to hang onto its beat-up movies. Among the more thousands of old films stored lovingly by the US Library “Anyone recognize that typewriter?” Library of high-profile gems uncovered by “Mostly Lost” are a 1928 of Congress-despite no one having the foggiest idea Congress technician Rachel Del Gaudio asked hopefully, Walt Disney cartoon, a 1933 Three Stooges color short, a what most of them are. poised with pen and pad as those present scrutinized the 1927 comedy by John Ford and “The White Shadow,” the The library hosts annual “Mostly Lost” workshops at grainy monochrome footage. “Some attendees have a earliest surviving film credit for Alfred Hitchcock. its Packard Campus in the foothills of Virginia’s Blue great knowledge of film history already but that’s not A stolen baby mixup vignette screened at the Ridge Mountains, where scholars and plain old enthusi- required. -
1707 Stereotypes of South Asians in Media Connected to South Asian
AP Research (2021) Stereotypes of South Asians in Media Connected to South Asian Teenagers’ Internalized Racism Lalitha Viswanathan1 and Brian Vernachio1# 1Cherry Hill High School East, Cherry Hill, NJ, USA #Advisor ABSTRACT 2020 put the entire world upside down in its call for racial equity and justice. During these unveiling times, minorities in America have come forward in protest of racial and ethnic stereotypes which Hollywood still plays into. This research paper capitalized on the removal and protest of these characters and dove more specifically into South Asian stereotypes which have been reinforced by television show and movie characters. The claim in these cries of disap- proval for these stereotypes was that it caused internalized racism in people who were brought up watching these stereotypes forced upon them. As building a body of knowledge progressed, the unmade connection of stereotypes to internalized racism in formal research became apparent, and therefore the research paper intended to see if there was a correlation between South Asian stereotypes and internalized racism. In order to identify internalized racism among South Asian teenagers, an open-ended survey was used as a method, followed by a mixed analysis to identify self- stereotyping indicators which would denote internalized racism. The research in the end did find a staunch correlation between the South Asian stereotypes and internalized racism in today’s South Asian teenagers. While today’s teenag- ers cannot rid themselves of the stereotypes already imposed on them, future South Asian children might possibly have accurate and fair representation in subsequent years. Introduction "Thank you, come again." These four words are the trademark quote of the now-infamous character of Apu Nahasa- peemapetilon, a Bengali convenience store owner from The Simpsons. -
The Simpsons and the Savior Teacher/Deficit Parent in Popular Culture
PennGSE Perspectives on Urban Education (https://urbanedjournal.gse.upenn.edu) Home > The Simpsons and the Savior Teacher/Deficit Parent in Popular Culture THE SIMPSONS AND THE SAVIOR TEACHER/DEFICIT PARENT IN POPULAR CULTURE Rowan Shafer Simon Fraser University Abstract: The savior teacher/ deficit parent narrative has become a public pedagogy in America, evidenced by the rise of Teach for America, and the threat of extreme neoliberal education reforms by the Trump administration. In this paper, I examine how the popular television show, The Simpsons, upholds and challenges familiar tropes of the savior teacher/ deficit parent narrative. Drawing on Michael Apple’s theory of the enterprising individual as a trait of neoliberal education ideology, I analyze the ways in which the episode “Lisa’s Substitute” strays from predictable narratives through a focus on parent/ child relationship vs. teacher/ student relationship. I conclude that while this episode highlights and satirizes tropes of the savior teacher/ deficit parent narrative, ultimately, the resolution does not challenge assumptions about working class parents as a barrier to their children’s success or the missionary role of teacher saviors. Introduction From Jamie Escalante in Stand and Deliver (Musca, & Menéndez, 1988) to Ms. Johnson in Dangerous Minds (Simpson & Brukheimer, 1995), savior teachers remain familiar figures in popular texts about school. In the context of the neoliberal focus on teachers as a problem in need of reform, “the savior teacher” script remains popular in film and television, positioning this larger than life figure as an outsider coming in and singlehandedly changing students’ lives. This paper focuses on the representation of the savior teacher in Matt Groening’s cartoon television series The Simpsons. -
The Controversy Over Apu and the Simpsons
When Comedic Stereotypes Cease to Be Funny: The Controversy over Apu and The Simpsons From characters such as Tonto in the 1950s show, The Lone Ranger, to Apu Nahasapeemapetilon from the highly acclaimed cartoon The Simpsons, racial and ethnic stereotypes remain an abiding concern throughout the media. Though strides toward equal representation and accurate racial depiction in movies and television are being made, racial stereotypes and jokes regarding race and racial stereotypes continue to run rampant across genres. This is especially true for comedy, a genre that thrives on pushing the boundaries of appropriateness, tasteful humor, and what is often called “political istolethetv / CC BY 2.0 / modified correctness.” An important part of this debate centers on whether these stereotypical portrayals made for the sake of getting a laugh are truly harmful or if they are simply making hot-topic issues seem less dauntingly serious. Following the making of a documentary by comedian Hari Kondabolu entitled “The Problem with Apu,” The Simpsons has faced an onslaught of criticism about Apu, the Indian convenience store owner with a heavy accent. The show responded via a scene featuring a short interaction between characters Marge and Lisa in its 29th season; Lisa breaks the fourth wall and states to the camera, “Something that started decades ago and was applauded and inoffensive is now politically incorrect. What can you do?” Many concerned with the show’s portrayal of Indian-Americans seemed to perceive this response as dismissive. Matt Groening, the creator of The Simpsons, has largely written off the backlash saying, “I’m proud of what we do on the show. -
Bongocomics.Com ©2013 BONGO ENTERTAINMENT, INC
2013 2013 99511 bongocomics.com ©2013 BONGO ENTERTAINMENT, INC. THE SIMPSONS TM & © TWENTIETH CENTURY FOX FILM CORPORATION. ALL RIGHTS RESERVED. 7 98342 02851 5 MAGGIE'S MIXED-UP MAZE find maggie's path to THE HAPPY LITTLE ELVES' FOREST OF FUN™⁄ be sure to avoid all ANGRY BABIES, MISCHIEVOUS BROTHERS, and HOSTILE CARTOON CHARACTERS⁄ SERGIO ARAGONÉS NATHAN HAMILL KAREN BATES NATHAN KANE puzzle maestro colors letters editor every day, ˆ pray it will be ¯ahem!˘ y-you’re different...but RIGHT, of course! ˆ tell you, it NEVER is! a momentary edna...the WAITING never is never is LAPSE... is always the never is... WORST part! get it get a GRIP, together, seymour! we mister! ˆ hear you, can’t afford here they seymour! to show COME⁄ WEAKNESS⁄ MODELMODEL CITIZENCITIZEN SIMPSONSIMPSON EEEEEEKK⁄ nyaah! good morning, principal skinner! good morning, mrs. krabappel! PAUL JAMES DAN NATHAN KAREN BILL KUPPERBERG LLOYD DAVIS HAMILL BATES MORRISON script pencils inks colors letters editor COVER BY JASON HO, MIKE ROTE, AND NATHAN KANE BONGO COMICS are published by Bongo Entertainment, Inc., P.O. Box 1963, Santa Monica, CA 90406-1963. ©2013 Bongo Entertainment, Inc. The Simpsons TM & © Twentieth Century Fox Film Corporation. All rights reserved. Neither this comic nor any portion of it may be used or reproduced for any purpose whatsoever without the express written permission of Bongo Entertainment, Inc. Printed by TC Transcontinental Montreal, QC, Canada. 3/8/13 uhhhh... ...and yet it what was ˆ-ˆ’m not LOOKED like bart THAT¿⁄ sure! it was after you, simpson! pleasant, ladies! smiling, and he must POLITE..