Fictional Artists in American TV Shows Characters OVERVIEW
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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. -
The Artist Character : a Study of the Visual Artist in Popular Fiction
Master of Art Theory University of New South Wales College of Fine Arts THE CHARACTER: A STUDY OF THE VISUAL ARTIST IN POPULAR FICTION , --- . .. ,- By Gabriella Holok 2003© ORIGl'.'iAI.ITY ST ATDIE!\T · 1 hereby declare that 1h1s subm1ss1on 1s my own work and to the best of my knowledge 11 contains no malenals previously published or wnllcn by another person. or subs1an11al proportions of malcnal which have been ac.epted for the award of any other degree or diploma al UNSW or any other educatwnal mslltullon. except where due acknowledgement 1s made 1n the 1hes" Any contnbu11on made to the research by others. w11h whom I have worked at UNSW or elsewhere. is exphc11ly acknowledged m the thesis. I also declare that the mlelkctual conlenl of this thesis is the product of my own work. except 10 the extent that assistance from others m the project's design and concepllun or m style, presentat,on and linguistic expression 1s Abstract This is a study of the artist as a character in popular literature, film and television. I have outlined three models of depiction in the evolution of the fictional artist character: the maudlin artist of early popular literature, the clownish and suspicious artist of the screen and the ironically distanced artist of late twentieth century film and television. In the course of this study I argue that all configurations of the artist in these examples of popular fiction are constructs (positively or negatively) informed by standard patterns of representation. I term this construction the fictional generic artist. I locate this study in notions of the artist in the media, a relatively recent and largely unexplored field of inquiry, in addition to the expansive art historical and theoretical discourse on the myth of the artist, an oft chartered territory that art history has largely left barren in the wake of unprecedented demystification in the 1960s. -
Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en). -
Orienting Fandom: the Discursive Production of Sports and Speculative Media Fandom in the Internet Era
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository ORIENTING FANDOM: THE DISCURSIVE PRODUCTION OF SPORTS AND SPECULATIVE MEDIA FANDOM IN THE INTERNET ERA BY MEL STANFILL DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications with minors in Gender and Women’s Studies and Queer Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor CL Cole, Co-Chair Associate Professor Siobhan Somerville, Co-Chair Professor Cameron McCarthy Assistant Professor Anita Chan ABSTRACT This project inquires into the constitution and consequences of the changing relationship between media industry and audiences after the Internet. Because fans have traditionally been associated with an especially participatory relationship to the object of fandom, the shift to a norm of media interactivity would seem to position the fan as the new ideal consumer; thus, I examine the extent to which fans are actually rendered ideal and in what ways in order to assess emerging norms of media reception in the Internet era. Drawing on a large archive consisting of websites for sports and speculative media companies; interviews with industry workers who produce content for fans; and film, television, web series, and news representations from 1994-2009 in a form of qualitative big data research—drawing broadly on large bodies of data but with attention to depth and texture—I look critically at how two media industries, speculative media and sports, have understood and constructed a normative idea of audiencing. -
Art Masterpiece: Three Flags, 1958 by Jasper Johns
Three Flags, 1958 Jasper Johns Keywords: Pop Art, Monotype, Print, Texture Activity: Monoprint on foil Keywords Defined: • Pop Art - Style of art made popular in late 1950's early 1960's. Much of it represented images of common commercial images and objects. • Monotype - A one-of-a-kind print made by painting on a smooth metal, glass, stone plate or other smooth surface and then printing on paper. The paper, often dampened, is placed over the image and either burnished by hand or run through an etching press. The pressure of printing creates a texture not possible when painting directly on paper. The process produces a single unique print, thus an edition of one, by using pressure to transfer the image onto paper. The Monotype is a mirror image of what was drawn onto the original surface. • Print - a kind of artwork in which ink or paint is put onto a block (wood, linoleum, etc.) which has a design carved into it. The block is then pressed onto paper to make a print (copy) of the design. • Texture – an element of art. The way an object looks as though it feels, such as rough or smooth. Meet the Artist: • He was born in 1930 in Augusta, Georgia, but grew up in South Carolina. He had little official art education since there were no art schools nearby. • When he moved to New York, he became friends with the prominent artists of the day. • In 1954, he had a dream that he painted a large American Flag. • He liked his art to be symmetrical, repetitious and minimalist. -
Melbourne Program Guide
MELBOURNE PROGRAM GUIDE Sunday 07th November 2010 06:00 am Mass For You At Home WSG Enjoy Mass in the comf ort of y our own home. 06:30 am Hillsong WS G Religious Program 07:00 am Animalia (Rpt) CC C The Ballad Of The Creeper WS Alex and Zoe are two kids who f ind themselv es in an extraordinary situation. Af ter stumbling across a magical portal hidden in the town library they 're led to a parallel dimension. 07:30 am Totally Wild (Rpt) CC C WS The Totally Wild team brings y ou the latest in action, adv enture and wildlif e f rom Australia and around the globe. 08:00 am Meet The PressC C WS Network Ten's premier political program. Join Paul Bongiorno as he interv iews the main play ers on the Australian public af f airs stage, and cov ers the issues making news in Federal politics. 08:30 am Video Hits G Video Hits is Australia's #1 music show. Hosted by Faustina 'Fuzzy ' Agolley & Dy lan Lewis, it f eatures the best new music and classic tunes. Plus interv iews, liv e ev ent shows and huge competitions. 10:00 am Video Hits PG Sexual References, Mild Coarse Video Hits is Australia's #1 music show. Hosted by Faustina Language 'Fuzzy ' Agolley & Dy lan Lewis, it f eatures the best new music and classic tunes. Plus interv iews, liv e ev ent shows and huge competitions. 12:00 pm iFish WS G Prov iding tips and inf ormation f or the beginner f isherman, right through to the hard-core f ishing enthusiast. -
Day Day One August 21
Thursday Day One August 21 2p 8:30p 9:9:9: "Life on the Fast Lane" :2222: :22"Itchy and Scratchy and Marge" 2:30p 9p :0110: :01"Homer's Night Out" :3223: :32"Bart Gets Hit by a Car" 3p 9:30p :1111: :11"The Crêpes of Wrath" :4224: :42"One Fish, Two Fish, Blowfish, Blue Fish" 3:30p :2112: :21"Krusty Gets Busted" 10p :5225: :52"The Way We Was" 4p :3113: :31"Some Enchanted Evening" 10:30p :6226: :62"Homer vs. Lisa and the 8th Commandment" Season 2: 1990 -1991 Season 1: 1989 -1990 11p 4:30p 10a :4114: :41"Bart Gets an 'F'" :7227: :72"Principal Charming" 1:1:1: "Simpsons Roasting on an Open Fire" 11:30p 5p 10:30a :5115: :51"Simpson and Delilah" :8228: :82"Oh Brother, Where Art Thou?" 2:2:2: "Bart the Genius" 5:30p 11a :6116: :61"Treehouse of Horror" 3:3:3: "Homer's Odyssey" 6p 11:30a :7117: :71"Two Cars in Every Garage and Three Eyes on Every Fish" 4:4:4: "There's No Disgrace Like Home" 12p 6:30p 5:5:5: "Bart the General" :8118: :81"Dancin' Homer" 12:30p 7p 6:6:6: "Moaning Lisa" :9119: :91"Dead Putting Society" 1p 7:30p 7:7:7: "The Call of the Simpsons" :0220: :02"Bart vs. Thanksgiving" 1:30p 8p 8:8:8: "The Telltale Head" :1221: :12"Bart the Daredevil" Friday Day Two August 22 6a 1p 5p Season 2: 1990 -1991 (cont'd) 414141:41 ::: "Like Father, Like Clown" 555555:55 ::: "Colonel Homer" 636363:63 ::: "Lisa the Beauty Queen" 12a 292929:29 ::: "Bart's Dog Gets an "F"" 6:30a 1:30p 5:30p 424242:42 ::: "Treehouse of Horror II" 565656:56 ::: "Black Widower" 646464:64 ::: "Treehouse of Horror III" 12:30a 303030:30 ::: "Old Money" 7a 2p 6p 434343:43 ::: -
DECLARATION of Jane Sunderland in Support of Request For
Columbia Pictures Industries Inc v. Bunnell Doc. 373 Att. 1 Exhibit 1 Twentieth Century Fox Film Corporation Motion Pictures 28 DAYS LATER 28 WEEKS LATER ALIEN 3 Alien vs. Predator ANASTASIA Anna And The King (1999) AQUAMARINE Banger Sisters, The Battle For The Planet Of The Apes Beach, The Beauty and the Geek BECAUSE OF WINN-DIXIE BEDAZZLED BEE SEASON BEHIND ENEMY LINES Bend It Like Beckham Beneath The Planet Of The Apes BIG MOMMA'S HOUSE BIG MOMMA'S HOUSE 2 BLACK KNIGHT Black Knight, The Brokedown Palace BROKEN ARROW Broken Arrow (1996) BROKEN LIZARD'S CLUB DREAD BROWN SUGAR BULWORTH CAST AWAY CATCH THAT KID CHAIN REACTION CHASING PAPI CHEAPER BY THE DOZEN CHEAPER BY THE DOZEN 2 Clearing, The CLEOPATRA COMEBACKS, THE Commando Conquest Of The Planet Of The Apes COURAGE UNDER FIRE DAREDEVIL DATE MOVIE 4 Dockets.Justia.com DAY AFTER TOMORROW, THE DECK THE HALLS Deep End, The DEVIL WEARS PRADA, THE DIE HARD DIE HARD 2 DIE HARD WITH A VENGEANCE DODGEBALL: A TRUE UNDERDOG STORY DOWN PERISCOPE DOWN WITH LOVE DRIVE ME CRAZY DRUMLINE DUDE, WHERE'S MY CAR? Edge, The EDWARD SCISSORHANDS ELEKTRA Entrapment EPIC MOVIE ERAGON Escape From The Planet Of The Apes Everyone's Hero Family Stone, The FANTASTIC FOUR FAST FOOD NATION FAT ALBERT FEVER PITCH Fight Club, The FIREHOUSE DOG First $20 Million, The FIRST DAUGHTER FLICKA Flight 93 Flight of the Phoenix, The Fly, The FROM HELL Full Monty, The Garage Days GARDEN STATE GARFIELD GARFIELD A TAIL OF TWO KITTIES GRANDMA'S BOY Great Expectations (1998) HERE ON EARTH HIDE AND SEEK HIGH CRIMES 5 HILLS HAVE -
Video Reviews 8-17-07.Qxp
New On Video & DVD The Fugitive This classic 1960s television series QM Productions and United Artists Television that aired on ABC from 1963-1967. David Janssen starred as Dr. Richard Kimble, an innocent man from the fictional town of Stafford, Indiana, who was falsely convicted of his wife's murder and given the death penalty. En route to death row, Kimble's train derailed and crashed, allowing him to escape and begin a cross-country search for the real killer, a "one-armed man" (played by Bill Raisch). At the same time, Dr. Kimble was hounded by the authorities, most notably by Stafford Police lieutenant Philip Gerard (Barry Morse). Widely considered a groundbreaking television series with an engaging storyline and excellent direction, this release will be sure to please fans of the show, both old and new. Disc 1 disc includes the following episodes: "Fear in a Desert City," "The Witch" and "The Other Side of the Mountain." Additional Actors:Vera Miles, Brian Keith, Harry Townes, Dabbs Greer, Pat Crowley, Madeleine Sherwood, Arch Johnson, Sandy Dennis, Bruce Dern, Frank Sutton. Disc 2 includes the following episodes: "Never Wave Goodbye (Part 1)," "Never Wave Goodbye (Part 2)," "Decision in The Ring" and "Smoke Screen." Additional Actors: Robert Duvall, Susan Oliver, Lee Philips, Bert Remsen, Bill Zuckert, Ruby Dee, James Edwards, James Dunn, Beverly Garland, Alejandro Rey. Disc 3 includes the following episodes: "See Hollywood and Die," "Ticket to Alaska," "Fatso" and "Nightmare at Northoak." Additional Actors: Brenda Vaccaro, Jimmy Hawkins, Melinda Plowman, Geraldine Brooks, Murray Matheson, Jack Weston, Burt Brinckerhoff, Glenda Farrell, Frank Overton, Paul Carr. -
Translation of Allusions in the Animated Cartoon the Simpsons
Translation of Allusions in the Animated Cartoon The Simpsons Pro Gradu Thesis Department of English University of Helsinki April 2007 Esko Hellgren Student number: 011510741 1 Table of Contents 1. INTRODUCTION .................................................................................................... 3 1.1 Background and aim ........................................................................................... 3 1.2 Material and method ........................................................................................... 4 1.3 Terminology ....................................................................................................... 7 2. ALLUSIONS AND TRANSLATION STRATEGIES ............................................. 9 2.1 The concept of allusion ...................................................................................... 9 2.2 Allusion and humor .......................................................................................... 11 2.3 Types of allusions ............................................................................................. 12 2.4 Strategies for translating proper name allusions .............................................. 14 2.5 Strategies for translating key phrase allusions ................................................. 16 3. THE SIMPSONS ..................................................................................................... 18 3.1 Commercial success and syndication ............................................................... 18 3.2 The creation -
In the Spring of 1999, That Yellow, Dumb-And-Proud-Of-It Cartoon Example of Poor Parenting, Homer Simpson, Started Making Art To
OUTSIDE IN: SELF-TAUGHT ARTISTS MAKE THE SCENE n the spring of 1999, that yellow, 116 dumb-and-proud-of-it cartoon exampleI of poor parenting, Homer Simpson, started making art to vent his rage. If it was already known that outsider art was a genre that nearly anyone could embrace, Homer certainly drove the point home in the episode “Mom and Pop Art,” featuring Homer’s crude yet highly touted sculpture of his exploded barbecue pit. The Simpsons’ foray into junk aesthetics offered a sly comment on a larger cultural trend. Visionary, self-taught and outsider art has become its own category in the past few decades, providing a refuge for those who don’t want to contend with the mind-bending critical challenges presented by much con- temporary art. The ideal model of the outsider artist is of a backwoods prodigy, an unschooled yet artistic soul pursuing a solitary, obsessive aesthetic quest far from the madding crowds of dealers and collectors. The marketing comes later, after the work is discovered in the old shack next to the swamp, and the griz- zled old artist is trotted out as a living fossil to mainstream acclaim. At a time in which we are assaulted by a complicated visual culture in which a hunk of dead cow in a glass case can be proclaimed a masterpiece OUTSIDE IN while a well-rendered landscape can be dismissed as kitsch, outsider art allows easy engagement. The self-taught masters of the genre generally use a simple, yet poignant, visual vocabulary: Drawings of figures in crayon, sculptures made of bedsprings, bottlecaps and car tires give large audiences an entrée into an art world separate from the more rarified sphere of threatening con- ceptual pieces and inaccessible video installations. -
Salvador Dalí, Surrealism, and the Luxury Fashion Industry
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2016 Salvador Dalí, Surrealism, and the Luxury Fashion Industry Chantal Houglan College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Contemporary Art Commons, Modern Languages Commons, and the Theory and Criticism Commons Recommended Citation Houglan, Chantal, "Salvador Dalí, Surrealism, and the Luxury Fashion Industry" (2016). Undergraduate Honors Theses. Paper 902. https://scholarworks.wm.edu/honorstheses/902 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Houglan 2 For both my mother, Nicole Houglan, who introduced me to the Surrealist’s work at a young age and for the Great Dalí, the artist who continues to captivate and spur my imagination, providing me with a creative outlet during my most trying times. Houglan 3 Table of Contents Introduction…................................................................................................................................. 4 Chapter 1. Dalí’s Self-Fashioning into a Surrealist Spectacle.........................................................8 Chapter 2. Dressing the Self and the Female Figure.....................................................................28 Chapter 3. Dalí’s