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Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak

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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. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1+1 Canada Ill ABSTRACT A sample of 2.8 million words from four adult animated comedies, (The Simpsons, King of the Hill, Family Guy, South Park) and contrasting sample from The Waltons and a variety of children's animated programs were collected electronically and entered for analysis of linguistic and emotional characteristics using the Whissell Dictionary of Affect in Language (DAL). Results indicate that while between and within program differences were found on some DAL measures, a common profile of deviation from everyday English in certain word categories was also apparent. All six television program types showed normal values for Very Low Activation words and values from 50% to 100% higher than normal for Soft words. This suggests a style of English usage that may be characteristic of scripted dialogue. Mildly to strongly objectionable words were counted and several categories emerged based on frequency and word characteristics. Results suggest that 'fart' may be a marker for comedy. 'Ass' showed the greatest variety in usage. IV ACKNOWLEDGEMENTS I wish to express my heartfelt gratitude to Dr. Cynthia Whissell for years of encouragement, wisdom, patience, and practical support, and for sharing the Dictionary of Affect in Language with me. I would also like to thank Dr. Michael Persinger for giving academic shelter to an orphan of the storm many years ago, then teaching me to believe that new things were within my reach. Finally, I sincerely thank my mother. She read me stories when I was very young, and when I got older she let me 'stay up late and watch TV.' V TABLE OF CONTENTS PAGE 1. INTRODUCTION 1 1.1 Television and Animation History 2 1.1.1 Television 3 1.1.2 Animation 6 1.2 Language Corpora 8 1.3 Analysis of Emotion in Language 12 2. CURRENT STUDY 16 2.1 Objectives 16 2.2 Sample 16 2.3 Data Collection 20 2.4 Data Preparation 21 2.5 Measures 22 2.5.1 Dictionary of Affect in Language (DAL) 22 2.5.2 Frequencies of Special Words 28 2.6 Analysis 30 2.7 Research Questions 32 3. RESULTS 33 3.1 Comparisons Within One Genre 34 3.2 Comparison to a Related Genre 44 3.3 Comparing Different Genres 46 3.4 Changes over Time 53 3.5 Objectionable Words Across Programs 57 3.6 Objectionable Words Within Programs 61 VI 4. DISCUSSION 63 4.1 Computeri2ed collection of language data from visual media 63 4.2 Establishing Procedures for Analysis 65 4.2.1 Text Preparation 65 4.2.2 Transfer of Data from Preliminary (word level) Analysis 67 4.3 Large Scale DAL Analysis Based on Episode Means 68 4.3.1 Similarities and Differences Relative to Norms 68 4.3.2 Genre versus Age Group 72 4.3.3 Surprising Similarity 75 4.3.4 Objectionable Words 76 4.3.5 Subtle Patterns 79 5. FUTURE DIRECTIONS 81 6. CONCLUSION 85 7. REFERENCES 86 APPENDICES I Table of Programs/Episodes included in the analysis 90 II Objectionable words: List, procedures and comments 114 Vll LIST OF FIGURES Figure Page 1. Adoption of television in the United Stated of America 3 2. Felix the Cat as broadcast and under studio lights 5 3. Broadcast periods for adult animated comedies analysed. 17 4. Dictionary of Affect in Language scatterplot of Activation versus Pleasantness, with normative axes indicated 23 5. Diagram of circumplex of derived emotional measures of Dictionary of Affect in Language. 25 6. Scatterplot: Activation versus Pleasantness for The Simpsons. 33 7. Scatterplot: Activation versus Pleasantness for King of the Hill, with The Simpsons background. 34 8. Scatterplot: Activation versus Pleasantness for Family Guy, with The Simpsons background. 34 9. Scatterplot: Activation versus Pleasantness for South Park, with The Simpsons background. 35 10. Mean percent above or below normative values for the four programs on the eight derived emotional variables 35 11. Imagery means for the four programs, with standard error bars. 38 12. Mean percent above or below normative mean for Very Low and Very High imagery words for the four programs. 39 13. Mean Word Length for the four programs with standard error. 39 14. Mean Word Count for the four programs with standard error. 40 15. Mean percent words matched to the DAL for the four programs, with standard error 41 16. Mean Activation for all episodes of 2007-2008 season. 42 17. Adult animated comedies and KidToons compared on eight derived emotional measures. 45 18. Scatterplot: Activation versus Pleasantness for The Waltons, with The Simpsons background 46 19. The Simpsons and The Waltons compared on eight derived emotional variables. 48 20. Mean percent above or below normative mean for Very Low and Very High Imagery words in The Simpsons and The Waltons 49 21. Changes in derived emotional variables over time for The Simpsons 53 22. Changes in derived emotional variables over time for Yang of the Hill 54 23. Changes in derived emotional variables over time for Family Guy 55 24. Changes in derived emotional variables over time for South Park 56 25. Changes in derived emotional variables over time for The Waltons 57 26. Mildly objectionable word frequency in South Park, Season 1 61 27. Mildly objectionable word frequency in South Park, Season 3 62 28. Mildly objectionable word frequency in South Park, Season 7 62 29. Mildly objectionable word frequency in South Park, Season 10 62 30. Mean percent above/below normative mean for the eight derived emotional variables for all six programs in circumplex form. 71 ix 31. Scatterplot of children's cartoons (KidToons) with all adult animated programs in background. 73 32. Scatterplot of all 922 episodes of the four programs with area of high density indicated. 80 X LIST OF TABLES Table Page 1. Highlights of television development and adoption by public. 4 2. Canadian Television Ratings with US counterparts 17 3. Pleasantness, Activation and Imagery scores for six words. 24 4. Example words from the ten derived variables. 26 5. Means for Pleasantness and Activation for the four programs. 32 6. Means for derived emotional variables for the four programs 37 7. F ratios for between program variance comparisons on the 42 three scored DAL variables. 8. Comparison of adult animated comedies and KidToons 44 on DAL measures 9. Means for derived emotional variables for The Simpsons and The Waltons 49 10. Zero order and Partial Correlations among Match rate, Very Common words and Zero Frequency words. 51 11. Total frequencies for mildly objectionable words. 58 12. Total frequencies for the B insults 59 13. Total frequencies for Body Part/Function words. 59 14. Total frequencies for unspecified censored words 59 15. Frequency of strongly objectionable words for the only program in which they appeared - South Park. 59 16. Frequency of fart as spoken word, sound described as fart, or euphemism used either in speech or description. 60 1 1. INTRODUCTION The western tradition of dramatic storytelling dates from Ancient Greece. Plays such as Lysistrata and Oedipus could be classified as comedies or tragedies and were attended by rich and poor alike. Since some texts have survived, these stories are still enjoyed by diverse audiences. In the current era, television is, arguably, the most ubiquitous and accessible source of dramatic storytelling. Television programs also may be classified as comedies or tragedies, are accessible to both rich and poor and, through re-runs and/or 'remakes', the stories continue to be enjoyed by a variety of audiences over many years. (I Love Lucy and The Honeymooners can still be seen weekly, fifty years after the programs were first broadcast in the early years of commercial television.) Along with their entertainment value, the preserved texts of the ancient Greek comedies and tragedies stand as a record of the words that formed the language of that time as well as their use in scripted dialogue.
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    MERCI! MERCI AUX COMMANDITAIRES DU GALA DES PRIX D’EXCELLENCE 2012 GRAND COMMANDITAIRE COMMANDITAIRES PRESTIGE COMMANDITAIRES EXCELLENCE COMMANDITAIRES BRONZE 2 LE 31 MAI À LA MAISON DE RADIO-CANADA STUDIO 48 REMERCIEMENTS SPÉCIAUX L’Alliance Médias Jeunesse souhaite remercier le comité consultatif des Prix d’excellence 2012 : GUILLAUME ANIORTÉ / Tribal Nova NATHALIE CLERMONT / HÉLÈNE ARCHAMBAULT / Télé-Québec Fonds des médias du Canada DOMINIQUE BAZAY / Les Chaînes Télé Astral PIERRE GRÉGOIRE / Zone 3 JUDITH BEAUREGARD / ODD1 JEAN-PHILIPPE MARIN / mbiance CÉCILE BELLEMARE / DOMINIQUE MENDEL / Echo Media Consultante en communication DÉROULEMENT DE LA SOIRÉE / Discours d’ouverture de Chantal Bowen, / Prix d’excellence pour la meilleure émission de directrice générale de l’AMJ télévision – Ouverture au monde et respect / Discours d’Hubert Lacroix, président de / Prix des parents Radio-Canada, Grand commanditaire du gala / Prix de la relève remis à Vicky Bounadère / Prix d’excellence pour la meilleure émission / Présentation des œuvres des finissants du de télévision - Acquisition de connaissances et Cégep du Vieux-Montréal développement du sens critique / Prix d’excellence pour la meilleure émission de / Prix d’excellence pour la meilleure émission de télévision – Valorisation de l’épanouissement télévision – Stimulation de l’imagination et de la personnel et du dépassement de soi créativité / Prix d’excellence pour le meilleur projet convergent / Prix pour une carrière vouée à l’excellence / Prix du public remis à Lucie Léger / Grand Prix d’excellence / Prix d’excellence pour la meilleure production numérique INDEX Équipe . 4 Mot des co-présidents . 5 Mot de la directrice générale . 6 Énoncé de qualité . 7 Membres du jury . 9 Prix d’excellence pour les meilleures émissions de télévision .