George Meyer Simpsons Script Files, 1990-2004
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0 Universidade Do Sul De Santa Catarina Bruno
0 UNIVERSIDADE DO SUL DE SANTA CATARINA BRUNO RODRIGUES GONZALEZ OS SIMPSONS NO BRASIL: IRONIZANDO ESTEREÓTIPOS Palhoça SC 2012 1 BRUNO RODRIGUES GONZALEZ OS SIMPSONS NO BRASIL: IRONIZANDO ESTEREÓTIPOS Dissertação apresentada ao Curso de Mestrado em Ciências da Linguagem da Universidade do Sul de Santa Catarina, como requisito parcial à obtenção do título de Mestre em Ciências da Linguagem. Orientador: Prof. Dr. Fernando Simão Vugman. Palhoça SC 2012 2 3 4 Dedico esta dissertação à minha família que sempre me mostrou o caminho da educação e do amor. 5 AGRADECIMENTOS Agradeço aos meus pais Ulisses Gonzalez e Nádima Rodrigues Gonzalez que nunca mediram esforços por acreditar em meus sonhos e em minha jornada. Não apenas pela concretização deste estudo, mas por tudo o que foram e ainda serão em minha vida. A meu orientador Fernando Simão Vugman, que me incentivou na realização deste trabalho. Agradeço por toda orientação, apoio, atenção e cobranças. Aos professores Dilma Rocha e Solange Gallo por também estarem presentes em reuniões que foram fundamentais para a realização deste trabalho. Ao professor Tunico Amancio, por aceitar meu convite de imediato para ser examinador em minha banca. A todos meus amigos que afetivamente me acolheram e me acompanharam nesta longa etapa. Enfim, minha gratidão para com os professores, familiares e amigos, vocês sempre serão meus eternos companheiros a quem eu sempre serei grato, pois de uma forma ou de outra estiveram do meu lado nestes momentos encantadores e difíceis. 6 Se a culpa é minha eu coloco em quem eu quiser. (Homer Simpson) 7 RESUMO O objetivo deste estudo é detectar estereótipos do Brasil e dos brasileiros no episódio “O feitiço de Lisa” (Blame it on Lisa) da série televisiva Os Simpsons , estereótipos estes já outrora detectados e catalogados pelo professor Dr. -
Planet Simpson: “Early Days” (1987-1991)
Planet Simpson: “Early Days” (1987-1991) • Season 2- “Simpsons” moved air times to compete with “Cosby Show” • Proved popularity during competition with very well acclaimed “Cosby Show” • Became Top Rated Show in 1992 after “Cosby Show” went off air • Birth of the “mass cult” “Simpsonian Golden Age” (1992-1997) • Seasons 4-8 Continued to be popular • Entered syndication in the Fall of 1994 • Became popular on booming internet • Feb. 97’ aired 167th episode passing “Flintstones” and becoming longest running primetime cartoon in history • Won “Peabody Award” “Long Plateau” (1997- ?) • Show declined in popularity after hitting it’s peak • Won 20 Emmy Awards by mid 2003 • Received Hollywood Star in 2000 • Received first ever Golden Globe nomination for best comedy series in 2003 Ancestors of the “Simpsons” •1) Anthropomorphic Animals, Late Night Talk Shows and Such and Such…… Wide Range of Comedic Forms made show successful through use of minor characters •2) Boomer Humor Begets Egghead Humor Sick and deranged humor meets smarter, social, and political humor Ancestors… (Continued) • For Ironic Humor, Blame Canada Canadian references made throughout the show bring a different tone to the “Simpsons” comedy style and the ability to laugh more openly at American satires Reality TV: The Satirical Universe of the Simpsons • “Satire is defined as intellectual judo, in which the writer or performer take on the ideas and character of his target, and then takes both to absurd lengths to destroy them.” Tony Hendra • Satire only works if it is realistic • The Simpsons is based on reality; on the notion that they are realistic. This makes satire possible. -
SSA/CHICAGO at the University of Chicago
A publication by students of the School of Social Service Administration SSA/CHICAGO at the University of Chicago Advocates’ FORUM 2006 Advocates’ FORUM 2006 COEDITORS IN CHIEF Charlotte Hamilton Amy Proger EDITORIAL BOARD Vanessa Askot Stephen Brehm Marianne Cook Jessica Falk Charlotte Hamilton Christina James Amy Proger Liz Schnitz Marion Scotchmer Aaron Willis ADVISOR Virginia Parks, Ph.D. MISSION STATEMENT Advocates’ Forum is an academic journal that explores clinical implications, social issues, admin- istration, and public policies linked to the social work profession. The journal is written, edited, and ESSAYS AND ARTICLES created by students of the School of Social Service Administration, Mapping the American Political Stream: and its readership includes current The Stuart B. McKinney Homeless Assistance Act students, alumni, faculty, fieldwork by Betsy Carlson . 6 supervisors, and other professionals in the field. The editors of Advocates’ The Stink beneath the Ink: How Cartoons Are Forum seek to provide a medium through which SSA students Animating the Gay and Lesbian Culture Wars can contribute to the continuing by Frank Baiocchi . 16 discourse on social welfare and policy. Those of a Queer Age: Insights into Aging in the Gay and Lesbian Community EDITORIAL POLICY by Stephanie Schmitz-Bechteler . 26 Advocates’ Forum is published by the students of the School of Transgender Inclusion and Feminism: Social Service Administration Organizations and Innovation (SSA) at the University of Chicago. by Katherine S. Stepleton . 37 Submissions to the journal are selected by the editorial board from An Introduction to the Client-Oriented, Practical, works submitted by SSA students and edited in an extensive revision Evidence Search (COPES) process with the authors’ permis- by Aaron Willis and Andrew Gill . -
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Die Flexible Welt Der Simpsons
BACHELORARBEIT Herr Benjamin Lehmann Die flexible Welt der Simpsons 2012 Fakultät: Medien BACHELORARBEIT Die flexible Welt der Simpsons Autor: Herr Benjamin Lehmann Studiengang: Film und Fernsehen Seminargruppe: FF08w2-B Erstprüfer: Professor Peter Gottschalk Zweitprüfer: Christian Maintz (M.A.) Einreichung: Mittweida, 06.01.2012 Faculty of Media BACHELOR THESIS The flexible world of the Simpsons author: Mr. Benjamin Lehmann course of studies: Film und Fernsehen seminar group: FF08w2-B first examiner: Professor Peter Gottschalk second examiner: Christian Maintz (M.A.) submission: Mittweida, 6th January 2012 Bibliografische Angaben Lehmann, Benjamin: Die flexible Welt der Simpsons The flexible world of the Simpsons 103 Seiten, Hochschule Mittweida, University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2012 Abstract Die Simpsons sorgen seit mehr als 20 Jahren für subversive Unterhaltung im Zeichentrickformat. Die Serie verbindet realistische Themen mit dem abnormen Witz von Cartoons. Diese Flexibilität ist ein bestimmendes Element in Springfield und erstreckt sich über verschiedene Bereiche der Serie. Die flexible Welt der Simpsons wird in dieser Arbeit unter Berücksichtigung der Auswirkungen auf den Wiedersehenswert der Serie untersucht. 5 Inhaltsverzeichnis Inhaltsverzeichnis ............................................................................................. 5 Abkürzungsverzeichnis .................................................................................... 7 1 Einleitung ................................................................................................... -
Mr BURNS a POST-ELECTRIC PLAY
19 MAY - 25 JUNE 2017 LEARNING RESOURCES Belvoir and State Theatre Company South Australia presents Mr BURNS A POST-ELECTRIC PLAY Writer ANNE WASHBURN Score by MICHAEL FRIEDMAN Lyrics by ANNE WASHBURN Director IMARA SAVAGE This production of Mr Burns, a post-electric play opened at State Theatre Company South Australia on Wednesday 26 April and Belvoir St Theatre on Saturday 20 May 2017. Musical Director CAROL YOUNG Set and Costume Designer JONATHON OXLADE Lighting Designer CHRIS PETRIDIS Sound Designer JEREMY SILVER Choeographer LUCAS JERVIES Dialect Coach PAIGE WALKER Stage Manager NATALIE MOIR Assistant Stage Manager VANESSA MARTIN Fight Choreographer SCOTT WITT With PAULA ARUNDELL MITCHELL BUTEL ESTHER HANNAFORD JUDE HENSHALL BRENT HILL EZRA JUANTA JACQY PHILLIPS "Mr Burns, a post-electric play" is presented by special arrangement with SAMUEL FRENCH, INC. Additional music composed by Carol Young. Paula Arundell & Esther Hannaford in rehearsals for Mr Burns CONTENTS About Belvoir 1 Cast and Creative Team 2 Writer's Note 3 Director's Note 4 Synopsis 5 Interview with the Director 7 Production Elements 9 Interview with the Production Designer Costume Design Renderings Set Model Box Images Interview with the Lighting Designer Lighting Design Storyboard Podcast 23 Contact Education 24 Rehearsal Photos / Daniel Boud 2017 Production Photos / Brett Boardman 2017 Cover Image / Daniel Boud 2016 Learning Resources compiled by Belvoir’ Education, 2017 ABOUT BELVOIR One building. Six hundred people. Thousands of stories. When the Nimrod Theatre building in Belvoir Street, Surry Hills, was threatened with redevelopment in 1984, more than 600 people – ardent theatre lovers together with arts, entertainment and media professionals – formed a syndicate to buy the building and save this unique performance space in inner city Sydney. -
The Adjective Usage and Its Relation with Gender
ADLN - PERPUSTAKAAN UNIVERSITAS AIRLANGGA CHAPTER III METHOD OF THE STUDY The third chapter explains about the method of the study. This chapter divided into four sub-chapters: research approach, population and sample, technique of data collection, technique of data analysis. 3.1. Research Approach The approach used in this research is the qualitative approach. This method of research is suitable with the purpose of study, since the writer is trying to get the data of the adjective occurrences and its relation with the gender feature. According to according to Dornyei (2007), qualitative research has the emergent research design and interpretative analysis. What is meant by emergent research design here is that qualitative research has no strict foreshadow, and the research is flexible, which means that the research may develop, advance, or processed more in the process of the research. While interpretative analysis means that the research is the result of the researcher‟s subjective point of interpretation towards the data. In this research, the characteristics of the qualitative approach stated by Dornyei (2007) are considered suitable to be used, since this research has no idea of how the characterization of each character in “The Simpsons” and the pattern of adjectives used in it, and also this research is the researcher‟s interpretation of the adjective usage in “The Simpsons” and its relation with the gender feature that may be found in it. This research tries to show the patterns and generalization of gender by using the 22 SKRIPSI THE ADJECTIVE USAGE AND ... NATHAN SETYOBAGAS A. ADLN - PERPUSTAKAAN UNIVERSITAS AIRLANGGA 23 qualitative approach on lexical items, especially the adjective used in each gender role in The Simpsons. -
Doli Incapax – the Criminal Responsibility of Children
Doli incapax - The Criminal Responsibility of Children Matthew Johnston “ „No civilised society‟, says Professor Colin Howard in his book entitled Criminal Law, 4th ed. (1982), p343, „regards children as accountable for their actions to the same extent as adults‟ ... The wisdom of protecting young children against the full rigour of the law is beyond argument. The difficulty lies in determining when and under what circumstances should it be removed.”i Harper J; R (A Child) v Whitty (1993) A Crim R 462 Marge Simpson: Well, I‟m just relieved that Homer‟s safe and that you‟ve recovered and that we can all get back to normal. If Maggie could talk I‟m sure she‟d apologise for shooting you. Montgomery Burns: I‟m afraid that‟s insufficient. Officer, arrest the baby! Chief Wiggum: Hah. Yeah, right, pops. No jury in the world‟s going to convict a baby. Mmm … maybe Texas. The Simpsons: Who Shot Mr. Burns? Part II Smithers: That Simpson‟s boy is looking at 180 years. Montgomery Burns: Thank God we live in a country so hysterical over crime that a ten year-old child can be tried as an adult. The Simpsons: Bart the Murderer 1.0 The Age of Criminal Responsibility In New South Wales section 5 of the Children (Criminal Proceedings) Act 1987 provides that a child under the age of ten years cannot commit an offence. This statutory presumption is irrebuttable. The common law presumes that a child between the ages of 10 and 14 does not possess the necessary knowledge to have a criminal intention. -
The Case of Donald J. Trump†
THE AGE OF THE WINNING EXECUTIVE: THE CASE OF DONALD J. TRUMP† Saikrishna Bangalore Prakash∗ INTRODUCTION The election of Donald J. Trump, although foretold by Matt Groening’s The Simpsons,1 was a surprise to many.2 But the shock, disbelief, and horror were especially acute for the intelligentsia. They were told, guaranteed really, that there was no way for Trump to win. Yet he prevailed, pulling off what poker aficionados might call a back- door draw in the Electoral College. Since his victory, the reverberations, commotions, and uproars have never ended. Some of these were Trump’s own doing and some were hyped-up controversies. We have endured so many bombshells and pur- ported bombshells that most of us are numb. As one crisis or scandal sputters to a pathetic end, the next has already commenced. There has been too much fear, rage, fire, and fury, rendering it impossible for many to make sense of it all. Some Americans sensibly tuned out, missing the breathless nightly reports of how the latest scandal would doom Trump or why his tormentors would soon get their comeuppance. Nonetheless, our reality TV President is ratings gold for our political talk shows. In his Foreword, Professor Michael Klarman, one of America’s fore- most legal historians, speaks of a degrading democracy.3 Many difficulties plague our nation: racial and class divisions, a spiraling debt, runaway entitlements, forever wars, and, of course, the coronavirus. Like many others, I do not regard our democracy as especially debased.4 Or put an- other way, we have long had less than a thoroughgoing democracy, in part ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– † Responding to Michael J. -
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
The Subversive Agency of Children in Adult Animated Sitcoms
“KID POWER!”: THE SUBVERSIVE AGENCY OF CHILDREN IN ADULT ANIMATED SITCOMS A thesis submitted to the faculty of AS San Francisco State University 3 0 In partial fulfillment of ^0!? the requirements for U)oM5T the Degree •Tfcif Master of Arts In Women and Gender Studies by Carly Toepfer San Francisco, California May 2015 CERTIFICATION OF APPROVAL I certify that I have read “Kid Power!” The Subversive Agency of Children in Adult Animated Sitcoms by Carly Toepfer, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Women and Gender Studies at San Francisco State University. Evren Savci, Ph.D. Assistant Professor Julietta Hua, Ph. D. Associate Professor “KID POWER!’”: THE SUBVERSIVE AGENCY OF CHILDREN IN ADULT ANIMATED SITCOMS Carly Toepfer San Francisco, California 2015 In my thesis, using contemporary feminist analyses about children, obedience, the nuclear family, and media influence, I theorize the representations of children in adult animated sitcoms. I argue that these television shows are ripe with representations of children subverting adult actions and beliefs through their own agency and rebellion, which they enact in two main ways: through sibling relationships and friendship/peer groups. Using episodes of both The Simpsons and Bob's Burgers, I analyze what these shows reveal about the agency of children and argue that these characteristics are not written merely into individual characters, but are an innate part of childhood in these shows. is a correct representation of the content of this thesis. Date ACKNOWLEDGEMENTS I would like to thank my readers, Evren Savci and Julietta Hua, for pushing me to do this work and to constantly improve on it. -
The Id, the Ego and the Superego of the Simpsons
Hugvísindasvið The Id, the Ego and the Superego of The Simpsons B.A. Essay Stefán Birgir Stefánsson January 2013 University of Iceland School of Humanities Department of English The Id, the Ego and the Superego of The Simpsons B.A. Essay Stefán Birgir Stefánsson Kt.: 090285-2119 Supervisor: Anna Heiða Pálsdóttir January 2013 Abstract The purpose of this essay is to explore three main characters from the popular television series The Simpsons in regards to Sigmund Freud‟s theories in psychoanalytical analysis. This exploration is done because of great interest by the author and the lack of psychoanalytical analysis found connected to The Simpsons television show. The main aim is to show that these three characters, Homer Simpson, Marge Simpson and Ned Flanders, represent Freud‟s three parts of the psyche, the id, the ego and the superego, respectively. Other Freudian terms and ideas are also discussed. Those include: the reality principle, the pleasure principle, anxiety, repression and aggression. For this analysis English translations of Sigmund Freud‟s original texts and other written sources, including psychology textbooks, and a selection of The Simpsons episodes, are used. The character study is split into three chapters, one for each character. The first chapter, which is about Homer Simpson and his controlling id, his oral character, the Oedipus complex and his relationship with his parents, is the longest due to the subchapter on the relationship between him and Marge, the id and the ego. The second chapter is on Marge Simpson, her phobia, anxiety, aggression and repression. In the third and last chapter, Ned Flanders and his superego is studied, mainly through the religious aspect of the character.