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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. -
We'll Have a Gay Ol'time: Trangressive Sexulaity and Sexual Taboo In
We’ll have a gay ol’ time: transgressive sexuality and sexual taboo in adult television animation By Adam de Beer Thesis Presented for the Degree of DOCTOR OF PHILOSOPHY in Film Studies in the Faculty of Humanities and the Centre for Film and Media Studies UNIVERSITY OF CAPE TOWN UniversityFebruary of 2014Cape Town Supervisor: Associate Professor Martin P. Botha The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Declaration I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor of Philosophy at the University of Cape Town. It has not been submitted before for any other degree or examination at any other university. Adam de Beer February 2014 ii Abstract This thesis develops an understanding of animation as transgression based on the work of Christopher Jenks. The research focuses on adult animation, specifically North American primetime television series, as manifestations of a social need to violate and thereby interrogate aspects of contemporary hetero-normative conformity in terms of identity and representation. A thematic analysis of four animated television series, namely Family Guy, Queer Duck, Drawn Together, and Rick & Steve, focuses on the texts themselves and various metatexts that surround these series. The analysis focuses specifically on expressions and manifestations of gay sexuality and sexual taboos and how these are articulated within the animated diegesis. -
Master Class with Andrea Martin: Selected Filmography 1 the Higher
Master Class with Andrea Martin: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films and Television Series mentioned or discussed during the Master Class 8½. Dir. Federico Fellini, 1963, Italy and France. 138 mins. Production Co.: Cineriz / Francinex. American Dad! (2005-2012). 7 seasons, 133 episodes. Creators: Seth MacFarlane, Mike Barker, and Matt Weitzman. U.S.A. Originally aired on Fox. 20th Century Fox Television / Atlantic Creative / Fuzzy Door Productions / Underdog Productions. Auntie Mame. Dir. Morton DaCosta, 1958, U.S.A. 143 mins. Production Co.: Warner Bros. Pictures. Breaking Upwards. Dir. Daryl Wein, 2009, U.S.A. 88mins. Production Co.: Daryl Wein Films. Bridesmaids. Dir. Paul Feig, 2011, U.S.A. 125 mins. Production Co.: Universal Pictures / Relativity Media / Apatow Productions. Cannibal Girls. Dir. Ivan Reitman, 1973, Canada. 84 mins. Production Co.: Scary Pictures Productions. The Cleveland Show (2009-2012). 3 seasons, 65 episodes. Creators: Richard Appel, Seth MacFarlane, and Mike Henry. U.S.A. Originally aired on Fox. Production Co.: Persons Unknown Productions / Happy Jack Productions / Fuzzy Door Productions / 20th Century Fox Television. Club Paradise. Dir. Harold Ramis, 1986, U.S.A. -
Nomination Press Release
Brian Boyle, Supervising Producer Outstanding Voice-Over Nahnatchka Khan, Supervising Producer Performance Kara Vallow, Producer American Masters • Jerome Robbins: Diana Ritchey, Animation Producer Something To Dance About • PBS • Caleb Meurer, Director Thirteen/WNET American Masters Ron Hughart, Supervising Director Ron Rifkin as Narrator Anthony Lioi, Supervising Director Family Guy • I Dream of Jesus • FOX • Fox Mike Mayfield, Assistant Director/Timer Television Animation Seth MacFarlane as Peter Griffin Robot Chicken • Robot Chicken: Star Wars Episode II • Cartoon Network • Robot Chicken • Robot Chicken: Star Wars ShadowMachine Episode II • Cartoon Network • Seth Green, Executive Producer/Written ShadowMachine by/Directed by Seth Green as Robot Chicken Nerd, Bob Matthew Senreich, Executive Producer/Written by Goldstein, Ponda Baba, Anakin Skywalker, Keith Crofford, Executive Producer Imperial Officer Mike Lazzo, Executive Producer The Simpsons • Eeny Teeny Maya, Moe • Alex Bulkley, Producer FOX • Gracie Films in Association with 20th Corey Campodonico, Producer Century Fox Television Hank Azaria as Moe Syzlak Ollie Green, Producer Douglas Goldstein, Head Writer The Simpsons • The Burns And The Bees • Tom Root, Head Writer FOX • Gracie Films in Association with 20th Hugh Davidson, Written by Century Fox Television Harry Shearer as Mr. Burns, Smithers, Kent Mike Fasolo, Written by Brockman, Lenny Breckin Meyer, Written by Dan Milano, Written by The Simpsons • Father Knows Worst • FOX • Gracie Films in Association with 20th Kevin Shinick, -
Family Guy” 1
Michael Fox MC 330:001 TV Analysis “Family Guy” 1. Technical A. The network the show runs on is Fox. The new episodes run on Sunday nights at 8 p.m. central time. The show runs between 22 to 24 minutes. B. The show has no prologue or epilogue in the most recent episodes. The show used to have a prologue that ran about 1 minute and 30 seconds. It also has an opening credit scene that runs 30 seconds. It does occasionally run a prologue for a previous show, but those are very rare in the series. C. There are three acts to the show. For this episode, Act I ran about 8 minutes, Act II about 7 minutes, and Act III about 7 minutes. The Acts are different in each episode. The show does not always run the same length every time so the Acts will change accordingly. D. The show has three commercial breaks. Each break is three minutes long. With this I will still need about 30 pages to make sure there are enough for the episode. 2. Sets A. There are two main “locations” in the show. These are the Griffin House and the Drunken Clam. The Griffin House has different sets inside and outside of it. For example, there are scenes in the kitchen, family room, upstairs corridor, Meg’s room, Chris’ room, Peter and Lois’ room, and Stewie’s room. There are other places the family goes, but those are not in all most every episode. B. I will describe each in detail by dividing the two into which is used more in the series. -
Downloaded More Than 212,000 Times Since the Ipad's April 3Rd Launch,” the Futon Critic, 14 Apr
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature _____________________________ ______________ Nicholas Bestor Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor Master of Arts Film Studies Michele Schreiber, Ph.D. Advisor Eddy Von Mueller, Ph.D. Committee Member Karla Oeler, Ph.D. Committee Member Accepted: Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor B.A., Middlebury College, 2005 Advisor: Michele Schreiber, Ph.D. An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2012 Abstract TV to Talk About: The CW and Post-Network Television By Nicholas Bestor The CW is the smallest of the American broadcast networks, but it has made the most of its marginal position by committing itself wholly to servicing a niche demographic. -
Family Guy: Undermining Satire Nick Marx
Family Guy: Undermining Satire Nick Marx From the original edition of How to Watch Television published in 2013 by New York University Press Edited by Ethan Thompson and Jason Mittell Accessed at nyupress.org/9781479898817 This work is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License (CC BY-NC-ND). 19 Family Guy Undermining Satire Nick Marx Abstract: With its abrasive treatment of topics like race, religion, and gender, Fam- ily Guy runs afoul of critics but is defended by fans for “making fun of everything.” Nick Marx examines how the program’s rapid-fre stream of comic references ca- ters to the tastes of TV’s prized youth demographic, yet compromises its satiric potential. Te Family Guy episode “I Dream of Jesus” (October 5, 2008) begins with the type of scene familiar to many fans of the series. Peter and the Grifn family visit a 1950s-themed diner, one that accommodates a number of parodic refer- ences to pop culture of the era. In a winking acknowledgment of how Family Guy (FOX, 1999–2002, 2005–present) courts young adult viewers, Lois explains to the Grifn children that 1950s-themed diners were very popular in the 1980s, well before many of the program’s targeted audience members were old enough to re- member them. As the Grifns are seated, they observe several period celebrity lookalikes working as servers in the restaurant. Marilyn Monroe and Elvis pass through before the bit culminates with a cut to James Dean “afer the accident,” his head mangled and his clothes in bloodied tatters. -
Programový Formát Stanice Prima COOL (The Programme Structure of Prima COOL Channel)
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA DIVADELNÍCH, FILMOVÝCH A MEDIÁLNÍCH STUDIÍ Programový formát stanice Prima COOL (The programme structure of Prima COOL channel) Bakalářská diplomová práce Jan Tomšů (Teorie a dějiny dramatických umění) Vedoucí práce: Mgr. Jakub Korda, Ph.D. Olomouc 2012 Prohlášení: Prohlašuji, ţe jsem tuto práci vypracoval samostatně s pouţitím uvedených pramenů a literatury. V Olomouci 4. prosince 2012 ……………………… Jan Tomšů 1 Děkuji Mgr. Jakubu Kordovi, Ph.D. za odbornou pomoc, podnětné vedení a připomínky při zpracování mé diplomové bakalářské práce. 2 Obsah 1 Úvod ......................................................................................................................... 6 2 Teoretická část ......................................................................................................... 7 2.1 Programový formát ........................................................................................... 7 2.1.1 Program ....................................................................................................... 7 2.1.2 Programování .............................................................................................. 9 2.1.3 Formát ......................................................................................................... 9 2.1.3.1 Programový formát jako cílené programování média ....................... 10 2.1.3.2 Počátky formátování .......................................................................... 10 2.1.4 Programovací techniky ............................................................................ -
This Is Not a Library! This Is Not a Kwik-E-Mart! the Satire of Libraries, Librarians and Reference Desk Air-Hockey Tables
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications, UNL Libraries Libraries at University of Nebraska-Lincoln 2019 This Is Not a Library! This Is Not a Kwik-E-Mart! The Satire of Libraries, Librarians and Reference Desk Air-Hockey Tables Casey D. Hoeve University of Nebraska–Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/libraryscience Part of the Library and Information Science Commons Hoeve, Casey D., "This Is Not a Library! This Is Not a Kwik-E-Mart! The Satire of Libraries, Librarians and Reference Desk Air-Hockey Tables" (2019). Faculty Publications, UNL Libraries. 406. https://digitalcommons.unl.edu/libraryscience/406 This Article is brought to you for free and open access by the Libraries at University of Nebraska-Lincoln at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications, UNL Libraries by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. digitalcommons.unl.edu This Is Not a Library! This Is Not a Kwik-E-Mart! The Satire of Libraries, Librarians and Reference Desk Air-Hockey Tables Casey D. Hoeve Introduction Librarians are obsessed with stereotypes. Sometimes even so much so that, according to Gretchen Keer and Andrew Carlos, the fixation has become a stereotype within itself (63). The complexity of the library places the profession in a constant state of transition. Maintaining traditional organization systems while addressing new information trends distorts our image to the outside observer and leaves us vul- nerable to mislabeling and stereotypes. Perhaps our greatest fear in recognizing stereotypes is not that we appear invariable but that the public does not fully understand what services we can provide. -
'Family Guy' to Be Voiced by Arif Zahir
_______________________________________________________________________________________________________________________________________________________________________________ Cleveland on ‘Family Guy’ to Be Voiced by Arif Zahir Zahir will succeed the actor Mike Henry in the part. Henry, who is white, in June said that he would no longer play Cleveland: “Persons of color should play characters of color.” Arif Zahir will take over the character in episodes for the 19th season, which has just started production. By Dave Itzkoff Sept. 25, 2020 Cleveland Brown has found his new voice: The actor Arif Zahir will take over the role of this friendly “Family Guy” neighbor on the Fox animated series. On Friday, 20th Television, the studio that produces “Family Guy,” said that Zahir, a prolific YouTube performer, will succeed the actor Mike Henry in the part. Henry, who is white, said in June that he would no longer play Cleveland, a Black man who lives down the street from the show’s lunkheaded protagonist, Peter Griffin. “I love this character, but persons of color should play characters of color,” Henry said at the time. Zahir said in a statement on Friday: “When I heard that Mike Henry was stepping down from the role of Cleveland Brown — my favorite cartoon character of all time — I was shocked and saddened, assuming we’d never see him again. When I learned I would get to take over the role? Overabundant gratitude.” Zahir also gave his thanks to Henry and the “Family Guy” producers, adding, for the show’s fans: “I promise not to let you down.” Henry said in his own statement that he welcomed Zahir to the show. -
Functions of Intermediality in the Simpsons
Functions of Intertextuality and Intermediality in The Simpsons Der Fakultät für Geisteswissenschaften der Universität Duisburg-Essen zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) eingereichte Dissertation von Wanja Matthias Freiherr von der Goltz Datum der Disputation: 05. Juli 2011 Gutachter: Prof. Dr. Josef Raab Prof. Dr. Jens Gurr Table of Contents List of Figures...................................................................................................................... 4 1. Introduction .............................................................................................. 5 1.1 The Simpsons: Postmodern Entertainment across Generations ................ 5 1.2 Research Focus .............................................................................................11 1.3 Choice of Material ..........................................................................................16 1.4 Current State of Research .............................................................................21 2. Text-Text Relations in Television Programs ....................................... 39 2.1 Poststructural Intertextuality: Bakhtin, Kristeva, Barthes, Bloom, Riffaterre .........................................................................................................39 2.2 Forms and Functions of Intertextual References ........................................48 2.3 Intertextuality and Intermediality ..................................................................64 2.4 Television as a -
H-Wpl Readers Book Discussion Group
H-WPL READERS BOOK DISCUSSION GROUP September 2015 (Please note day and time for each discussion) Monday, September 21, 2015, at 1:00 P.M. Casebook, by Mona Simpson. Discussion Leader: Candace Plotsker-Herman Spying and eavesdropping on his separating parents at the side of his best friend, young Miles wonders about a stranger's role in his parents' lives before acquiring knowledge that has consequences for the whole family. (NovelistPlus) Tuesday, October 13, 2015, at 11:00 A.M. We Have Always Lived in the Castle, by Shirley Jackson. Discussion Leader: Ellen Getreu Constance and Mary Katherine (“Merricat”) Blackwood are two odd sisters who hide themselves away from the villagers in their old family mansion. We soon learn that they, along with their frail, Uncle Julian, are the only survivors of a notorious poisoning . This short novel by the author of The Lottery is a gothic masterpiece. 'Casebook,' by Mona Simpson By Lisa Zeidner, The Washington Post , April 22, 2014. If "The Catcher in the Rye" were written today, the publishing insider's joke goes, it would be categorized as a young adult novel. The YA market -- along with that of its publishing twin, "New Adult" -- is burgeoning. To officially qualify as YA, a book only needs a kid narrating and some hardship to overcome: bullying, gender confusion, maybe a vampire loose in the neighborhood. Mona Simpson's captivating sixth novel, "Casebook," does have a child as its focus, but it is most decidedly adult fiction in its approach. As in previous works, Simpson's aim is to lyrically capture the time between childhood and adulthood, as fleeting and delicate as the golden-hour light that filmmakers chase.