Homer Economicus: Using the Simpsons to Teach Economics
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Mediasprawl: Springfield U.S.A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Iowa Research Online Iowa Journal of Cultural Studies Volume 3, Issue 1 2003 Article 10 SUBURBIA Mediasprawl: Springfield U.S.A Douglas Rushkoff∗ ∗ Copyright c 2003 by the authors. Iowa Journal of Cultural Studies is produced by The Berkeley Electronic Press (bepress). https://ir.uiowa.edu/ijcs Mediasprawl: Springfield U.S.A. Douglas Rushkoff The Simpsons are the closest thing in America to a national media literacy program. By pretending to be a kids’ cartoon, the show gets away with murder: that is, the virtual murder of our most coercive media iconography and techniques. For what began as entertaining interstitial material for an alternative network variety show has revealed itself, in the twenty-first century, as nothing short of a media revolu tion. Maybe that’s the very reason The Simpsons works so well. The Simpsons were bom to provide The Tracey Ullman Show with a way of cutting to commercial breaks. Their very function as a form of media was to bridge the discontinuity inherent to broadcast television. They existed to pave over the breaks. But rather than dampening the effects of these gaps in the broadcast stream, they heightened them. They acknowledged the jagged edges and recombinant forms behind the glossy patina of American television and, by doing so, initiated its deconstruction. They exist in the outlying suburbs of the American media landscape: the hinter lands of the Fox network. And living as they do—simultaneously a part of yet separate from the mainstream, primetime fare—they are able to bear witness to our cultural formulations and then comment upon them. -
In the Circuit Court of the Sixth Judicial Circuit in and for Travis County, State of Lone Star
IN THE CIRCUIT COURT OF THE SIXTH JUDICIAL CIRCUIT IN AND FOR TRAVIS COUNTY, STATE OF LONE STAR CIVIL DIVISION SARAH SMITH, as personal ) representative of the Estate of Dakota ) Smith, Deceased, ) ) Plaintiff, ) Case No. 2001-5555 ) v. ) ) HOMER SIMPSON, ) ) Defendant. ) ________________________________) Prepared by: Judge Jerry R. Parker Second District Court of Appeal 801 Twiggs Street Suite 600 Tampa, FL 33602 Copyright 2001 Texas Young Lawyers Association -and- Judge Jerry R. Parker ALL RIGHTS RESERVED This case file was commissioned by the Texas Young Lawyers Association and prepared by Judge Jerry R. Parker for the 2002 National Trial Competition. This is the thirteenth year Judge Parker has provided the case file utilized for the National Trial Competition. SARAH SMITH, as personal representative of the Estate of Dakota Smith, Deceased, v. HOMER SIMPSON, Table of Contents Statement of the Case and Stipulations -------------------------------- 1 Witness List -------------------------------------------------------------------- 9 Complaint ----------------------------------------------------------------------- 10 Answer and Affirmative Defense ------------------------------------------ 14 Depositions: Tracy Leduc ---------------------------------------------------------- 17 Sydney Lloyd --------------------------------------------------------- 22 Homer Simpson ----------------------------------------------------- 27 Jane Simpson ------------------------------------------------------- 33 Exhibits: Exhibit A (Leduc street drawing) -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
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. -
Die Flexible Welt Der Simpsons
BACHELORARBEIT Herr Benjamin Lehmann Die flexible Welt der Simpsons 2012 Fakultät: Medien BACHELORARBEIT Die flexible Welt der Simpsons Autor: Herr Benjamin Lehmann Studiengang: Film und Fernsehen Seminargruppe: FF08w2-B Erstprüfer: Professor Peter Gottschalk Zweitprüfer: Christian Maintz (M.A.) Einreichung: Mittweida, 06.01.2012 Faculty of Media BACHELOR THESIS The flexible world of the Simpsons author: Mr. Benjamin Lehmann course of studies: Film und Fernsehen seminar group: FF08w2-B first examiner: Professor Peter Gottschalk second examiner: Christian Maintz (M.A.) submission: Mittweida, 6th January 2012 Bibliografische Angaben Lehmann, Benjamin: Die flexible Welt der Simpsons The flexible world of the Simpsons 103 Seiten, Hochschule Mittweida, University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2012 Abstract Die Simpsons sorgen seit mehr als 20 Jahren für subversive Unterhaltung im Zeichentrickformat. Die Serie verbindet realistische Themen mit dem abnormen Witz von Cartoons. Diese Flexibilität ist ein bestimmendes Element in Springfield und erstreckt sich über verschiedene Bereiche der Serie. Die flexible Welt der Simpsons wird in dieser Arbeit unter Berücksichtigung der Auswirkungen auf den Wiedersehenswert der Serie untersucht. 5 Inhaltsverzeichnis Inhaltsverzeichnis ............................................................................................. 5 Abkürzungsverzeichnis .................................................................................... 7 1 Einleitung ................................................................................................... -
A Quicker Game Speedy Monopoly
AGES 8+ A QUICKER GAME ®BRAND If you’re familiar with MONOPOLY and 3. As soon as a second player goes want to play a quicker game: bankrupt, the game ends. The banker 1. To start, the banker shuffles the Title uses the banker unit to add together: Deed cards and deals two to each u Money left on their bank card player. Players immediately pay the u Owned sites, utilities and transports banker the price for the properties at the price printed on the board they receive. Play then continues u Any mortgaged property at half as normal. the price printed on the board 2. You only need to build up three EDITION u Houses, valued at purchase price houses on each site of a color group u before buying a hotel (instead of four). Hotels, valued at the purchase When selling hotels, the value is half price including the value of its purchase price. three houses. The richest player wins the game! SPEEDY MONOPOLY Alternatively, agree on a definite time to finish the game. Whoever is the richest player at this time wins! AIM OF THE GAME To be the only player left in the game after everyone else has gone bankrupt. CONTENTS THE SIMPSONS™ & © 2008 Twentieth Century Fox Film Corporation. All rights reserved. We will be happy to hear your questions or comments about this game. Please write to: Hasbro Games, 1 gameboard, 1 banker unit, 6 Simpsons movers, 28 Title Deed cards, 16 Chance Consumer Affairs Dept., P.O. Box 200, Pawtucket, RI 02862. Tel: 888-836-7025 (toll free). -
Matt Groening and Lynda Barry Love, Hate & Comics—The Friendship That Would Not Die
H O S n o t p U e c n e d u r P Saturday, October 7, 201 7, 8pm Zellerbach Hall Matt Groening and Lynda Barry Love, Hate & Comics—The Friendship That Would Not Die Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. ABOUT THE ARTISTS Matt Groening , creator and executive producer Simpsons , Futurama, and Life in Hell . Groening of the Emmy Award-winning series The Simp - has launched The Simpsons Store app and the sons , made television history by bringing Futuramaworld app; both feature online comics animation back to prime time and creating an and books. immortal nuclear family. The Simpsons is now The multitude of awards bestowed on Matt the longest-running scripted series in television Groening’s creations include Emmys, Annies, history and was voted “Best Show of the 20th the prestigious Peabody Award, and the Rueben Century” by Time Magazine. Award for Outstanding Cartoonist of the Year, Groening also served as producer and writer the highest honor presented by the National during the four-year creation process of the hit Cartoonists Society. feature film The Simpsons Movie , released in Netflix has announced Groening’s new series, 2007. In 2009 a series of Simpsons US postage Disenchantment . stamps personally designed by Groening was released nationwide. Currently, the television se - Lynda Barry has worked as a painter, cartoon - ries is celebrating its 30th anniversary and is in ist, writer, illustrator, playwright, editor, com - production on the 30th season, where Groening mentator, and teacher, and found they are very continues to serve as executive producer. -
The Subversive Agency of Children in Adult Animated Sitcoms
“KID POWER!”: THE SUBVERSIVE AGENCY OF CHILDREN IN ADULT ANIMATED SITCOMS A thesis submitted to the faculty of AS San Francisco State University 3 0 In partial fulfillment of ^0!? the requirements for U)oM5T the Degree •Tfcif Master of Arts In Women and Gender Studies by Carly Toepfer San Francisco, California May 2015 CERTIFICATION OF APPROVAL I certify that I have read “Kid Power!” The Subversive Agency of Children in Adult Animated Sitcoms by Carly Toepfer, 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 Women and Gender Studies at San Francisco State University. Evren Savci, Ph.D. Assistant Professor Julietta Hua, Ph. D. Associate Professor “KID POWER!’”: THE SUBVERSIVE AGENCY OF CHILDREN IN ADULT ANIMATED SITCOMS Carly Toepfer San Francisco, California 2015 In my thesis, using contemporary feminist analyses about children, obedience, the nuclear family, and media influence, I theorize the representations of children in adult animated sitcoms. I argue that these television shows are ripe with representations of children subverting adult actions and beliefs through their own agency and rebellion, which they enact in two main ways: through sibling relationships and friendship/peer groups. Using episodes of both The Simpsons and Bob's Burgers, I analyze what these shows reveal about the agency of children and argue that these characteristics are not written merely into individual characters, but are an innate part of childhood in these shows. is a correct representation of the content of this thesis. Date ACKNOWLEDGEMENTS I would like to thank my readers, Evren Savci and Julietta Hua, for pushing me to do this work and to constantly improve on it. -
The Simpsons WORKSHEET A
Inside Out The Simpsons WORKSHEET A First shown on television in 1989, the animated sitcom The Simpsons quickly became a huge success. The first series attracted an average of more than 13 million viewers per episode in the United States, and it wasn’t long before it started gaining fans in many other countries. In its 18 year history it has won countless prizes, as well as being named best ever television series by Time magazine. So what do people find so funny about the dysfunctional Simpson family and the other cartoon characters who inhabit the imaginary American town of Springfield? One possible answer is that the show doesn’t just poke fun at American society and culture, but also at universal aspects of the human condition. It also balances ‘low’ and ‘high’ humour, for example by combining amusing visual jokes with clever references to social and political issues, music, science, television and history. The show’s principal characters are, of course, the members of the Simpson family. The father, Homer, is widely seen as one of the greatest comic characters in cartoon history. Although lazy, clumsy, inconsiderate and basically quite stupid, he still manages to be likeable, partly because in his own unusual way he is devoted to his wife and children. He works, rather inappropriately, as a safety inspector at the Springfield nuclear power station. His catchphrase, ‘D’oh!’, used on the many occasions when he makes a mistake, became so popular that in 2002 it entered the Oxford English Dictionary. It is fortunate that his long-suffering wife, Marge, possesses a tolerant personality in addition to her eye-catching blue hair. -
Udls-Sam-Creed-Simpsons.Pdf
The Simpsons: Best. TV Show. Ever.* Speaker: Sam Creed UDLS Jan 16 2015 *focus on Season 1-8 Quick Facts animated sitcom created by Matt Groening premiered Dec 17, 1989 - over 25 years ago! over 560+ episodes aired longest running scripted sitcom ever #1 on Empire’s top 50 shows, and many other lists in entertainment media, numerous Emmy awards and other allocades TV Land Before... “If cartoons were meant for adults, they'd put them on in prime time." - Lisa Simpson Video Clip Homer’s Sugar Pile Speech, Lisa’s Rival, 13: 43-15:30 (Homer’s Speech about Sugar Pile) "Never, Marge. Never. I can't live the button-down life like you. I want it all: the terrifying lows, the dizzying highs, the creamy middles. Sure, I might offend a few of the bluenoses with my cocky stride and musky odors - oh, I'll never be the darling of the so-called "City Fathers" who cluck their tongues, stroke their beards, and talk about "What's to be done with this Homer Simpson?" - Homer Simpson, “Lisa’s Rival”. Comedy Devices/Techniques Parody/Reference - Scarface Juxtaposition/Absurdism: Sugar, Englishman Slapstick: Bees attacking Homer Hyperbole: Homer acts like a child Repetition: Sideshow Bob and Rakes The Everyman By using incongruity, sarcasm, exaggeration, and other comedic techniques, The Simpsons satirizes most aspects of ordinary life, from family, to TV, to religion, achieving the true essence of satire. Homer Simpson is the captivating and hilarious satire of today's "Everyman." - Brett Mullin, The Simpsons, American Satire “...the American family at its -
The Id, the Ego and the Superego of the Simpsons
Hugvísindasvið The Id, the Ego and the Superego of The Simpsons B.A. Essay Stefán Birgir Stefánsson January 2013 University of Iceland School of Humanities Department of English The Id, the Ego and the Superego of The Simpsons B.A. Essay Stefán Birgir Stefánsson Kt.: 090285-2119 Supervisor: Anna Heiða Pálsdóttir January 2013 Abstract The purpose of this essay is to explore three main characters from the popular television series The Simpsons in regards to Sigmund Freud‟s theories in psychoanalytical analysis. This exploration is done because of great interest by the author and the lack of psychoanalytical analysis found connected to The Simpsons television show. The main aim is to show that these three characters, Homer Simpson, Marge Simpson and Ned Flanders, represent Freud‟s three parts of the psyche, the id, the ego and the superego, respectively. Other Freudian terms and ideas are also discussed. Those include: the reality principle, the pleasure principle, anxiety, repression and aggression. For this analysis English translations of Sigmund Freud‟s original texts and other written sources, including psychology textbooks, and a selection of The Simpsons episodes, are used. The character study is split into three chapters, one for each character. The first chapter, which is about Homer Simpson and his controlling id, his oral character, the Oedipus complex and his relationship with his parents, is the longest due to the subchapter on the relationship between him and Marge, the id and the ego. The second chapter is on Marge Simpson, her phobia, anxiety, aggression and repression. In the third and last chapter, Ned Flanders and his superego is studied, mainly through the religious aspect of the character. -
Inf3580 Spring 2014 Exercises Week 4
INF3580 SPRING 2014 EXERCISES WEEK 4 Martin G. Skjæveland 10 mars 2014 4 SPARQL Read • Semantic Web Programming: chapter 6. • Foundations of Semantic Web Technologies: chapter 7. 4.1 Query engine In this exercise you are asked to make a SPARQL query engine. 4.1.1 Exercise Write a java program which reads an RDF graph and a SPARQL query from file, queries the graph and outputs the query results as a table. Your program should accept SELECT queries, CONSTRUCT queries and ASK queries. A messages should be given if the query is of a different type. Tip If I query the Simpsons RDF graph (simpsons.ttl) we wrote in a previous exercise with my SPARQL query engine and the SELECT query 1: PREFIX sim: <http://www.ifi.uio.no/INF3580/v13/simpsons#> 2: PREFIX fam: <http://www.ifi.uio.no/INF3580/v13/family#> 3: PREFIX xsd: <http://www.w3.org/2001/XMLSchema#> 4: PREFIX foaf: <http://xmlns.com/foaf/0.1/> 5: SELECT ?s ?o 6: WHERE{ ?s foaf:age ?o } 7: LIMIT 1 I get1 the following: (To get the nicely formatted output I use the class ResultSetFormatter.) ------------------------------------------------------------------ | s | o | ================================================================== | <http://www.ifi.uio.no/INF3580/simpsons#Maggie> | "1"^^xsd:int | ------------------------------------------------------------------ Executing with the ASK query 1: ASK{ ?s ?p ?o } 1Note that your results may be different according to how your Simpsons RDF file looks like. 1 gives me true Executing with the CONSTRUCT query 1: PREFIX rdfs: <http://www.w3.org/2000/01/rdf-schema#> 2: PREFIX fam: <http://www.ifi.uio.no/INF3580/v13/family#> 3: PREFIX sim: <http://www.ifi.uio.no/INF3580/v13/simpsons#> 4: PREFIX foaf: <http://xmlns.com/foaf/0.1/> 5: CONSTRUCT{ sim:Bart rdfs:label ?name } 6: WHERE{ sim:Bart foaf:name ?name } gives me @prefix rdfs: <http://www.w3.org/2000/01/rdf-schema#> .