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Memetic Proliferation and Fan Participation in the Simpsons
THE UNIVERSITY OF HULL Craptacular Science and the Worst Audience Ever: Memetic Proliferation and Fan Participation in The Simpsons being a Thesis submitted for the Degree of PhD Film Studies in the University of Hull by Jemma Diane Gilboy, BFA, BA (Hons) (University of Regina), MScRes (University of Edinburgh) April 2016 Craptacular Science and the Worst Audience Ever: Memetic Proliferation and Fan Participation in The Simpsons by Jemma D. Gilboy University of Hull 201108684 Abstract (Thesis Summary) The objective of this thesis is to establish meme theory as an analytical paradigm within the fields of screen and fan studies. Meme theory is an emerging framework founded upon the broad concept of a “meme”, a unit of culture that, if successful, proliferates among a given group of people. Created as a cultural analogue to genetics, memetics has developed into a cultural theory and, as the concept of memes is increasingly applied to online behaviours and activities, its relevance to the area of media studies materialises. The landscapes of media production and spectatorship are in constant fluctuation in response to rapid technological progress. The internet provides global citizens with unprecedented access to media texts (and their producers), information, and other individuals and collectives who share similar knowledge and interests. The unprecedented speed with (and extent to) which information and media content spread among individuals and communities warrants the consideration of a modern analytical paradigm that can accommodate and keep up with developments. Meme theory fills this gap as it is compatible with existing frameworks and offers researchers a new perspective on the factors driving the popularity and spread (or lack of popular engagement with) a given media text and its audience. -
The Fifth Simpsons Packet.Pdf
Ground Zero; About Me; Model U.N.; International Relations; Web Pages; Internet Links The following packet was written by Hayden Hurst. Please direct any comments to [email protected]. The Fifth Simpsons Packet Toss-Ups 1. The Simpsons' first Emmy win for Outstanding Music and Lyrics in 1997 came for "We Put The Spring In Springfield". It's second came one year later, with a song that involved no traditional Simpsons cast members. It is, however, a relatively elaborate number - moving from Los Angeles to elsewhere in California - all while never leaving New York. Oh, and it also involves strapping down Liza Minelli. For ten points, name this song, a key feature of the Broadway play "Kickin' It". ANSWER: You're _CHECKING IN_ (accept ''I'm Checking In") (accept "We Put The Spring In Springfield" before it's said) 2. Its adjunct gets its name from Chief Starving Bear, and it's located on Bid Snake Lake and below Mount Avalanche. It was originally run by Mr. Black - afterwards, it was worse than Vietnam, Afghanistan, and Iraq put together. For ten points, name this Krustiest place on Earth. ANSWER: _KAMP KRUSTY_ 3. The answer is sort of a tie. In any case, it does not involve running around a beer truck or marrying Marge. It may involve a Krustyburger, an hour-long episode of Mama's family, and Lisa's birth. However, it's probably involves skipping church, winning a radio contest, making moon waffles, and finding a penny. For ten points, what am I talking about? ANSWER: _BEST DAY OF HOMER'S LIFE_ (accept equivalents) 4. -
Translation Strategies for Wordplay in the Simpsons
Translation Strategies for Wordplay in The Simpsons Pro Gradu Thesis Department of English University of Helsinki 19.12.2008 Elina Korhonen Student number: 012626728 1 Table of Contents List of figures 3 List of tables 3 1. INTRODUCTION 4 1.1 Background and aim 4 1.2 The Simpsons and its Finnish translation 5 1.3 Material and method 6 2. THE CONCEPT OF WORDPLAY 9 2.1 Definitions of wordplay 9 2.2 The Simpsons as a polysemiotic text 11 2.3 Typology of wordplay 13 2.3.1 Homography 13 2.3.2 Homonymy 14 2.3.3 Homophony 15 2.3.4 Paronymy 16 2.3.5 Intertextual wordplay 17 2.3.5 Portmanteaux 18 3. FUNCTIONS OF WORDPLAY 19 4. PUNS IN TRANSLATION 21 4.1 The notion of ‘untranslatability’ 21 4.2 First step: recognition of wordplay 22 4.3 Translation strategies for wordplay 24 4.4 Subtitling wordplay 26 5. PRESENTATION AND ANALYSIS OF DATA 29 5.1 Wordplay in the corpus 29 5.2 Categories of wordplay in each episode of The Simpsons 30 5.3 Translation strategies used by Sari Luhtanen 31 5.4 Translation strategies used for each wordplay category 33 6. DISCUSSION 36 6.1 Transmitting puns into the target text 36 6.1.1 Rendering puns by puns 36 6.1.2 Translating puns with the strategy of related rhetorical device 41 6.1.3 Pun in similar form in source and target text 43 6.2 Puns not retained in the subtitles 46 6.2.1 Rendering puns by non-puns 46 1 2 6.2.2 Omission of puns 51 7. -
Or, the Simpsons As Model Postmodern Biblical Interpreter
Berkeley Journal of Religion and Theology The Journal of the Graduate Theological Union Berkeley Journal of Religion and Theology Volume 2, Issue 1 ISSN 2380-7458 “It’s Somewhere Near the Back”: Or, The Simpsons as Model Postmodern Biblical Interpreter Author(s): Jessica L. TinklenBerg Source: Berkeley Journal of Religion and Theology 2, no. 1 (2016): 123-141. PuBlished By: Graduate Theological Union © 2016 Online article puBlished on: FeBruary 28, 2018 Copyright Notice: This file and its contents is copyright of the Graduate Theological Union © 2015. All rights reserved. Your use of the Archives of the Berkeley Journal of Religion and Theology (BJRT) indicates your acceptance of the BJRT’s policy regarding use of its resources, as discussed Below. Any redistriBution or reproduction of part or all of the contents in any form is prohiBited with the following exceptions: Ø You may download and print to a local hard disk this entire article for your personal and non-commercial use only. Ø You may quote short sections of this article in other puBlications with the proper citations and attriButions. Ø Permission has Been oBtained from the Journal’s management for eXceptions to redistriBution or reproduction. A written and signed letter from the Journal must Be secured eXpressing this permission. To oBtain permissions for eXceptions, or to contact the Journal regarding any questions regarding further use of this article, please e-mail the managing editor at [email protected] The Berkeley Journal of Religion and Theology aims to offer its scholarly contriButions free to the community in furtherance of the Graduate Theological Union’s scholarly mission. -
1 the Polis of Springfield: the Simpsons and the Teaching of Political Theory
University of Huddersfield Repository Woodcock, Pete The Polis of Springfield: The Simpsons and the Teaching of Political Theory Original Citation Woodcock, Pete (2006) The Polis of Springfield: The Simpsons and the Teaching of Political Theory. Politics, 26 (3). p. 192. ISSN 0263-3957 This version is available at http://eprints.hud.ac.uk/id/eprint/9515/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ The Polis of Springfield: The Simpsons and the Teaching of Political Theory Pete Woodcock – The University of Huddersfield Abstract When students commence the study of political theory, they often lack the vocabulary necessary for that study and any specific examples of political societies other than their own. As a result of this, this article examines The Simpsons for examples that might help teachers of political theory to communicate key themes in political thought to undergraduates. -
Simpsons and The
"The Simpsons" and the Law: Revealing Truth and Justice to the Masses By Kevin K. Ho* I. INTRODUCTION In Law, Lawyers, and Popular Culture, Lawrence Friedman argues that legal culture and popular culture share a symbiotic relationship, with popular culture transmitting distorted information about the law to a generally ignorant public.' Friedman notes that relatively few members of the general public read casebooks, statutes, or administrative rules, unless they themselves need access to the legal system. 2 He theorizes that, as legal culture becomes more Byzantine and removed from the mainstream, popular culture will remain the main source of legal information for the general public. Unfortunately, it appears likely that members of the public will be even more reluctant to access the legal system after they have been exposed to the negative depictions of both the law and the legal actors often seen in the contemporary media. Furthermore, when this reluctance is considered in light of the fact that entertainment value is paramount in popular media, the prospects for an actual increase in the * J.D. Candidate, Boalt Hall School of Law, University of California at Berkeley. M.A. London, B.A. Washington University. I'd like to thank my friends, family and colleagues at Boalt Hall for helping me complete this comment. Lawrence M. Friedman, Law, Lawyers, and Popular Culture, 98 YALE L.J. 1579, 1594 (1989). 2 Id. (internal citations omitted). 276 UCLA ENTERTAINMENT LAW REVIEW [Vol. 10:2 general public's knowledge of the legal system seem even more dismal. References to the law in popular media, while pervasive, are not necessarily accurate. -
September Morn.Scw
THE SIMPSONS "SEPTEMBER MORN" WRITTEN By DANA L GOUDREAULT Page 2. Act One SCENE 1 FADE IN: EXT. A BRIGHT BLUE SKY - MORNING Unlike any other Simpsons opening, a bright blue screen is held for the opening moments as the voice of Lisa Simpson is heard. LISA It's been many years since that fateful day in September, when the lives of so many of us on this planet were changed forever in a matter of minutes, the reverberations of those cataclysmic moments still being felt throughout the world today and will continue to do so for many generations to come. LISA (CONT'D) Every person has a personal insight into the tragedy, every family a story of how things were before and after the events that struck New York, Washington, and a small field in Shanksville Pennsylvania. The list seems endless of communities that were affected by the loss of so many people on that day who were from other parts of the country, the world even, whose family members and friends continue to mourn their loss. Page 3. LISA (CONT'D) This is my personal recollection of the events of that day, September 11th, 2001 and how they affected the lives of people here in Springfield. Oddly enough, as tragedy was about to befall us, my family, like most others, started out that tuesday morning like any other, though my last recollection of that morning before the tragedy struck is of my Mom uncharacteristicly striking my Dad with, of all things, a frying pan...and right in the presense of our neighbor, Mr. -
Fjohnsen Saolsen.Pdf (1.972Mb)
BACHELOROPPGAVE: American animation VS. Japanese Animation FORFATTER(E): Stian Olsen Frank Johnsen Dato: 23.05.2012 Summary This bachelor thesis is a comparative study between American animation and Japanese animation. We take a look into differences, taking into account the culture, history, production- and the animation techniques employed. The main theoretical questions that are answered in this study are: - How has each side of animation influenced the culture surrounding it, and vice versa? -Why can Japanese animation studios presumably produce more than twice the amount that an American animation studio produces? - What are some of the structural differences when looking at similar, but ultimately different, productions from each side of animation? We have come to decisive conclusions to each theoretical question. The biggest cultural influence for Japanese animation is the Shinto religion. It is at the core of Japanese animation, and influences both storytelling and visual elements. In American animation, a shift happened in the culture, making its animation oriented towards children. In later years, it shifted again towards adults. This gave birth to adult-oriented animated sitcoms, which has become the norm in America. Japanese animation studios produce content faster than American animation studios. The biggest reasons for this is their budgets, how detailed the work is, and how hard the studio pushes themselves. Japanese anime is not as detailed as American animation, therefore it doesn’t take as long to produce. On average, 30 minutes of Japanese animation takes 1-3 months to produce, while 30 minutes of American animation takes 6-9 months to produce. Some of the biggest structural differences between Japanese and American animation is how they blur the line between good and evil, and how they pace their stories. -
Humor and Satire on Contemporary Television
HUMOR AND SATIRE ON CONTEMPORARY TELEVISION This book examines contemporary American animated humor, focusing on popular animated television shows in order to explore the ways in which they engage with American culture and history, employing a peculiarly American way of using humor to discuss important cultural issues. With attention to the work of American humorists, such as the Southwest humorists, Mark Twain, Dorothy Parker, and Kurt Vonnegut, and the question of the extent to which modern animated satire shares the qualities of earlier humor, particularly the use of setting, the carnivalesque, collective memory, racial humor, and irony, Humor and Satire on Contemporary Television concentrates on a particular strand of American humor: the use of satire to expose the gap between the American ideal and the American experience. Taking up the notion of ‘The Great American Joke’, the author examines the discursive humor of programmes such as The Simpsons, South Park, Family Guy, King of the Hill, Daria, American Dad!, The Boondocks, The PJs and Futurama. A study of how animated television programmes offer a new discourse on a very traditional strain of American humor, this book will appeal to scholars and students of popular culture, television and media studies, American literature and visual studies, and contemporary humor and satire. Silas Kaine Ezell is Assistant Professor of English at Oklahoma Baptist University, USA. The Cultural Politics of Media and Popular Culture Series Editor: C. Richard King Washington State University, USA Dedicated to a renewed engagement with culture, this series fosters critical, contextual analyses and cross-disciplinary examinations of popular culture as a site of cultural poli- tics. -
'Jurassic Bark'
'Jurassic Bark' Written by Ben Allman ([email protected]) Blackboard: I couldn't pull a better story out of my butt. Couch Gag: The Simpsons run in and the TV has swapped positions with the couch. They all sit on top of the TV. (Grampa is in the kitchen talking to himself) Grampa: And that's how the digestive system was invented. Hey where's everybody? I'll ring Matlock, he'll know. (Picks up and dials the phone) Hello! Hello! Woman: Hi there, sexy. Wanna chat? Grampa: Are you Matlock? Woman: I'm whoever you want me to be, baby! Grampa: Ooooooh! (Homer walks in in) Homer: Dad! What are you using the phone for? Grampa: Er, it's for you. Homer: (takes phone) Yello. Woman: Hiya big boy. Homer: Who is this? Woman: Anyone you want me to be. I know, I'm a naughty schoolgirl and need to be taught a lesson. Homer: Go ask your parents. (puts phone down) (We zoom to the other end of the phone line. It is Patty & Selma's appartment) Selma: (puts down phone) Hung up............again. (Back in the kitchen of the Simpsons house) Homer: Time for your pills, Dad. Grampa: Ohhhhhhhhh, I don't want any pills. I'm fine. (drops to the floor twitching, then gets up) See? Homer: Just take them. Grampa: No. (Homer opens a pill bottle and chases Grampa round the kitchen. Pills are spread everywhere. Grampa trips and knocks himself out. Homer pours the remaining pills into his Dad's mouth and drags him out of the back door, leaving him there.) Homer: (walking into kitchen) Old people. -
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. -
The Simpsons Get ‘Stamping Ovation’ to Tune of 1 Billion Stamps Favorite Character Vote Continues Through May 14 At
EMBARGOED FOR 9:15 A.M. PT Media ONLY Contact: Roy Betts RELEASE (O) 202-268-3207 May 7, 2009 (C) 202-256-4174 [email protected] usps.com/news Release No. 09-048 Customer inquiries: 1-800-ASK-USPS (800-275-8777) The Simpsons Get ‘Stamping Ovation’ To Tune of 1 Billion Stamps Favorite Character Vote continues through May 14 at www.usps.com/simpsons High-resolution images of the stamps are available for media use only by contacting [email protected] LOS ANGELES — “Ay, Carumba!” A ‘stampede’ of one billion Simpsons stamps began escaping from America’s 34,000 Post Offices and infiltrated the nation’s mailstream following the issuance of The Simpsons stamps and postal cards today. The first-day-of-issue dedication ceremony took place at Twentieth Century Fox Studios in Los Angeles. There, The Simpsons Creator and Executive Producer, Matt Groening, along with Executive Producer James L. Brooks join the voices behind the famous characters appearing on the stamps (Dan Castellaneta, Julie Kavner, Nancy Cartwright and Yeardley Smith) in conjunction with the Postal Service in celebrating the stamps. Hank Azaria and other voice actors from The Simpsons will be in attendance to lend their support. The longest-running primetime comedy in television history has become a cultural and ground-breaking phenomenon since the series launch in 1990. This honor solidifies their place in history. The Postal Service is reminding the world to visit www.usps.com/simpsons http://www.usps.com/simpsons to vote early and often for their favorite Simpsons stamp.