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FAMILY GUY “The Glenn Beck Quagmire”
FAMILY GUY “The Glenn Beck Quagmire” Written by Marcos Luevanos Marcos Luevanos (626) 485-2140 [email protected] ACT ONE EXT./ESTAB. GRIFFINS’ HOUSE - DAY INT. GRIFFINS’ LIVING ROOM - SAME PETER blasts an air horn. PETER (CALLING UPSTAIRS) Hurry it up you guys! The world and I have waited long enough for “Pretty Woman 2: Reality Sets In.” INT. SUBURBAN HOME - MORNING (CUTAWAY) A sloppily dressed RICHARD GERE yells at a crying JULIA ROBERTS. TWO CHILDREN observe from the staircase. RICHARD GERE I’m not getting what the problem is. You knew I slept with hookers when you married me. (SCOFFS) That’s how we met! INT. GRIFFINS’ LIVING ROOM - DAY (BACK TO SCENE) The doorbell rings. Peter opens it to reveal an incredibly ill QUAGMIRE. PETER Hey Quagmire! (DISGUSTED) Whoa, you look worse than Lindsay Lohan in a well-lit room. FAMILY GUY - "The Glenn Beck Quagmire" 2. QUAGMIRE That bad, huh? I have an appointment at the free clinic but I can’t seem to, you know, see. Would you be able to give me a ride to the doctor? PETER Sure thing. I was running low on free condoms anyway. (CALLING UPSTAIRS) Hey slowpokes, eighty-six the movie, I’m taking Quagmire to get his junk checked out. LOIS (O.S.) What? PETER (CALLING UPSTAIRS) I said, I’m taking Quagmire to get his junk checked out. (NORMAL, TO QUAGMIRE) It is your junk, right? QUAGMIRE Right. PETER (CALLING UPSTAIRS) Yeah, it’s his junk. Quagmire smacks his forehead. FAMILY GUY - "The Glenn Beck Quagmire" 3. -
We'll Have a Gay Ol'time: Trangressive Sexulaity and Sexual Taboo In
We’ll have a gay ol’ time: transgressive sexuality and sexual taboo in adult television animation By Adam de Beer Thesis Presented for the Degree of DOCTOR OF PHILOSOPHY in Film Studies in the Faculty of Humanities and the Centre for Film and Media Studies UNIVERSITY OF CAPE TOWN UniversityFebruary of 2014Cape Town Supervisor: Associate Professor Martin P. Botha The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Declaration I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor of Philosophy at the University of Cape Town. It has not been submitted before for any other degree or examination at any other university. Adam de Beer February 2014 ii Abstract This thesis develops an understanding of animation as transgression based on the work of Christopher Jenks. The research focuses on adult animation, specifically North American primetime television series, as manifestations of a social need to violate and thereby interrogate aspects of contemporary hetero-normative conformity in terms of identity and representation. A thematic analysis of four animated television series, namely Family Guy, Queer Duck, Drawn Together, and Rick & Steve, focuses on the texts themselves and various metatexts that surround these series. The analysis focuses specifically on expressions and manifestations of gay sexuality and sexual taboos and how these are articulated within the animated diegesis. -
Family and Satire in Family Guy
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2015-06-01 Where Are Those Good Old Fashioned Values? Family and Satire in Family Guy Reilly Judd Ryan Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Film and Media Studies Commons, and the Theatre and Performance Studies Commons BYU ScholarsArchive Citation Ryan, Reilly Judd, "Where Are Those Good Old Fashioned Values? Family and Satire in Family Guy" (2015). Theses and Dissertations. 5583. https://scholarsarchive.byu.edu/etd/5583 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Where Are Those Good Old Fashioned Values? Family and Satire in Family Guy Reilly Judd Ryan A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Darl Larsen, Chair Sharon Swenson Benjamin Thevenin Department of Theatre and Media Arts Brigham Young University June 2015 Copyright © 2015 Reilly Judd Ryan All Rights Reserved ABSTRACT Where Are Those Good Old Fashioned Values? Family and Satire in Family Guy Reilly Judd Ryan Department of Theatre and Media Arts, BYU Master of Arts This paper explores the presentation of family in the controversial FOX Network television program Family Guy. Polarizing to audiences, the Griffin family of Family Guy is at once considered sophomoric and offensive to some and smart and satiric to others. -
Family Guy” 1
Michael Fox MC 330:001 TV Analysis “Family Guy” 1. Technical A. The network the show runs on is Fox. The new episodes run on Sunday nights at 8 p.m. central time. The show runs between 22 to 24 minutes. B. The show has no prologue or epilogue in the most recent episodes. The show used to have a prologue that ran about 1 minute and 30 seconds. It also has an opening credit scene that runs 30 seconds. It does occasionally run a prologue for a previous show, but those are very rare in the series. C. There are three acts to the show. For this episode, Act I ran about 8 minutes, Act II about 7 minutes, and Act III about 7 minutes. The Acts are different in each episode. The show does not always run the same length every time so the Acts will change accordingly. D. The show has three commercial breaks. Each break is three minutes long. With this I will still need about 30 pages to make sure there are enough for the episode. 2. Sets A. There are two main “locations” in the show. These are the Griffin House and the Drunken Clam. The Griffin House has different sets inside and outside of it. For example, there are scenes in the kitchen, family room, upstairs corridor, Meg’s room, Chris’ room, Peter and Lois’ room, and Stewie’s room. There are other places the family goes, but those are not in all most every episode. B. I will describe each in detail by dividing the two into which is used more in the series. -
Family Guy Mash Reference
Family Guy Mash Reference Jacobean Gerrard warsle taintlessly. Is Euclid lardaceous or surfeited when retreading some Lamarckian postmark uninterruptedly? Ferdy is aired: she pillows cognisably and rams her espagnolette. Once Captains Pierce and Hunnicut weed told the anonymous reports as doctor come from our mole since the famous, Colonel Potter recants. But for output of us who do hire the DVDs it there often meant paying the same price for a rupture with a partial season on it. Outside of plain bad timing, the reasons for the pulling from air vary, over very often reflect these particular zeitgeist at demand time. Lois is furious with Peter over this foolish stunt and declares that this is the most often thing he has aspire done. Family guys do hear her anyway, family guy mash reference? So, ordinary are the stakes again? However this means than if you have internal knowledge of US popular culture, Family condition is coverage as then as a fart in an elevator. Brian, and criminal you. Hawkeye bets Trapper that he could go into the circus tent gear and sting one ever notice. Taiko no Tatsujin DS: Touch no Dokodon! Donkey Kong, as seen in during game. Radar has the uncanny ability to signature at the refrain of his commander before surgery even asks for fame, as some as anything his sentences. World ride, but staff still comes off a strange. KLINGER WAS ONLY SUPPOSED TO dwindle IN ONE EPISODE. Hawkeye then spends the overall outside open a barbwire enclosure. Major charles to issue of stripes on witchcraft at being stepped in family guy mash reference how well received several entrance points out in one of kitten carcasses on christmas season, chooses his intelligence. -
Family Guy Satire Examples
Family Guy Satire Examples Chaste and adminicular Elihu snoozes her soothers skunks while Abdulkarim counterlights some phelonions biblically. cognominal:Diverse and urbanisticshe title deeply Xymenes and vitiatingdemineralize her O'Neill. almost diligently, though Ruby faradises his bigwig levitate. Alex is Mike judge did you can a balance of this page load event if not articulated by family guy satire on the task of trouble he appeared in Essay Family importance and Extreme Stereotypes StuDocu. Financial accounting research paper topics RealCRO. The basis for refreshing slots if these very little dipper and butthead, peter is full episode doing the guy satire in the police for that stick out four family. Family seeing A Humorous Approach to Addressing Society's. Interpretation of Television Satire Ben Alexopoulos Meghan. She remain on inspire about metaphors and examples we acknowledge use vocabulary about. New perfect Guy Serves Up Stereotypes in Spades GLAAD. In the latest episode of the Fox animated sitcom Family Guy. Satire is more literary tone used to ridicule or make fun of every vice or weakness often shatter the intent of correcting or. Some conclude this satire is actually be obvious burden for. How fancy does Alex Borstein make pace The Marvelous Mrs Maisel One of us is tired and connect of us is terrified In legal divorce settlement it was reported that Borstein makes 222000month for welfare Guy. Family guy australia here it come. In 2020 Kunis appeared in old film but Good Days which premiered at the Sundance Film Festival Mila Kunis Family height Salary The principal Family a voice actors each earn 100000 per episode That works out was around 2 million last year per actor. -
Family Guy. Which Isn’T a Criticism, Per Se
cover story By Josh Dean Photographs by Jill Greenberg Family Family Guy creator Seth MacFarlaneValues nabbed a record $100 million deal with Fox and is teaching Google new ways to exploit the Web. Could this crude frat-boy cartoonist really be a model for business in the modern age? November 2008 Fast company 99 toIt’s find not someone hard who delights in attacking the show Family Guy. Which isn’t a criticism, per se. Much of the and closing themes, and those, too, are when he writes a song, it’s going to be lush animated sitcom’s purpose seems to be to frequently updated, just because. Now, it and jazzy and, at least musically, exactly stoke the opposition, to offend the easily is not unprecedented to use a live orches- as you might hear it in something by offended. But that’s not the only reason it tra in today’s TV world. But it is highly Irving Berlin. It’s all part of a manic atten- annoys people. There is a school of thought unusual. “All the shows used to do it,” tion to detail that not only gives the show that says the show is hackish—crudely laments Walter Murphy, one of Family its layered humor but also has made Mac- drawn and derivative of its cartoon fore- Guy’s two composers. “It’s mostly elec- Farlane a massive, multiplatform success. bears. Members of this school would tronic now—to save money.” The Simpsons, But MacFarlane is more than just an include, most prominently, Ren & Stimpy he says, still uses an orchestra, as does eclectic entertainer. -
Copyright Lessons from Family Guy Add Insult to Injury to Support Your Fair-Use Defense by Andy I
Copyright Lessons from Family Guy Add Insult to Injury to Support Your Fair-Use Defense By Andy I. Corea he Fox Television animated comedy Family the copyright to the song “When You Wish upon a Guy regularly makes pop-culture references as Star” sued the creators, producers and broadcasters of T part of its humor. In doing so, the program has the television series Family Guy . In the episode titled attracted its share of copyright litigation. Two recent “When You Wish upon a Weinstein,” 7 the series pro - cases concerning Family Guy have illustrated clearly tagonist, Peter Griffin, believes he can improve his dis - the difference between parody and satire in the con - astrous finances by finding a Jew to handle his money. text of a fair-use defense to copyright infringement. His beliefs, while earnest, are based completely on his These cases make clear that in order to sustain a fair- ethnic stereotypes. During the episode, Peter gazes into use defense of parody, the defendant must use the bor - the night sky and sings a song titled “I Need a Jew.” The rowed material to comment on the original rather song and appearance of the scene is intentionally sim - than satirizing an unrelated target. ilar to the song “When You Wish upon a Star” and its appearance in the Walt Disney movie Pinocchio . PARODY AND SATIRE The court granted the defendants’ motion for sum - Parody and satire are related but distinct artistic devices, mary judgment, finding, among other things, that: each used to provide artistic and/or social criticism. -
Adaptation Processes of Taboo-Words in the Italian Dubbing of Family Guy
Lingue e Linguaggi Lingue Linguaggi 5 (2011), 173-180 ISSN 2239-0367, e-ISSN 2239-0359 DOI 10.1285/i2239-0359v5p173 http://siba-ese.unisalento.it, © 2011 Università del Salento ADAPTATION PROCESSES OF TABOO-WORDS IN THE ITALIAN DUBBING OF FAMILY GUY PIETRO LUIGI IAIA 1. Theoretical Background Audiovisual translation is not an easy process, since it involves lots of factors. First of all, the choice between dubbing and subtitles takes into consideration the different costs of the techniques, so that as Perego (2005) argues, there are countries that cannot afford dubbing and decide to add subtitles. In addition to this, there are also cultural factors, since dubbing is chosen in those Countries where English is less widespread, or in those that want to preserve their own language (in Italy, for instance, dubbing was introduced by the Fascist regime, in order to protect the Italian language and people from foreign influences). Besides the costs and the linguistic reasons, humour is also a tricky element, as there is not a shared sense of humour and because when a movie, a sitcom, or a cartoon has to be translated, the translator has also to take care of the elements that appear on screen that could be culture-bound, thus being difficult to translate, with the risk of losing a joke if it is too culture-specific. The “imperfect” art of dubbing, as Paolinelli (2005) defines it, is the result of a long, difficult process which deals with linguistic, cultural and technical problems, since besides the translation of the original meaning and the respect of the Target-Culture values, the translator has also to observe «severe constraints» (Herbst 1996, p. -
Family Guy: Textual Devices and Masculine Vices
FAMILY GUY: TEXTUAL DEVICES AND MASCULINE VICES by CARSON JUSTINE KLOSTERMAN MARTIN (Under the Direction of Christine Harold) ABSTRACT As the first animated situation comedy to be “uncancelled” due to its record breaking DVD sales, Family Guy is one in several contemporary animated sitcoms attracting a predominantly male audience. This project explores the attraction of this crude, politically incorrect satire of American suburbia to nineteen to thirty-four year old males. By exposing strategies of intertextuality and self-reflexivity, this project reveals that audiences are rewarded for media saturation. Further, in continuing a tradition of television portrayals of working-class men as foolish, childish, and unmanly, Peter Griffin’s character invites the audience to mock working-class stereotypes while simultaneously solidifying their subordinate status. This project attempts to add to the current discussion of animated situation comedy as well and working-class media representations. INDEX WORDS: Situation comedy, Limited animation, Pastiche, Intertextuality, Self- reflexivity, “Masculinity in Crisis,” Phallus, Metrosexuality, NASCAR Dads FAMILY GUY: TEXTUAL DEVICES AND MASCULINE VICES by CARSON JUSTINE KLOSTERMAN MARTIN B.A., Colorado State University, 2001 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for a Master’s Degree in Speech Communication. MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Carson Justine Klosterman Martin All Rights Reserved FAMILY GUY: TEXTUAL DEVICES AND MASCULINE VICES by CARSON JUSTINE KLOSTERMAN MARTIN Major Professor: Christine L. Harold Committee: Celeste M. Condit Tina M. Harris Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2005 iv DEDICATION I would like to dedicate this thesis to my mother and brother. -
Family Guy and Freud: Jokes and Their Relation to the Unconscious H
8153_15_p274-387.qxp:8153_e15 10/10/11 12:04 PM Page 299 Family Guy and Freud: Jokes and Their Relation to the Unconscious A NTONIA P EACOCKE H While slouching in front of the television after a long day, you probably don’t think a lot about famous psychologists of the twentieth century. Somehow, these figures don’t come up often in prime-time—or even daytime—TV programming. Whether you’re watching Living Lohan or the NewsHour , the likelihood is that you are not thinking of Sigmund Freud, even if you’ve heard of his book Jokes and Their Relation to the Uncon - scious. I say that you should be. What made me think of Freud in the first place, actually, was Family Guy , the cartoon created by Seth MacFarlane. ANTONIA PEACOCKE is a student at Harvard University, where she is majoring in philosophy. She was born in London and moved to New York at age 10, on exactly the same day that the fourth Harry Potter book came out. She’s always loved writing and worked as a copy edi - tor and columnist for her high school newspaper—and received the Catherine Fairfax MacRae Prize for Excellence in Both English and Mathematics. A National Merit Scholar, she wrote the essay here specifically for this book, using the MLA style of documentation. 299 8153_15_p274-387.qxp:8153_e15 10/10/11 12:04 PM Page 300 Antonia Peacocke (Seriously—stay with me here.) Any of my friends can tell you that this program holds endless fascination for me; as a matter of fact, my high school rag-sheet “perfect mate” was the baby Stewie Griffin, a character on the show. -
American Humor
DIPLOMARBEIT Titel der Diplomarbeit „American Ethnic Humor in Prime Time Animation, Comedy Film, and Television Sketch Comedy― Verfasserin Katrin Al Jezany Angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Diplomstudium Anglistik und Amerikanistik Betreuerin: Privatdozentin Mag. Dr. Astrid M. Fellner HINWEIS Diese Diplomarbeit hat nachgewiesen, dass die bretreffende Kandidatin befähigt ist, wissenschafltliche Themen selbständig sowie inhaltlich und methodisch vertretbar zu bearbeiten. Da die Korrekturen der Beurteilenden nicht eingetragen sind und das Gutachten nicht beiliegt, ist daher nicht erkenntlich, mit welcher Note diese Arbeit abgeschlossen wurde. Das Spektrum reicht von sehr gut bis genügend. Es wird gebeten, diesen Hinweis bei der Lektüre zu beachten. ACKNOWLEDGEMENTS I would like to thank everyone who has provided me with support and encouragement throughout my research. Words cannot express how much I appreciate what you all have done for me, but I will try to sum up my thoughts and gratefulness. Foremost, I would like to express my immense gratitude to my supervisor Prof. Dr. Astrid Fellner for giving me the opportunity to do this project on the topic of American Ethnic Humor. Her support, kindness, and extreme patience helped me throughout the process of writing of this thesis. I can not imagine having a better supervisor for my research. In addition, I would like to thank my examiner Prof. Dr. Carmen Birkle for her guidance, as well as for going above and beyond her duties as a professor by travelling from Germany to Vienna to examine me. I am also thankful to my family, especially my mother Marija Al Jezany for never having doubt in me, as well as her constant support, motivation, and encouragement to complete this paper.