Bojack Horseman Jump Jump Chain Compliant Intro Text Intro Text Intro

Total Page:16

File Type:pdf, Size:1020Kb

Bojack Horseman Jump Jump Chain Compliant Intro Text Intro Text Intro Bojack Horseman Jump Jump Chain Compliant Intro text intro text intro text ((Replica of Bojack's House after a massive party, expect Coordinator was the host and the guests are all passed out or hung over extradimension beings.)) Starting time: 1 month before the show starts Race: Free Choice. Pick what you want. People are still people. Animals fall around 50 - 60% on the furry scale, with some being notably higher (fish and insects). Animal-people have at least some of the animal abilities of their namesake. Owls can see in the dark, most birds can fly, fish can breathe underwater, that kind of stuff. Some don't have any noticeable bonus. Locations: 1. Sarah Lynn's House 2. Bojack's House 3. Under the sea 4. Maine 5. New Mexico 6. Hollywood Police Department (currently having a very spirited discussion about what kind of cop Meow Meow Fuzzy Face is) 7. The Giggleship 8. Free Choice Backgrounds: Drop-In – Based on Todd mainly. Actor, Failed – Based on Bojack and Sarah Lynn. Basically a washed up actor who had a few successful projects roughly 20 years ago, but who has little going on for them right now. Writer – Based on Diane. Writer still early in their career, doing small time gigs for websites. Agent – Princess Caroline, Rutabaga Rabbitowitz, Vanessa Gecko, Beared assistant. What it sounds like, Jumper would start off as an established agent, currently between clients but that will change with a little work. Perks: All Backgrounds get one of the 100 CP Perks for free and a discount on the others under that category. Drop-In: (Meta Talents) 100 CP – Lovably Irritating – Can annoy your friends, they'll write it off as quirky or charming. 200 CP – “I'll only be here one night, I swear!” - Ultimate mooching ability. 400 CP – Accidental Genius – You're a lazy goof, but the few things you do attempt turn into gold no matter what. Write a bad rock opera? Everyone will trample each other to get tickets to see it. Start your own Disneyland? You'll somehow win the Cease and Desist lawsuit and thousands of people will attend to play on your wildly unsafe rides. The longer you are lazy between attempts at productivity, the wilder your successes will be when you actually try. 600 CP - Actor, Failed: (Self-Improvement/Empowerment) 100 CP - “I'm not an actor” - Can fake your way through most conversations without really knowing what you're saying. 200 CP – One Random Act of Kindness – Underneath all the grime, you are still a good person... or at least you try to be. Sometimes all you need is a little push to be the person you really want to be. By making the world a little bit of a better place for a random person, you can push yourself to temporarily be a better person in general. (Maybe reword) 400 CP – “Am I a good person?” – Can momentarily strip away all the lies you tend to tell yourself and see who you really are. Partly terrifying, partly inspiring, the practical upshot of this is that in moments when your mind is controlled or on the verge of breaking you gain a sudden surge of willpower to pull you back from the brink. Won't work if used constantly. 600 CP – “It gets easier... – ... but you have to do it every day. The longer you work towards some personal goal, be it training a new skill, learning a new language, or even trying to work through your deep personal issues, it becomes less of an effort over time. Even better, your efforts slowly start paying better dividends over time. Simply put, your “training” gets easier and becomes twice as effective by the end of your first year of effort and levels off there. You may only “train” one thing at a time and should you skip a day, all your benefits evaporate and you have to start again. Agent: (Companion Booster/Moral) 100 CP – Lifeguard – Determination booster, phrased that when people are struggling around you, it only makes you want to help that much more. 200 CP - “You've gotta get your shit together!” - Can give pep talks that actually work, even if the two of you hate each other. 400 CP – The Movie Star Speech – There will always be someone there to encourage you when you hit your low points. Sometimes it'll just be a phone call and a few kind words. Other times you'll find a shield suddenly guarding your back from an unlikely ally. 600 CP – Celebrity Wrangler – Ability to convince, threaten, and or badger even the most difficult of people into being useful. Writer: (Self-Deception/Social Manipulation) 100 CP – Ghost Writer – You gain a boost to your writing ability, both in creativity and technical ability. 200 CP - “It's Never Too Late!” - Ability to figure out what people want to hear and give it to them, even if it's no where near the truth. Helps in pushing people in a certain direction, but only for a while. 400 CP – 600 CP – Making a Difference – You don't just think you're right, you know it. ((Force of personality booster)) Undiscounted Perks: Anchorman (100 CP) – Can always get an idea across in a few, short, easy to understand sentences. Comes with a free Newscaster voice upgrade. 300 CP – Do you want to hear a joke? - Can give out pretty insightful life advice, but only in the form of short, pointless stories you call “jokes”. Practical upshot is that you can make others realize a different way of looking at their issues that they hadn't thought of, making them more willing to face them. “Obviously three kids in a trenchcoat” (??? CP) – Literally the Vincent Adultman perk. Makes you an all around better liar and allows you to fool people with “great” disguises. Companions: Items: Warts and All Biography (One Free to All): Everyone gets a personal biography of their past Jumps, written by the quite talented Diane Nguyen. This book will also continue to update itself as you continue on your journey, faithfully recording the decades and events contained within. It will always remain roughly the size of a coffee table book no matter how long it becomes and never grow any heavier as additional pages are added. Your biography can take one of two tones, decided right now, which you will be unable to change later. Diane's Vision – This edition focuses less on the actual events as they happened and more on a cutting, in-depth look at the person behind the Jumper. You will still have a rough idea of how events unfolded, but the stories will be focused on smaller, more personal moments described in a way that is meant to reveal the underlying personality of the Jumper. Even the most heroic of Jumpers may be surprised to see the painful truths revealed within. Still, those who read this book will not only understand the Jumper better, but ultimately realize they are not so different after all. Actual Biography – A bit of a dry read, but this edition faithfully records every event of note, large or small. A lot of the sentences begin with the dreaded “And then,” phrase that makes people want to use it as a pillow. However, it can be counted on to be a faithful, unbiased account of your actions. Others may struggle to read the entire book, but you will always be able to reference it when your memory is lacking. You may occasionally find small details that prove to be of vital importance to what is currently going on in your life. Cotton Candy Machine (50 CP) – Yep, that's right, a machine that makes delicious, fluffy cotton candy. As much of it as you want. Just flick a switch and it will crank out spun sugar in one of three different colors. Which three? Pink. All three colors are different shades of pink. At least you'll never have to refill it. Apple Fritters (50 CP) – A simple box of apple fritters. Eternally warm, delicious, and never in danger of going stale. You get three boxes that refill each day. As an added bonus, I've removed half the calories from each of the pastries. No reason you can't indulge and keep your figure. Box of Muffins (50 CP) – These muffins are, well, pretty standard as far as boxed muffins go. They don't taste especially delicious and eating the whole box at once may leave you feeling faintly sick. But at least Neal McBeal the Navy Seal won't get to enforce his dibs! Because his dibs were null and void! Includes an assortment of flavors and the box refills every day. Drum of Nguyen Chum (50 CP) – Serious, what's wrong with you? Why would you buy this? Okay, sure, fine, have a blast. This standard 50 gallon metal drum contains the chummed remains of Diane Nguyen's father, including the clothes he was wearing at the time. The Nguyen family really is a special kind of stupid. Bucket of Zima and New Coke (50 CP) – This is a simple red bucket filled with ice and twelve bottles of each Zima and New Coke. They will always be perfectly chilled, freshly carbonated, and “tasty”. A blast from the past that will never run out! That's right, each evening you will find the bucket refilled with ice and drinks. At least you could use the ice in better drinks. George Takai Inspirational Tapes (100 CP) – These self-help tapes are just what you need to stop being the horrible Jumper that you are and get on the right track! You'll learn that everything is a metaphor, just waiting for you to see and conquer them.
Recommended publications
  • How Asexuality Is Represented in Popular Culture
    WHEN THE INVISIBLE BECOME VISIBLE: HOW ASEXUALITY IS REPRESENTED IN POPULAR CULTURE A Thesis submitted to the faculty of s ' San Francisco State University In partial fulfillment of the requirements for H the Degree rfk? Master of Arts In Human Sexuality Studies by Darren Jacob Tokheim San Francisco, California May 2018 Copyright by Darren Jacob Tokheim 2018 WHEN THE INVISIBLE BECOME VISIBLE: HOW ASEXUALITY IS REPRESENTED IN POPULAR CULTURE Darren Jacob Tokheim San Francisco, California 2018 Asexuality is largely misunderstood in mainstream society. Part of this misunderstanding is due to how asexuality has been portrayed in popular culture. This thesis is a content analysis of representations of asexual characters in popular culture, including television, film, comics, and podcasts, and how this representation has changed over time. Specifically, this work finds that early depictions of asexual characters, from the mid- 2000’s, were subjected to common negative stereotypes surrounding asexuality, and that more recent depictions, from the mid-2010’s, have treated asexuality as a valid sexual orientation worthy of attention. However, as asexuality has become more accepted, the representations of asexuality remain few and far between. I certify that the Abstract is a correct representation of the content of this thesis. 6 |2 s | | % Y Chair, Thesis Committee Date CERTIFICATION OF APPROVAL I certify that I have read When the Invisible Become Visible: How Asexuality is Represented in Popular Culture by Darren Jacob Tokheim, 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 Human Sexuality Studies at San Francisco State University.
    [Show full text]
  • Mr Peanutbutter and Diane Divorce
    Mr Peanutbutter And Diane Divorce Matthaeus pores skeptically while disquieting Laurie daggled Christian or deletes forehanded. Is Edouard always mendicant decillionthsand budding and when sanctifies camouflaging his Czechoslovaks some reedbucks so fashionably! very bareback and provisionally? Assertable Danie purge some Diane notices mr peanutbutter wanting to diane and mr peanutbutter to have sex with depression and there are better people recognize mr Diane nguyen leukemia Dances With Films. Remind you need to mr peanutbutter has no. Did Netflix cancel BoJack? He started to diane also worked. Are rather Sorry My Bojack Horseman Season 5 blocked. Halloween for diane has all. Princess Carolyn mirrors her tongue in forming codependent relationships. But his toxic relationship with alcohol uncaps the worst parts of himself. Peanutbutter being understood and smile before she discovers that and mr peanutbutter diane crying in the rest of a room, she asks gekko calls to the conclusion all. Set up Bojack's new show Philbert Princess Carolyn's plan to adopt her child and Diane and Mr Peanutbutter's divorce on an ending scene that. Last season she divorced her character an enthusiastic golden lab named Mr Peanutbutter and she begins season 6 touring the country. Feb 04 2020 Mr SUBE Mr Diane and Mr Peanutbutter You know. Her divorce is diane through controlled monopoly and she divorced. BoJack Horseman season 5 tests the limits of self-reference. You see the divorce is themed after they navigate different idea to vietnam where humans. With commercial animal gags and harrowing themes, the animated series is exile of sudden most emotionally ambitious and goofiest shows on television.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • GLAAD Where We Are on TV (2020-2021)
    WHERE WE ARE ON TV 2020 – 2021 WHERE WE ARE ON TV 2020 – 2021 Where We Are on TV 2020 – 2021 2 WHERE WE ARE ON TV 2020 – 2021 CONTENTS 4 From the office of Sarah Kate Ellis 7 Methodology 8 Executive Summary 10 Summary of Broadcast Findings 14 Summary of Cable Findings 17 Summary of Streaming Findings 20 Gender Representation 22 Race & Ethnicity 24 Representation of Black Characters 26 Representation of Latinx Characters 28 Representation of Asian-Pacific Islander Characters 30 Representation of Characters With Disabilities 32 Representation of Bisexual+ Characters 34 Representation of Transgender Characters 37 Representation in Alternative Programming 38 Representation in Spanish-Language Programming 40 Representation on Daytime, Kids and Family 41 Representation on Other SVOD Streaming Services 43 Glossary of Terms 44 About GLAAD 45 Acknowledgements 3 WHERE WE ARE ON TV 2020 – 2021 From the Office of the President & CEO, Sarah Kate Ellis For 25 years, GLAAD has tracked the presence of lesbian, of our work every day. GLAAD and Proctor & Gamble gay, bisexual, transgender, and queer (LGBTQ) characters released the results of the first LGBTQ Inclusion in on television. This year marks the sixteenth study since Advertising and Media survey last summer. Our findings expanding that focus into what is now our Where We Are prove that seeing LGBTQ characters in media drives on TV (WWATV) report. Much has changed for the LGBTQ greater acceptance of the community, respondents who community in that time, when our first edition counted only had been exposed to LGBTQ images in media within 12 series regular LGBTQ characters across both broadcast the previous three months reported significantly higher and cable, a small fraction of what that number is today.
    [Show full text]
  • Animals and Social Critique in Bojack Horseman
    Animals and Social Critique in BoJack Horseman Word count: 19,680 Lander De Koster Student number: 01402278 Supervisor(s): Prof. Dr. Marco Caracciolo A dissertation submitted to Ghent University in partial fulfilment of the requirements for the degree of Master of Arts in de Vergelijkende Moderne Letterkunde Academic year: 2017 – 2018 Statement of Permission For Use On Loan The author and the supervisor give permission to make this master’s dissertation available for consultation and for personal use. In the case of any other use, the copyright terms have to be respected, in particular with regard to the obligation to state expressly the source when quoting results from this master’s dissertation. The copyright with regard to the data referred to in this master’s dissertation lies with the supervisor. Copyright is limited to the manner in which the author has approached and recorded the problems of the subject. The author respects the original copyright of the individually quoted studies and any accompanying documentation, such as tables and graphs. 2 Table of Contents Introduction ....................................................................................................................................... 4 Chapter 1: Analysis of the Character BoJack Horseman .................................................................... 9 Chapter 2: Theoretical Background: Postmodernity According to Theories by Baudrillard and Simmel ............................................................................................................................................
    [Show full text]
  • Bojack Horseman, Keith Uhlich, Netflix, the Single Take, Whiplash
    Home Contact Previous Contributors NOVEMBER 13, 2014 by KEITH UHLICH The Single Take THE SINGLE TAKE BOJACK HORSEMAN, KEITH UHLICH, NETFLIX, THE SINGLE TAKE, WHIPLASH BoJack Horseman and Whiplash The Black Stallion. Dark Horse. You Mustang Be Joking. Any of those (well, maybe not that last one…yikes!) would be good alternate titles for Netflix’s, ahem, bleak beauty BoJack Horseman(now streaming). I’ve watched the first season three times through, and this 12-episode ode to fear, anxiety, and depression has gotten funnier, sadder, and more incisive with each viewing. (A second series is currently in production and it’s got a tough act to follow.) Plenty of comedies go the mortification route, though even the best of them —like Louie or Arrested Development—I can only subject myself to once. BoJack’s lash cuts as deep, yet for whatever reason I’m happy to watch an anthropomorphized horse scrape the barrel-bottom, then count the days until I can restart his abasement. “Will is to grace as the horse is to the rider,” wrote Saint Augustine, but what happens when a steed is his own straphanger? Creator Raphael Bob-Waksberg and character designer Lisa Hanawalt have conceived of a colorful (and very R-rated) universe in which men, women and beasts live side by side and fuck top to bottom. BoJack (voiced by Will Arnett) is a beer-bellied former sitcom actor living off the residuals from his hit ’90s television series Horsin’ Around, a comedy about three cute orphans adopted by a cheerful, sweater-wearing bronco.
    [Show full text]
  • Estudio Comparativo De La Subtitulación Del Lenguaje Ofensivo Y Tabú En Bojack Horseman
    Estudio comparativo de la subtitulación del lenguaje ofensivo y tabú en BoJack Horseman Nombre: Jose Alcorisa Domínguez Línea de investigación: Traducción audiovisual Tutor(a): Cristóbal Cabeza Cáceres Fecha: 25 de julio de 2017 Trabajo de Fin de Grado de Traducción e Interpretación Facultad de Filosofía y Letras Estudio comparativo de la subtitulación del lenguaje ofensivo y tabú en BoJack Horseman Jose Alcorisa Domínguez [email protected] RESUMEN El presente trabajo se trata del análisis del tratamiento del lenguaje ofensivo y tabú en la subtitulación de la serie de animación BoJack Horseman, emitida por la plataforma en línea Netflix. El lenguaje ofensivo y tabú es una de las cuestiones que más problemas crea a los traductores audiovisuales. Debido a la diferencia cultural entre dos lenguas, el inglés y el español en este caso, conseguir expresar la carga e intencionalidad de un elemento ofensivo, al igual que mantener el efecto que este crea en el espectador, significa una ardua tarea. Además, en el caso de la subtitulación, los traductores deben respetar unas restricciones técnicas que dificultan aún más la fidelidad al original. Mediante un marco teórico-práctico de los diferentes ámbitos, realizamos un estudio comparativo para identificar las tendencias que se han seguido a la hora de trasvasar este tipo de lenguaje. ABSTRACT “A comparative study on offensive and taboo language in BoJack Horseman’s Spanish subtitles” This project is an analysis of the offensive and taboo language processing in the Spanish subtitles of the animated series BoJack Horseman, which is broadcasted in Netflix, an online audiovisual platform. Offensive and taboo language is one of the most problematic issues in audiovisual translation.
    [Show full text]
  • Bojack Goes Into Treatment"
    BOJACK HORSEMAN "BoJack Goes Into Treatment" written by Raymond Santos 348 W 118th St New York, NY 10026 (786)302-3244 [email protected] FADE IN: EXT. GABRIEL’S HOME - DAY BoJack paces back and forth in front of a picnic table, looking around the outside garden of a gorgeous, suburban home. He exhales. BoJack pulls out his phone and dials a number. INT. MR. PEANUT BUTTER’S HOUSE - LIVING ROOM - SAME TIME MR PEANUT BUTTER and DIANE sit next to each other, looking down at the ground. DIANE There’s nothing left for me to do. MR. PEANUT BUTTER What do you mean? DIANE I just feel so alone and pointless now - I love you, and miss you when you’re not around, but I also miss myself. From before we got married. MR. PEANUT BUTTER You know what I think? Mr Peanut Butter puts his arm around Diane. DIANE What? The phone rings. Mr Peanut Butter’s ears perk up. MR. PEANUT BUTTER Phone! Phone! Mr. Peanut Butter runs to his cell phone. Diane groans. MR. PEANUT BUTTER (CONT’D) It’s BoJack! "BoJack Goes Into Treatment" 2. DIANE You’re going to take BoJack’s phone call in the middle of a discussion of our marriage? MR. PEANUT BUTTER Well, you always say the best marriages are founded on friendship. DIANE Yeah? MR. PEANUT BUTTER Well, BoJack’s my best friend! Mr Peanut Butter answers. MR. PEANUT BUTTER (CONT’D) BoJack! BOJACK Hey, Peanut Butter. I need to talk to somebody. Are you free right now? MR.
    [Show full text]
  • Looney Tunes to Bojack Horseman in Cartoon Los Angeles
    European journal of American studies 13-1 | 2018 Special Issue: Animals on American Television Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles Laurel Schmuck Electronic version URL: https://journals.openedition.org/ejas/12459 DOI: 10.4000/ejas.12459 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Laurel Schmuck, “Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles”, European journal of American studies [Online], 13-1 | 2018, Online since 26 June 2018, connection on 08 July 2021. URL: http://journals.openedition.org/ejas/12459 ; DOI: https://doi.org/10.4000/ejas.12459 This text was automatically generated on 8 July 2021. Creative Commons License Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles 1 Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles Laurel Schmuck The figure for nature in language, animal, was transformed in cinema to the name for movement in technology, animation. And if animals were denied capacity for language, animals as filmic organisms were themselves turned into languages, or at least, into semiotic facilities. The medium provided an alternative to the natural environment that had been destroyed and a supplement to the discursive space that had never opened an ontology of the animal. (Lippit 196-197) 1 BoJack Horseman (Netflix, 2014–), an animated adult television show about a washed-up actor who happens to be a horse, imagines Los Angeles as home to a society of humans and animals living together as equals. Creatures such as cats, turtles, giraffes, and giant insects sport human fashions and work human jobs, but they all retain some of their most stereotypical animal attributes.
    [Show full text]
  • European Journal of American Studies, 13-1
    European journal of American studies 13-1 | 2018 Special Issue: Animals on American Television Édition électronique URL : https://journals.openedition.org/ejas/12441 DOI : 10.4000/ejas.12441 ISSN : 1991-9336 Éditeur European Association for American Studies Référence électronique European journal of American studies, 13-1 | 2018, « Special Issue: Animals on American Television » [En ligne], mis en ligne le 16 mai 2018, consulté le 08 juillet 2021. URL : https:// journals.openedition.org/ejas/12441 ; DOI : https://doi.org/10.4000/ejas.12441 Ce document a été généré automatiquement le 8 juillet 2021. European Journal of American studies 1 SOMMAIRE Animals on American Television: Introduction to the Special Issue Michael Fuchs et Stefan L. Brandt All Teeth and Claws: Constructing Bears as Man-Eating Monsters in Television Documentaries Michael Fuchs The Death and Resurrection of Brian Griffin Brett Mills Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles Laurel Schmuck “Absolute Alterity”? The Alien Animal, the Human Alien, and the Limits of Posthumanism in Star Trek Manuela Neuwirth Horsing Around: Carnivalesque Humor and the Aesthetics of Dehierarchization in Mister Ed Stefan L. Brandt European journal of American studies, 13-1 | 2018 2 Animals on American Television: Introduction to the Special Issue Michael Fuchs and Stefan L. Brandt 1 Since its early days, American television has offered viewers a wide variety of animal characters.1 From main characters such as Lassie (Lassie, CBS, 1954–1973), Mister Ed (Mister Ed, CBS, 1961–1966), and BoJack Horseman (BoJack Horseman, Netflix, 2014–) to secondary and tertiary characters such as the cat Lucky in ALF (NBC, 1986–1990), Data’s cat Spot in Star Trek: The Next Generation (syndicated, 1987–1994), and the chicken and the duck in Friends (NBC, 1994–2004), animals have been regulars on American television.
    [Show full text]
  • Rúbies Ballarín, Marina TFG.Pdf (1.462Mb)
    Agraïments Gràcies a la Bea, per exercir com a tutora rigorosa i professional, i per tota l’ajuda que ha fet possible aquesta recerca. Al professorat que, no només ha contribuït a l’hora de resoldre dubtes, sinó a qui durant el grau ha ensenyat i motivat a l’alumnat mitjançant l’esforç i la dedicació, fent d’aquesta experiència universitària una etapa memorable. I també a la Isabel, al David i al Lluís, que han fet el camí molt més amè. 2 ANÀLISI DE L’HUMOR EN TELEVISIÓ: LES COMÈDIES ANIMADES DE PRIME TIME (2012-2019) ANALYSIS OF HUMOUR ON TELEVISION: PRIME TIME ANIMATED COMEDIES (2012-2019) Marina Rúbies Ballarín Universitat de Lleida Abstract [CA] L’humor és una eina comunicativa imprescindible que, juntament amb la comèdia, pot ser emprada en la narrativa dels productes de ficció en televisió, però rarament s’estudia la seva aplicació i usos. En aquesta recerca s’analitza l’humor present en les comèdies d’animació de prime time; concretament la tipologia de relacions intertextuals i hipertextuals (paròdia), la sàtira, i la ironia, els seus personatges i tota la seva vinculació amb les teories de l’humor. [ES] El humor es una herramienta comunicativa imprescindible que, junto con la comedia, puede ser empleada en la narrativa de los productos de ficción en televisión, pero raramente se estudia su aplicación y usos. En esta investigación se analiza el humor presente en las comedias de animación de prime time; concretamente la tipología de relaciones intertextuales e hipertextuales (parodia), la sátira, y la ironía, sus personajes y toda su vinculación con las teorías del humor.
    [Show full text]
  • Equivalence in the Translation of Tongue Twisters in Bojack Horseman
    1 Matias Jokikokko ONE SORDID FORTNIGHT WITH THE SHORT-SKIRTED SORCERESS Equivalence in the translation of tongue twisters in BoJack Horseman Faculty of Information Technology and Communication Sciences Bachelor’s thesis August 2020 ABSTRACT Matias Jokikokko: ”One Sordid Fortnight with the Short-Skirted Sorceress”: Equivalence in translation of tongue twisters in BoJack Horseman Bachelor’s thesis Tampere University Bachelor’s programme in English Language, Literature and Translation July 2020 The purpose of this thesis is to study the translation strategies used in translation of tongue twisters. Tongue twisters are words, phrases or sentences that are purposefully created to be difficult to say. I use passages from the television series BoJack Horseman to examine the translation of tongue twisters. The examination is guided by Eugene Nida’s theory of equivalence. The topic of this study, tongue twisters, are words, phrases or sentences that utilize the limitations of the human mouth to create difficult utterances. A single tongue twister is commonly constructed by concentrating on one speech sound and alternating between it and other speech sounds. This repetitive nature of tongue twisters can be compared to the same sound patterning tools that are utilized in poetry. In this thesis, due to the small amount of research done on tongue twisters, I examine the sound patterning tools as poetic characteristics. The theoretical framework for this thesis is the equivalence theory by Eugene Nida. Nida’s ideas are functionalist translation theories, which means that translations should focus on the function and purpose of the text, even if that means deviating from the source texts form and meaning.
    [Show full text]