The Simpsons (1989)"
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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. -
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 ................................................................................................... -
The Simpsons “Do Diversity” in the Critical Media Literacy Classroom
“Peace and Chicken” The Simpsons “do diversity” in the critical media literacy classroom Emma Jane McGillivray Department of Integrated Studies in Education McGill University, Montreal January 2011 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Masters of Arts © Emma Jane McGillivray 2011 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-75923-3 Our file Notre référence ISBN: 978-0-494-75923-3 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque 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 télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
The Evolution of the Seven Deadly Sins: from God to the Simpsons
96 Journal of Popular Culture sin. A lot. As early Christian doctrine repeatedly points out, the seven deadly sins are so deeply rooted in our fallen human nature, that not only are they almost completely unavoidable, but like a proverbial bag of The Evolution of the Seven Deadly Sins: potato chips, we can never seem to limit ourselves to just one. With this ideology, modern society agrees. However, with regard to the individual From God to the Simpsons and social effects of the consequences of these sins, we do not. The deadly sins of seven were identified, revised, and revised again Lisa Frank in the heads and classrooms of reportedly celibate monks as moral and philosophical lessons taught in an effort to arm men and women against I can personally attest that the seven deadly sins are still very much the temptations of sin and vice in the battle for their souls. These teach- with us. Today, I have committed each of them, several more than once, ings were quickly reflected in the literature, theater, art, and music of before my lunch hour even began. Here is my schedule of sin (judge me that time and throughout the centuries to follow. Today, they remain pop- if you will): ular motifs in those media, as well as having made the natural progres- sion into film and television. Every day and every hour, acts of gluttony, 7:00 - I pressed the snooze button three times before dragging myself out of lust, covetousness, envy, pride, wrath, and sloth are portrayed on televi- bed. -
GRI, School of Economics & Commercial Law at Gˆteborg
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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 ::: -
{Dоwnlоаd/Rеаd PDF Bооk} Babysitting Bandit
BABYSITTING BANDIT PDF, EPUB, EBOOK Carolyn Keene,Macky Pamintuan | 96 pages | 01 Jan 2010 | SIMON & SCHUSTER | 9781416978138 | English | New York, NY, United States Simpsons Babysitter Bart The episode was first directed by Kent Butterworth. Klasky-Csupo , the animation studio that produced the earlier Simpsons shorts, was in charge of the animation, with one exception. During the years of producing the shorts, everything was created in-house. The producers felt the animation did not exhibit a distinct style envisioned for the show. At the time, there were only a few choices for animation style; usually, animators would follow the styles of Disney , Warner Bros. Disney and Warner Bros. Meanwhile, Hanna-Barbera's style relied on exaggerated sound effects, which they did not want to use either. The producers considered aborting the series if the next episode, " Bart the Genius ", turned out as this episode, but fortunately it turned out to suffer only a few easily-fixed problems. The premiere then switched to " Simpsons Roasting on an Open Fire ", which had to be aired in December; being a Christmas special. Directorial retakes were handled by David Silverman , who already had considerable experience directing the shorts. Most of these retakes consisted of changing the backgrounds. The result is an episode where the animation is uneven because it shifts between the early animation and the retakes. The episode featured several early character designs; Moe Szyslak has black hair in this episode, which was later changed to grey, while Barney Gumble has yellow hair, which was later changed to brown in order to differentiate the character's hair color from that of his skin. -
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 -
White Wolf Npcs
VOLUME 3: KINDRED AND RELATED Assamites ................................................................................................................................................... 4 Ahmed ..................................................................................................................................................... 4 Al-Ashrad (Amr of Alamut) ......................................................................................................................... 4 Coven, Montgomery (Once and Forever Prince) ............................................................................................. 5 Djuhah (Seraph of the Black Hand) ............................................................................................................ 6 al-Faqadi, Fatima (Hand of Vengeance) ........................................................................................................ 8 Izhim Ur-Baal (Seraph of the Black Hand) ................................................................................................... 8 Osiris (Unbound Bodyguard) ....................................................................................................................... 9 Solinda (Chicago Bishop and Dominion) ....................................................................................................... 9 Tariq the Silent (1996 Onward, Dominion) .................................................................................................. 10 Ur-Shulgi (The Shepherd) ........................................................................................................................ -
Trade Secrets
Trade Secrets 2 Trade Secret 3 A Subject Maer ........................ 3 Restatement (Third) of Unfair Competition § 39 3 UTSA § 1(4) .................... 4 Religious Technology Center v. Netcom On-Line Communications Services, Inc. ......... 5 Questions ...................... 9 B Ownership .......................... 9 1 Actual Secrecy ..................... 10 United States v. Lange ............... 10 Religious Technology Center v. Netcom On-Line Communications Services, Inc. ......... 12 Exploits Problem ................. 14 2 Priority ......................... 15 3 Collaborations ..................... 15 Restatement (Third) of Unfair Competition § 42 cmt. e .................... 15 C Procedures .......................... 16 United States v. Lange ............... 17 Religious Technology Center v. Netcom On-Line Communications Services, Inc. ......... 17 Rockwell Graphic Systems, Inc. v. DEV Indus- tries, Inc. .................... 18 Restatement (First) of Torts § 757 ........ 21 D Infringement: Similarity . 21 Big Vision Private, Ltd. v. E.I. Dupont De Nemours & Co. ................. 21 E Infringement: Prohibited Conduct . 22 1 Proving Infringement . 22 Grynberg v. BP, PLC ................ 22 2 Direct Infringement . 23 Restatement (Third) of Unfair Competitition § 43 ........................ 23 UTSA § 1(1) .................... 24 E.I. du Pont de Nemours & Co. v. Christopher .. 24 Kamin v. Kuhnau .................. 27 TRADE SECRETS 2 3 Secondary Infringement . 31 UTSA § 1(2) .................... 31 F Defenses .......................... -
MASARYKOVA UNIVERZITA Fakulta Sociálních Studií Katedra Mediálních Studií a Žurnalistiky LGBT Komunita a Příběhy „D
MASARYKOVA UNIVERZITA Fakulta sociálních studií Katedra mediálních studií a žurnalistiky LGBT komunita a příběhy „dělání sexuální odlišnosti“ v seriálu Simpsonovi LGBT community and the stories of "doing sexual difference" in The Simpsons Diplomová práce Vypracovala: Bc. Eva Krejčí Vedoucí práce: Mgr. et Mgr. Kateřina Kirkosová Brno 2016 „To myslíš sarkasticky, brácho?“ „Já ti ani nevím.“ Simpsonovi 2 Prohlašuji, ţe jsem tuto bakalářskou/diplomovou práci vypracoval/a samostatně s pouţitím pramenů a literatury uvedené v bibliografii. V Brně dne 20. 5. 2016 .…………………………… Eva Krejčí Děkuji své rodině, která mě při psaní podporovala, povzbuzovala a zásobovala jídlem. Děkuji také Mgr. et Mgr. Kateřině Kirkosové za rady a MgA. Janu Motalovi, Ph.D. za pomoc s výběrem tématu. 3 Obsah Úvod 6 1. Teoretická část 7 1.1 Seriál Simpsonovi 7 1.1.1 Postavy a prostředí 7 1.1.2 Postmodernismus, sebereflexe a hyperironie 10 1.1.3 Multiţánrovost a animovaný realismus 12 1.1.4 Diváci 14 1.1.5 Obraz rodiny na americké televizní obrazovce 15 1.1.6 Satirický duch, Bachtinův karneval a poučení 16 1.1.7 Intertextualita: odkazování a aluze 21 1.1.8 Zahraniční verze seriálu: dabing a reteritorializace postav 22 1.2 Homosexualita jako sociální konstrukt 25 1.2.1 Genderová binarita 25 1.2.2 Heteronormativita 26 1.2.3 Historie homosexuality 28 1.2.4 Připsaná identita 29 1.2.5 Genderovaný mediální obraz 30 2. Metodologická část 31 2.1 Výzkumný problém a cíl 31 2.2 Výzkumné otázky 31 2.3 Kvalitativní výzkum 32 2.4 Kultura, média, vyprávění a identita 32 2.5 Naratologie 36 2.5.1 Filmová naratologie 36 2.6 Naratologická analýza 37 2.7 Východiska a terminologie 37 2.7.1 Narativní gramatika 38 2.7.2 Subjektivizace a objektivizace prostřednictvím filmového hlediska 42 2.7.3 Binární opozice 43 2.7.4 Televizní seriál, serialita a fikční světy 43 2.7.5 Komická struktura seriálu Simpsonovi 45 2.8 Zkoumaný vzorek 47 2.9 Postup analýzy 47 3. -
Notes from the Collector
Notes From the Collector Over the years I’ve found that there are casual fans of “The Simpsons,” hard-core fans of “The Simpsons,” and HARD-core fans of the show. I probably fall into the “soft-core” category—I can’t recite every episode, I can’t imitate the voices (although I can do a reasonable Krusty the Clown), and I don’t memorize every plot. But I am a fan of the humor, the dialogue, and the animation, especially the hand-drawn animation from the early days. Although it may look rough by digital standards (“The Simpsons” went digital in 2002), I still enjoy the early years when cels were hand painted and the line work was a bit “rougher.” It just seemed to fit the whole “feel” of the show instead of a more polished, crisper look. And of course, it is tough to collect digital work since cels do not exist. I still remember the first time I saw “The Simpsons”—it was on “The Tracy Ullman Show” in the late ‘80s and there were a series of “bumpers” between segments featuring this oddly drawn, sarcastic family that was more like my family than I care to admit. I watched them, admittedly as filler before Tracy’s next skit, and I enjoyed them—sort of. It was the type of thing that I watched because it was there, not because I sought it, and I was too lazy to try to find the remote. So I remembered the fillers, not enough to be water cooler talk the next day but enough to learn their names so I could be somewhat cool in case any references to them came up.