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South Park and Absurd Culture War Ideologies, the Art of Stealthy Conservatism Drew W
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2009-01-01 South Park and Absurd Culture War Ideologies, The Art of Stealthy Conservatism Drew W. Dungan University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Mass Communication Commons, and the Political Science Commons Recommended Citation Dungan, Drew W., "South Park and Absurd Culture War Ideologies, The Art of Stealthy Conservatism" (2009). Open Access Theses & Dissertations. 245. https://digitalcommons.utep.edu/open_etd/245 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. South Park and Absurd Culture War Ideologies, The Art of Stealthy Conservatism Drew W. Dungan Department of Communication APPROVED: Richard D. Pineda, Ph.D., Chair Stacey Sowards, Ph.D. Robert L. Gunn, Ph.D. Patricia D. Witherspoon, Ph.D. Dean of the Graduate School Copyright © by Drew W. Dungan 2009 Dedication To all who have been patient and kind, most of all Robert, Thalia, and Jesus, thank you for everything... South Park and Absurd Culture War Ideologies. The Art of Stealthy Conservatism by DREW W. DUNGAN, B.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department of Communication THE UNIVERSITY OF TEXAS AT EL PASO May 2009 Abstract South Park serves as an example of satire and parody lampooning culture war issues in the popular media. -
Ensino & Pesquisa
ENSINO & PESQUISA Revista Multidisciplinar de Licenciatura e Formação Docente DO RISO AO ESCÁRNIO UMA ANÁLISE ANIMADA PARA AS AULAS DE FILOSOFIA Fábio Augusto Gomes1 RESUMO: O presente trabalho, de caráter bibliográfico, tem como objetivo analisar os desenhos animados, Os Simpsons (Matt Groening) e South Park (Tray Parker e Matt Stone) a luz da filosofia, com ênfase para o ensino da disciplina. Durante todo o percurso histórico o riso foi considerado ora demoníaco, ora angelical, ora expressão de alegria e felicidade, ora fruto do desdém por outrem. No teatro grego a comédia tinha como pressuposto demonstrar os excessos do humano, suas vicissitudes e defeitos em contraponto com a tragédia que exaltava o humano e o processo catártico deste para uma vida contemplativa, mais alta honraria para o cidadão. Desta forma o escárnio era uma característica da comédia e das festas dionisíacas. Tomado como diabólico na idade média ressurge na renascença com vigor, a partir de François Rabelais. Os séculos XVII e XVIII exorcizam os entes do mal que o riso trouxe do medievo, ou simplesmente aceitam que o riso, mesmo diabólico, não é tão mal assim; com Moliére o poder ácido do espírito maledicente toma conta de seu tempo caricaturando personagens célebres e utilizando o escárnio como arma política e social; ganha os contornos atuais. Entretanto o poder do riso e do escárnio foi utilizado durante toda a história da filosofia, tendo Nietzsche como exemplo. A ironia socrática, mãe do riso, foi exaltada como método para obtenção de verdades, porém é com Nietzsche, a exaltação do Dionisíaco sobre o Apolíneo, que a derrisão ganha à pertença humana o reino dos instintos, um retorno aos defeitos e vicissitudes da vida e do viver. -
The Theology of South Park As Much As They Hate Each Other, the One Thing That Osama Bin Laden and George W
The Theology of South Park As much as they hate each other, the one thing that Osama bin Laden and George W. Bush have in common is a theological understanding of a world being divided between the forces of good and evil with each believing he is clearly on the side of good. President Bush sees himself as most strongly influenced by Jesus Christ, a compassionate conservative who responds to what he sees as a completely unprovoked attack with a mixture of care packages and bombs. Bin Laden, who considers himself one of the true followers of Mohammed, believes that he is clearly on a mission to cleanse the infidels who have disrespected sacred monuments, supported oppressive governments, and kept his people in extreme poverty. Neither they nor their followers can see any shades of gray. You're either for us or against us; for freedom or tyranny; with the infidels or the pious. And both lay a strong claim of having God's blessings. This, of course, is not a new rhetorical strategy; throughout time, many countries have tried to legitimize their interests by calling forth God as a sponsor. Voltaire calls this practice into question throughout Candide as does Mark Twain in his short story, "The War Prayer." The absurdity of believing too fully in a system that draws clear lines between good and evil was also evident to Eugene Ionesco when, during the second world war, he witnessed the consequences of a blind faith in fascism, a system that fully aligned itself with God's blessing and thus did not allow for uncertainty, shades of gray, or a sense of humor. -
Boondocks Vs. South Park
Satire, Race, and Modern Cartoons: Boondocks vs. South Park Stanford University Communication Department June 4, 2011 Melanie J Murphy Satire is primarily seen in literary form where irony, sarcasm and ridicule are used in order to expose, or denounce vice or folly with the intent of shaming individuals, and society itself, into improvement. In addition to satire as a literary genre, we have seen an increase in the use of satire in American television as well. Popular cartoons such as the Simpsons, Family Guy, South Park, and the Boondocks are known to have created controversy through episodes that feature satire on political, social, and racial issues. While all four of these cartoons have satirical content, the Boondocks and South Park dedicate the majority of their satire each episode toward one main issue. It would be interesting to see if (1) there are racial differences between how whites and blacks view both shows and (2) if the satire featured in these two shows actually exposes society’s foolishness, possibly leading to improvement. It is our hypothesis that through social identification theory, groups will be made through the similarity of race (Tajfel, 1982). This will allow for those who identify with either race, to feel more positively toward the show of their own race. Comedy Central’s South Park is a satirical, animated show, made for mature audiences created by Trey Parker and Matt Stone. Although the show is thought by some to be incredibly offensive, the creators explain that there is an underlying moral lesson. The show follows four characters that live in the fictional predominantly white town of South Park, Colorado. -
Prudence and Racial Humor
Running Head: PRUDENCE AND RACIAL HUMOR Prudence and Racial Humor: Troubling Epithets Author: Jonathan P. Rossing Published in Critical Studies in Media Communication This is the author's manuscript of the article published in final edited form as: Rossing, Jonathan P. (2014). Prudence and Racial Humor: Troubling Epithets. Critical Studies in Media Communication, 31(4): 299 – 313. DOI: 10.1080/15295036.2013.864046 Prudence and Racial Humor 2 Prudence and Racial Humor: Troubling Epithets Abstract Prudence is an essential virtue in a contemporary racial culture marked by the contingencies and the paradoxical in/stability of race and racism. Recurring controversies surrounding racial epithets exemplify this clash between deeply entrenched racial meanings on one hand and shifting conventions on the other. I argue in this essay that racial humor presents a valuable site for understanding and practicing prudential reasoning and performance. Analyzing three episodes from popular texts—The Boondocks, The Daily Show with Jon Stewart, and South Park—I illustrate the way racial humor resists prescriptive reasoning and creates possibilities for audiences to practice prudence. Keywords: Race/Racism; Humor; Prudence; Boondocks; South Park; The Daily Show Prudence and Racial Humor 3 Prudence and Racial Humor: Troubling Epithets Racial culture demands prudence: practical knowledge necessary to make wise judgments and act responsibly in contingent circumstances. One word epitomizes the necessity of prudential reasoning in relation to race—nigger.1 Laden with a sordid history of oppression, this epithet consistently elicits visceral reactions and fuels anxieties about racism, and yet the epithet openly circulates in vernacular discourse and popular culture. The slur exemplifies the paradox of race: it dramatizes both the material consequences and the instability of racial constructions (Flores & Moon, 2002). -
South Park: (Des)Construção Iconoclasta Das Celebridades
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades São Paulo Agosto de 2012 2 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades Dissertação de mestrado apresentada ao Programa de Estudos Pós-Graduados em Comunicação e Semiótica da PUC-SP Orientador: Prof. Dr. José Luis Aidar Prado São Paulo Agosto de 2012 3 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades Dissertação de mestrado apresentada ao Programa de Estudos Pós-Graduados em Comunicação e Semiótica da PUC-SP Orientador: Prof. Dr. José Luis Aidar Prado Comissão examinadora: __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ São Paulo Agosto de 2012 4 AGRADECIMENTOS À CAPES, pelo financiamento parcial da pesquisa. Ao Prof. Dr. José Luis Aidar Prado pela paciência e disponibilidade. Aos meus pais, irmãos e amigos, pela compreensão diante de minhas recusas. Aos meus colegas de curso, em especial, André Campos de Carvalho, Cynthia Menezes Mello e Fabíola Corbucci, Pela amizade e inestimável incentivo. Aos professores integrantes das bancas de qualificação e defesa, pelas orientações e disponibilidade. À Celina de Campos Horvat, por todos os motivos descritos acima. Toda piada é uma pequena revolução. (George Orwell) 5 Resumo O intuito desta pesquisa é estudar a construção social contemporânea das celebridades, bem como o papel que ela exerce na civilização midiática. -
South Park╎s War on U. S. Religions
Lexia: Undergraduate Journal in Writing, Rhetoric & Technical Communication Volume IV 2015–2016 Justin Miller South Park’s War on U. S. Religions James Madison University Lexia Volume IV 2 The popular animated satire South Park was first aired on Comedy Central in August of 1997 and has been under constant scrutiny by viewers ever since for its raunchy, offensive, and outright vulgar brand of social critique. The show follows the story of four eight-year-olds: Stan Marsh, Kenny McCormick, Kyle Broflovsky, and Eric Cartman. This group of fourth graders live in the small town of South Park, Colorado and face the very same social, political, and spiritual troubles that have plagued Americans for the 18 years that the show has been running. A major theme of this show is the innocent nature of the children of South Park, who are often the voice of reason for parents and other adults in town. Although these fourth-grade kids are usually apathetic to and ignorant of the current events of the world, they are often the ones who have to solve the larger questions in modern society. The topic of religion is a common issue brought up by writers and co-creators Trey Parker and Matt Stone, an eccentric duo that can only be described as the yin-yang renaissance twins of the 21st century. Parker’s and Stone’s many talents have spanned a wide range of media, including their recent Broadway Musical entitled The Book of Mormon, which hit stages in 2011 after they wrote a critically acclaimed episode of South Park that critiqued Mormonism. -
Using South Park to Teach Public Choice
The Journal of Private Enterprise 30(3), 2015, 103–108 EDUCATIONAL NOTE Did You Say That Voting Is Ridiculous? Using South Park to Teach Public Choice Adam J. Hoffer University of Wisconsin, La Crosse George R. Crowley Troy University ______________________________________________________ Abstract We describe an approach to teaching public choice perspectives on voting using an episode from Comedy Central’s animated television show, South Park. The episode depicts the events surrounding a vote for a new school mascot and demonstrates the near-zero value of an individual vote, the value individuals place on the act of voting itself, the problems that arise when voters must choose among undesirable candidates, and the role of political campaigning. The episode mirrors the public’s perception of major-party candidates in most elections. ______________________________________________________ JEL Codes: A22, D72 Keywords: South Park, voting, elections, teaching public choice I. Introduction Recent economics education literature has advocated moving away from the pure lecture style of classroom instruction. Scholars have suggested the incorporation of movie clips (Mateer and Li 2008; Mateer and Stephenson 2011), video clips (Diamond 2009), comic strips (Lawson 2006), podcasts (Hall 2012), and academic entrepreneurship from student presentations (Hoffer 2013). Hall (2005), Holian (2011), and Ghent, Grant, and Lesica (2011) recommend the use of television clips, describing economics in The Simpsons, The Drew Carey Show, and Seinfeld, respectively. We describe a similar methodology using the television show South Park, with a particular focus on the use of a 2004 episode to illustrate key concepts in public choice. Compared with programs discussed in the The authors thank the editor and anonymous reviewers for helpful comments. -
Writer-Director Richard Dutcher, Unquestionably the Dominant Personality in the Past Decade of Mormon Cinema, on Location with A
Writer-director Richard Dutcher, unquestionably the dominant personality in the past decade of Mormon cinema, on location with actors Jo-Sei Ikeda and Ignacio Serricchio for his film States of Grace (2005). Dutcher—who has worked as writer, actor, producer, director, and now editor—is credited with launching a new wave of Mormon film with his breakthrough production God’s Army in 2000, which not only set the stage for multiple theatrical releases of Mormon-themed pictures, but also sought to increase their realism and dramatic depth beyond the limited depic- tions of Mormons in Hollywood films or, conversely, institutional productions in the style of Judge Whitaker. © Main Street Movie Co. A History of Mormon Cinema: Fifth Wave V 127 The Fifth Wave: Cultural and Commercial Viability (2000–Present) The Fifth Wave of Mormon cinema is the current period, in which a culturally robust and commercially vibrant new art form is beginning to emerge. Its most obvious manifestation is in the stream of Mormon- themed theatrical feature films, produced independently of the Church, made by and for Latter-day Saints. Richard Dutcher’s much-celebrated God’s Army, released in March 2000, made him widely recognized as the father of this new movement in Mormon film, but his groundbreaking work actually marks a return to the past. The LDS filmmakers of the First Wave also sought to create 35mm films to be distributed through commer- cial theaters to a paying public. Mormon film has in many ways come full circle, with Latter-day Saints of the Fifth Wave attempting large theatrical productions at a time when anti-Mormon films are once again more vis- ible in the mainstream. -
The Sexual Stereotyping of Mormon Men in American Film and Television
“ACCORDING TO THEIR WILLS AND PLEASU RES”: THE SEXUAL STEREOTYPING OF MORMON MEN IN AMERICAN FILM AND TELEVISION Travis Sutton, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2009 APPROVED: Harry M. Benshoff, Major Professor Sandra Larke-Walsh, Committee Member Claire Sahlin, Committee Member Sam Sauls, Program Coordinator Melinda Levin, Chair of the Department of Radio, Television and Film Michael Monticino, Interim Dean of the Robert B. Toulouse School of Graduate Studies Sutton, Travis, “According to Their Wills and Pleasures”: The Sexual Stereotyping of Mormon Men in American Film and Television. Master of Arts (Radio, Television and Film), May 2009, 187 pp., references, 107 titles. This thesis examines the representation of Mormon men in American film and television, with particular regard for sexual identity and the cultural association of Mormonism with sexuality. The history of Mormonism’s unique marital practices and doctrinal approaches to gender and sexuality have developed three common stereotypes for Mormon male characters: the purposeful heterosexual, the monstrous polygamist, and the self-destructive homosexual. Depending upon the sexual stereotype in the narrative, the Mormon Church can function as a proponent for nineteenth-century views of sexuality, a symbol for society’s repressed sexuality, or a metaphor for the oppressive effects of performing gender and sexuality according to ideological constraints. These ideas are presented in Mormon films such as Saturday’s Warrior (1989) as well as mainstream films such as A Mormon Maid (1917) and Advise and Consent (1962). Copyright 2009 by Travis Sutton ii TABLE OF CONTENTS Chapter Page 1. -
Gruda Mpp Me Assis.Pdf
MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM SOUTH PARK ASSIS 2011 MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM SOUTH PARK Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Psicologia (Área de Conhecimento: Psicologia e Sociedade) Orientador: Prof. Dr. José Sterza Justo Trabalho financiado pela CAPES ASSIS 2011 Dados Internacionais de Catalogação na Publicação (CIP) Biblioteca da F.C.L. – Assis – UNESP Gruda, Mateus Pranzetti Paul G885d O discurso politicamente incorreto e do escracho em South Park / Mateus Pranzetti Paul Gruda. Assis, 2011 127 f. : il. Dissertação de Mestrado – Faculdade de Ciências e Letras de Assis – Universidade Estadual Paulista Orientador: Prof. Dr. José Sterza Justo. 1. Humor, sátira, etc. 2. Desenho animado. 3. Psicologia social. I. Título. CDD 158.2 741.58 MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM “SOUTH PARK” Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Psicologia (Área de Conhecimento: Psicologia e Sociedade) Data da aprovação: 16/06/2011 COMISSÃO EXAMINADORA Presidente: PROF. DR. JOSÉ STERZA JUSTO – UNESP/Assis Membros: PROF. DR. RAFAEL SIQUEIRA DE GUIMARÃES – UNICENTRO/ Irati PROF. DR. NELSON PEDRO DA SILVA – UNESP/Assis GRUDA, M. P. P. O discurso do humor politicamente incorreto e do escracho em South Park. -
Going Down to South Park: Reporting the News on Television’S Most Politically and Socially Irreverent Animated Series
Going Down to South Park: Reporting the News on Television’s Most Politically and Socially Irreverent Animated Series By Todd Smilovitz Abstract The image of the journalist on South Park is not one to be proud of. Journalists appear on more than half of the episodes in the show’s first nine seasons, but they are mostly purveyors of news that is opinionated, baseless, soft, sentimental, naïve, late-breaking and/or sensationalistic. Behind all of this shallow reporting is a quest by news media for ratings: the profit motive distorts news. The fact that almost all South Park journalism is broadcast news, which naturally tends to focus on sound bites rather than in-depth analysis, only enhances this effect. Whether the image of the journalist on South Park is a reflection of the modern American media, or vice versa, is left unsettled and to the eye of the beholder. * * * “A Sexy Action News Team Special Report: ‘Cough Medicine Abuse in School’ with the Sexy Action School News Team. It’s the report you can’t afford to miss.”1 -- Announcer setting up the boys’ final attempt to grab high ratings for their elementary school news show While this Sexy Action News Team special report could actually be seen as investigative journalism, it only comes about after more sensationalistic methods for becoming the number Going Down to South Park By Todd Smilovitz 2 one South Park Elementary School news show fail. In other words, the serious, investigative content of the show is only incidental to the profit motive. Live, late-breaking special reports by eyewitness news teams are the real king of South Park journalism.