Erzaehlen Und Selbstreflexivitaet

Total Page:16

File Type:pdf, Size:1020Kb

Erzaehlen Und Selbstreflexivitaet Erzählen und Selbstreflexivität: Glawoggers Dokumentarfilme „Megacities“ und „Workingman’s Death“ Magisterarbeit vorgelegt von: Fabian Kösters Hinweis zum Copyright: Bis auf Weiteres liegt diese Arbeit unter den strikten gesetzlichen Urheberrechts- Bestimmungen vor. Alle genutzten Zitate, Bildausschnitte und Quellenangaben sind eindeutig gekennzeichnet und werden im Sinne des "fair use" für wissenschaftliche Arbeiten verwendet. Selbstverständlich darf – nach den üblichen Regelungen (Namensnennung, Angabe des genauen Titels inkl. Link zur Quelle, Datum der letzten Abfrage) – auch aus dem vorliegenden Text zitiert werden. Ich bin auf der Suche nach einer geeigneten CreativeCommons-Lizenz oder ähnlichem. Eine Version, die unter dieser zu findenden Lizenz veröffentlicht werden soll, wird die hier vorliegende Version dann ersetzen. 22.3.2017 © Copyright by Fabian Kösters. All rights reserved. Inhalt: 1 Einleitung: Geschichten Erzählen als kulturelle Praxis .................................. 3 2 Narrativität im Dokumentarfilm...................................................................... 7 2.1 Diegese und diegetische Ebenen ........................................................... 12 2.2 Fokalisierung und Fokus ....................................................................... 15 2.3 Faktizität und Fiktionalität .................................................................... 17 2.4 Selbstreflexivität und Metareflexivität im Dokumentarfilm................. 24 2.5 Motivation und Bedeutung.................................................................... 30 3 Die narrativen Dokumentarfilme Megacities und Workingman’s Death ..... 34 3.1 Megacities ............................................................................................. 40 3.1.1 Bombay - Der Bioskop-Mann....................................................... 42 3.1.2 Moskau – Für einen Silberrubel .................................................... 46 3.1.3 New York – The Hustler ............................................................... 52 3.2 Workingman’s Death ............................................................................ 58 3.2.1 Helden ........................................................................................... 62 3.2.2 Brüder............................................................................................ 66 3.3 Filmmusik und Score ............................................................................ 69 3.4 Ästhetisierung und Inszenierung im Kontext von Selbstreflexivität .... 73 4 Das Recht auf eine Seele – Identität und das kognitive Schema des Narrativen.................................................................................................... 78 5 Narration und Erinnerung: Denkmäler, Fotografien und Fotografien von Denkmälern ................................................................................................. 86 6 Ausblick ........................................................................................................ 91 7 Fazit............................................................................................................... 95 8 Verwendete Literatur und Abbildungsnachweise ......................................... 98 - 2 - I'll be your Mirror, Reflect what you are, In case you don't know. The Velvet Underground 1 Einleitung: Geschichten Erzählen als kulturelle Praxis „Geschichten Erzählen“ ist nicht erst seit dem Aufkommen von Blogs, Facebook und Youtube allgemein praktizierte kulturelle Praxis. Die Wiedergabe, Aufzeichnung und Bewertung von Erlebtem ist eine immer schon in allen Bildungs- und Gesellschaftsschichten angewandte Methode, etwas über die Welt zu lernen und sich selbst in der Welt zu verorten. Hierzu werden alle verfügbaren und praktikablen Werkzeuge, allgemein als Medien bezeichnet, genutzt. Die, gemessen an ihrem Forschungsobjekt noch sehr junge Narrationsforschung, beschäftigt sich innerhalb verschiedener Disziplinen mit eben diesem Geschichten Erzählen. Aber nicht nur die Narrationsforschung beschäftigt sich mit diesem Thema, Geschichten Erzählen wird auch selbstreflexiv zum Inhalt narrativer Werke. Im 1 Film MEGACITIES (1998) des österreichischen Regisseurs Michael Glawogger ist diese narrative Ausrichtung deutlich zu erkennen. Ich erinnere mich daran, wie ich MEGACITIES zum ersten Mal im Kino sah: Da wurden Märchen erzählt und Lügengeschichten, Filme auf behelfsmäßigen Geräten vorgeführt und Comics gelesen. Neben all dem erzählten die Protagonisten von ihrer Lebensgeschichte. Im acht Jahre später erschienenen zweiten Dokumentarfilm Glawoggers, 2 WORKINGMAN 'S DEATH (2006) ist dies ist ebenfalls ein prägendes Sujet. Dieser Film ist in vielerlei Hinsicht ein Werk, das an die verschwindende Schwerstarbeit erinnert – mit Fokus auf die Menschen, die sie verrichten und ihre Geschichten. 3 Bereits mit LA SORTIE DE L 'U SINE LUMIÈRE À LYON (1895) , der als erster Film im eigentlichen Sinne des Mediums gilt, ist die Erwerbsarbeit als bestimmendes gesellschaftliches Thema der Moderne bereits im Titel erwähnt. Die Filme der Lumiére-Brüder sind aus heutiger Sicht als Dokumentarfilme einzuordnen; 1 Megacities – 12 Geschichten vom Überleben (Österreich 1998). Drehbuch und Regie: Michael Glawogger [Die Zeitangaben beziehen sich auf die DVD-Fassung Edition "Der Standard" 2006]. 2 Workingman's Death – 5 Bilder zur Arbeit im 21. Jahrhundert (Österreich 2006). Drehbuch und Regie: Michael Glawogger. 3 La Sortie de l'Usine Lumière à Lyon (Frankreich 1895). Regie: Auguste Marie Louis Nicolas Lumière und Louis Jean Lumière. - 3 - dennoch sollte es knapp 30 Jahre dauern, bis John Grierson 1926 4, zum ersten Mal von einem dokumentarischen Wert in Bezug auf einen Film spricht. Der Begriff sollte danach „zunächst eine besondere Qualität des Authentischen unterstreichen, die keineswegs im Widerspruch zu erkennbar narrativen Überformungen der Wirklichkeit [...] stand“ 5. Narrative Elemente sind auch in Glawoggers Dokumentarfilmen ein charakteristisches Merkmal. Mit welchem Effekt diese eingesetzt werden, soll Thema der vorliegenden Arbeit sein. Insbesondere werde ich dabei das Phänomen der Selbstreflexivität und Metareferentialität berücksichtigen. In beiden Filmen wird der integrative Ansatz und die Fokussierung auf die Narration bereits in der Rahmung, also im Titel, deutlich. Im Falle der MEGACITIES wählt der Regisseur den Untertitel 12 G ESCHICHTEN VOM ÜBERLEBEN und weist damit gleich deutlich auf die Produkthaftigkeit seines Werkes hin. In WORKINGMAN ’S DEATH lautet der Untertitel 5 B ILDER ZUR ARBEIT IM 21. J AHRHUNDERT , auch dies ein klares Zeichen für die Gemachtheit dessen, was wir als Publikum zu sehen bekommen, das Gemalte, Geformte, Ästhetisierte. In beiden Fällen finden sich schon in der Rahmung und den Untertiteln sogenannte Metareferenzen, das heißt Verweise auf ein Zeichensystem, welches auf einer anderen erzählerischen Ebene zu verorten ist. Diese Metareferenz ist markiert in der Bezeichnung der Episoden als Geschichten beziehungsweise Bilder . Diese Relationen, die Bezugnahmen unterschiedlicher Zeichensysteme (beispielsweise Film/Literatur) und unterschiedlicher Texte innerhalb desselben Zeichensystems (beispielsweise Film/Film) zueinander aufzuzeigen ist mein Anliegen. Dabei steht ebenfalls die Frage im Raum, welchen Effekt metareferentielle Verweise auf die Rezeption haben. Dem Aspekt der Selbstreflexivität als besondere Form der Metareferenz wird hierbei, da er in den genannten Werken ein charakteristisches Merkmal ist, besondere Aufmerksamkeit geschenkt. Auf welche Weise wird Geschichten Erzählen selbst zum Thema der Geschichte, wie werden die Mediensysteme, die hierfür genutzt werden, repräsentiert? 4 Vgl. Heinz-B. Heller: Dokumentarfilm. In: Reclams Sachlexikon des Films. Hrsg. von Thomas Koebner. 2. aktualisierte und erweiterte Auflage. Stuttgart: Reclam, 2007, S. 149. 5 Heinz-B. Heller: Dokumentarfilm, S. 149. - 4 - Narrativität ist, dies ist schon an dem oben angeführten Zitat von Heller 6 deutlich erkennbar, kein ausschließlich auf fiktionale Texte beschränktes Phänomen. Der Dokumentarfilm kann und sollte also auch unter dem Aspekt der Narration untersucht werden. Narrativ ist jeder Text, jedes Medienprodukt, das eine Geschichte erzählt, die vom Publikum als solche erkannt und verstanden wird. Werner Wolf beschreibt diesen Vorgang präzise in seinem Aufsatz „Das Problem der Narrativität in Literatur, Bildender Kunst und Musik“ : Ich fasse also das Narrative (und damit auch den Akt seiner Realisierung, das Erzählen) als kulturell erworbenes und mental gespeichertes kognitives Schema im Sinne der frame theory auf, d.h. also als stereotypes verstehens-, kommunikations- und erwartungssteuerndes Konzeptensemble, das als solches medienunabhängig ist und gerade deshalb in verschiedenen Medien und Einzelwerken realisiert, aber auch als lebensweltliche Erfahrung angewandt werden kann. 7 Die im Zitat erwähnte, aus der Verhaltensforschung stammende Frame Theory geht von einer willkürlichen Anwendbarkeit von Bezugsrahmen in Zusammenhang mit an ein Subjekt gerichteten Reizen aus. Je präziser jedoch der „passende“ Rahmen gewählt, beziehungsweise der implizierte Rahmen erkannt wird, desto effizienter gestaltet sich die Interaktion oder (wie in diesem Fall) die Kommunikationsübermittlung. Wenn beispielsweise das Publikum einen Film als Dokumentarfilm erkennt und den entsprechenden Bezugsrahmen auf die dargestellten Inhalte anwendet, so werden die Besucher den Kinosaal, unabhängig von der individuellen Bewertung des Gesehenen, eher
Recommended publications
  • Towards Meaningful Images of the User in Design Scenarios BLYTHE, M
    Representing older people: towards meaningful images of the user in design scenarios BLYTHE, M. and DEARDEN, Andy <http://orcid.org/0000-0002-5706-5978> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/9/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version BLYTHE, M. and DEARDEN, Andy (2009). Representing older people: towards meaningful images of the user in design scenarios. Universal access in the information society, 8 (1), 21-32. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Representing Older People: Towards Meaningful Images of the User in Design Scenarios MARK BLYTHE Department of Computer Science University of York York, YO10 5DD UK +44 1904 434764 +44 1904 432767 [email protected] http://www.cs.york.ac.uk/~mblythe ANDY DEARDEN Communication & Computing Research Centre Sheffield Hallam University Sheffield, S1 1WB UK +44 114 225 2916 +44 114 225 3161 [email protected] http://teaching.shu.ac.uk/aces/amd/ Category: long paper Abstract: Designing for older people requires the consideration of a range of design problems, which may be related to difficult and sometimes highly personal matters. Issues such as fear, loneliness, dependency, and physical decline may be hard to observe or discuss in interviews. Pastiche scenarios and pastiche personae are techniques that employ characters to create a space for the discussion of new technological developments and user experience.
    [Show full text]
  • Teaching Machiavelli, Or How I Learned to Love the Prince
    Alan E. Miller Drawing on The Simpsons Teaching Machiavelli, and other contemporary references, Miller describes or How I Learned how the 15th-century classic can still resonate to Love The Prince with young adults. ritten by a petty bureaucrat and dip- that could unify much of the fiction, drama, and lomat for Lorenzo de Medici, a short stories they would read during the school member of one of the ruling fami- year? Couldn’t the Macbeths be considered typical lies of Europe, Niccolò Machiavelli’s Machiavellian rulers? Couldn’t Oedipus be blamed The Prince (1532) is a slim volume concerned pri- for sharing power and underestimating a possible Wmarily with advising Medici on how to acquire, “religious” rival in the Delphic Oracle? Were the maintain, and sustain power over a state. Its difficult Ibo, as depicted in Things Fall Apart, too accommo- and often archaic vocabulary aside, at first glance it dating of the white settlers encroaching on their hardly seems an ideal text for the sophomores I often territory with a new religion, powerful weapons, teach. Nearly 500 years old, it features a glib atti- destabilizing economic strategies, and potentially tude about violence and a cynical opinion of human- oppressive laws? Indeed, weren’t the British in Ni- kind. And hardly anyone teaches the book in its geria perfecting Machiavelli’s techniques? Not only entirety at the secondary level—probably because did The Prince provide a way of understanding these it’s repetitive, dense, and sometimes frustrating. problems, it also offered some principles for leaders Ironically, the things that make it a questionable concerned with how and when to act effectively to choice also make it an excellent challenge, or maintain control of their lands.
    [Show full text]
  • A Linguistic Analysis of Postmodern Comedy by Barbara Ann Karman
    Postmodern Power Plays: A linguistic Analysis of Postmodern Comedy by Barbara Ann Karman Submitted in partial Fulfillment of the Requirements for the Degree of Master ofArts in the English Program Youngstown State University August, 1998 Postmodern Power Plays: A Linguistic Analysis of Postmodern Comedy Barbara Ann Karman I hereby release this thesis to the public. I understand this thesis will be housed at the Circulation Desk of the University library and will be available for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ~ Ii q;;. ~~QL<~ Student Date Approvals: Thesis Advisor Date LC~L L}~lGl ~~b~ L~{S-.-..;;;;~ 0 --c' __(s+-II CommitteiMember 0 Date iii Abstract Postmodern Power Plays: A Linguistic Analysis of Postmodern Comedy The goal of this thesis is to first acquaint readers with the literature on humor that will be useful in analyzing postmodern comedy from a linguistic perspective. As a genre-specific theoretical tool for viewers-- and readers-- of television texts, this thesis provides a means to an end: a way to "fine tune" our perception and understanding ofpostmodern comedy, and more importantly, provide concrete means to analyze the structure and implicit messages of one of its primary modes of expression--the prime time television situation comedy. Two case studies will consider the linguistic and textual construction of The Simpsons and Home Improvement and show how each sitcom relies on a postmodern power play between competing interests to engage the audience, subvert, and yet also subtly reinforce some ofour traditional notions ofgender and family relations in a patriarchal society.
    [Show full text]
  • The Simpsons Tapped out - Analysis and Proposed Events Overview
    The Simpsons Tapped Out - Analysis and Proposed Events Overview Players like myself have faithfully enjoyed The Simpsons Tapped Out (TSTO) for several years. The developers have continued to expand the game and provide updates in response to player feedback. This has been evident in tools such as the IRS Building tap radius, the Introduction Unemployment Office Job Manager and the Cut & Paste feature, all of which are greatly appreciated by players and have extended the playability of TSTO for many of us who would have otherwise found the game too tedious to continue once their Springfields grew so large. Notably, as respects Events, positive reactive efforts were identifiable in the 2017 Winter Event and the modified use of craft currency. As evident from the forums, many dedicated and heavily-invested players have grown tired with some of TSTO's stale mechanics and gameplay, as well as the proliferation of uninspired content, much of which has little to no place in Springfield, if even the world of "The Simpsons." This Premise player attitude is often displayed in the later stages of major Events as players begin to sense monotony due to a lack in changes throughout an Event, resulting in a feeling that one is merely grinding through the game to stock up on largely unwanted Items. Content-driven major Events geared toward "The Simpsons" version of Springfield with changes of pace, more like mini-Events, and the Solution addition of new Effects, enabling a variety of looks while injecting a new degree of both familiarity and customization for players. The proposed Events and gameplay changes are steeped in canonical content rather than original content.
    [Show full text]
  • 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 :::
    [Show full text]
  • {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.
    [Show full text]
  • Neural Correlates of Humor Detection and Appreciation
    www.elsevier.com/locate/ynimg NeuroImage 21 (2004) 1055–1060 Neural correlates of humor detection and appreciation Joseph M. Moran, Gagan S. Wig, Reginald B. Adams Jr., Petr Janata, and William M. Kelley* Department of Psychological and Brain Sciences, Center for Cognitive Neuroscience, Dartmouth College, Hanover, NH 03755, USA Received 22 July 2003; revised 2 October 2003; accepted 8 October 2003 Humor is a uniquely human quality whose neural substrates remain appreciation. Specifically, humor detection might depend critical- enigmatic. The present report combined dynamic, real-life content and ly on brain pathways involved in understanding and resolving event-related functional magnetic resonance imaging (fMRI) to ambiguities between situational expectations and surprising out- dissociate humor detection (‘‘getting the joke’’) from humor appreci- comes, whereas humor appreciation might rely primarily upon ation (the affective experience of mirth). During scanning, subjects engagement of limbic pathways involved in the processing and viewed full-length episodes of the television sitcoms Seinfeld or The expression of affect. Simpsons. Brain activity time-locked to humor detection moments revealed increases in left inferior frontal and posterior temporal Thus far, there is no clear consensus on the neural under- cortices, whereas brain activity time-locked to moments of humor pinnings subserving elements of humor. Work in the patient appreciation revealed increases in bilateral regions of insular cortex domain has suggested hemispheric differences such that the left and the amygdala. These findings provide evidence that humor hemisphere may be responsible for integrating information into a depends critically upon extant neural systems important for resolving coherent manner to understand a joke, whereas the right hemi- incongruities (humor detection) and for the expression of affect (humor sphere may be responsible for emotional processing associated appreciation).
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Filosofická Fakulta Masarykovy Univerzity
    Masarykova univerzita Filozofická fakulta Katedra anglistiky a amerikanistiky Bakalářská diplomová práce 2019 Tereza Raková Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Tereza Raková Transfer of Cultural Differences in the Czech Dubbing of The Simpsons Bachelor’s Diploma Thesis Supervisor: Mgr. Lucie Seibertová, Ph. D. 2019 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my supervisor Mgr. Lucie Seibertová, Ph.D. for her unconditional patience, valuable advice, support and guidance. My sincere thanks undeniably go to my family and friends for their kind and constant support. Table of Contents 1 Introduction ........................................................................................................... 1 2 Theory of Dubbing ................................................................................................ 4 2.1 History of Dubbing ............................................................................................ 4 2.2 Dubbing Versus Other Types of Audiovisual Translation ................................. 5 2.2.1 Subtitles ................................................................................................ 5 2.2.2 Voice-over ............................................................................................ 6 2.2.3 Dubbing ...............................................................................................
    [Show full text]
  • Introduction: the Simpsons, Satire, and American Culture
    Notes Introduction: The Simpsons, Satire, and American Culture 1. Robert J. Thompson, Television’s Second Golden Age: From Hill Street Blues to ER (New York: Continuum, 1996), 19. 2. “Simpsons Roasting on an Open Fire” (#7G08) ranked thirtieth for its timeslot the night it premiered and earned Fox a 22 percent share and a 14.5 rating. See “Nielsens,” USA Today, December 20, 1989, 3D, Lexis-Nexis Academic, October 2, 2003. 3. “Bart the Genius” (#7G02) ranked forty-eighth for its timeslot and earned Fox a 19 percent share and a 12.7 rating. See “Nielsens,” USA Today, January 17, 1990, 3D, Lexis-Nexis Academic, October 2, 2003. 4. Harry F. Waters, “Family Feuds,” Newsweek, April 23, 1990, 58. 5. Although The Simpsons often ranked within the top ten for weekly or monthly Nielsen totals, the show has not ranked high overall: at the end of the 1989–90 season, its first full season on the air, The Simpsons ranked only thirtieth. See “Final Season Ratings,” Electronic Media, April 23, 1990, 36, Lexis-Nexis Academic, October 2, 2003. http:// web.lexis-nexis.com/universe. Curiously, the show has never been among the top 25 in the Nielsen seasonal totals. It is no longer the ratings juggernaut it once was, but new episodes of The Simpsons still rank in the Nielsen top 50 among prime-time television shows and often in the top 20 among shows in syndication. Tim Brooks and Earle Marsh, The Complete Directory to Prime Time Network and Cable TV Shows, 1946–Present, 8th ed. (New York: Ballantine, 2003), 1073–74.
    [Show full text]
  • Repair Utterances Used by Bart and Homer in the Simpson
    REPAIR UTTERANCES USED BY BART AND HOMER IN THE SIMPSON Veronika Listi Ferdini Damopolii Fakultas Bahasa dan Seni Universitas Negeri Manado Tondano, Indonesia Email: [email protected] ABSTRACT: The research explores Repair Utterances Used suggested by McManis, et al. (1988). The goals of the of the analysis are to know the repairs used by the speaker and to find out the speaker meaning or intended meaning by using those repairs. The research uses a qualitative descriptive method to describe the data. The data were analyzed by using a pragmatic approach to ease the writer identifies the speaker meaning. The speaker uses repairs: Uh, Umm, Ehm, Uh-uh, and Uh. The speakers use those repairs to show sometimes there are speech errors or unclear utterances made by the speaker. After that, the speaker immediately realizes it and correct his mistake, but it is also possible if the listener asks for correction or clarification by asking the speaker. However, the use of repair in the conversation has a purpose and the reasons why they do repairs to their interlocutor in conversation, such as because to emphasize previous speaker explanation, to clarify something because the speaker doesn't understand what is talking about, to say something wrong and repair it, to ask clarification of unclear statement, and to clarify the less specific explanation. Keywords: Repair, speaker, speaker meaning. INTRODUCTION characteristics. In this research, the author As one way of communication, a only discusses one characteristic of the conversation is used by people to interact conversation is hesitation noise.McManis, in their social life.
    [Show full text]