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Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
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 ................................................................................................... -
Los Simpson Versus Trump
LOS SIMPSON VERSUS TRUMP Graciela Martínez-Zalce Sánchez* Para GAH, quien no conocía a los Simpson y cree conocer a Trump And that is how I became a Democrat HOMERO J. SIMPSON El corto titulado “Donald Trump’s first 100 days in office”,1 publicado el 26 de abril de 2017 como parte de la temporada 28 de Los Simpson en el canal Animation Fox en Youtube, cierra con un negro sarcasmo.2 En una serie, en la que por casi tres décadas se han utilizado los matices y las sutilezas indis- pensables para que los episodios, escritos con gran inteligencia por presti- giosos grupos de guionistas irreverentes,3 tengan como característica sobresaliente tres figuras retóricas, la parodia, la ironía y, sobre todo, la sátira, * Directora e investigadora del Centro de Investigaciones sobre América del Norte de la Universidad Nacional Autónoma de México, <[email protected]>. 1 En este artículo utilizaré los títulos de los capítulos y los nombres que se le han dado a los per- sonajes en español en el doblaje para México (donde la serie comenzó a transmitirse en el canal 13 de Imevisión en marzo de 1991, los martes a las 20:30 horas), pero, en su mayoría, las citas textuales de los diálogos se harán en el original en inglés debido a que el doblaje tropicaliza las alusiones y, por tratarse aquí de los partidos y los políticos estadunidenses, es importante que se conserven. En el caso específico de este corto, puesto que no fue exhibido fuera de Estados Unidos y Canadá, y como la wiki en español aún está consignando la temporada 27, el título del mismo se anota en inglés. -
Las Representaciones Argentinas En Series Y Películas De La Industria Audiovisual Estadounidense
Universidad Nacional de Rosario Facultad de Ciencia Política y RRII – Licenciatura en Comunicación Social Tesina de grado Las representaciones argentinas en series y películas de la industria audiovisual estadounidense Alumno: Julián Favre Director: Rubén Biselli Rosario, junio de 2019 ÍNDICE INTRODUCCIÓN……………………………………………………………………………………………………….…………………………3 CAPÍTULO I – EL CINE EN HOLLYWOOD…………………………………………………………………………….…….…5 a. Sobre la industria y el arte…………………………………………………………………………….…5 b. La conformación del sistema hollywoodense de producción…………………7 c. Los géneros cinematográficos…………………………………………………………………………10 CAPÍTULO II – DEL FILM A LA SERIE……………………………………………………………………………………….…14 a. Nacimiento de la televisión norteamericana………………………………………………14 b. Series de ficción………………………………………………………………………………….………….……15 c. Televisión por cable……………………………………………………………………………………………17 d. Nuevos fenómenos de consumo…………………………………………………….…………….…18 CAPÍTULO III – SOBRE REPRESENTACIONES E IMAGINARIOS………………………………………………22 a. Representaciones colectivas e imaginarios sociales………………….……………22 b. La representación de otras culturas……………………………………….……………………25 c. La construcción del personaje…………………………………………………………………………30 CAPÍTULO IV – ANÁLISIS……………………………………………………………………………………….………………………34 a. Los gauchos y el tango………………………………………………………….……………………………34 b. Refugio de nazis………………………………………………………………….…………………….…………39 c. Exilio…………………………………………………………………………………………..…………………….……42 d. Delincuencia…………………………………………………………………………………………………….……45 CAPÍTULO V - CONCLUSIONES……………………………………………………………………………………………………50 -
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 ::: -
Nyhet Från Viking of Norway! Garn Järbo Garn Alpaca Liten Storm 2 Tr Ull
För dig som älskar att sticka och virka! /paket FRI FRAKT * Din erbjudandekod 20B242K * Erbjudandet gäller max 1 gång/kund när du handlar för minst 300,- . Gäller t.o.m 2020-12-12. Kan inte kombineras med andra rabatter eller erbjudanden. Paket Grytlappar Julefrid! Virka ett par juliga grytlappar i garn Stina från Svarta Fåret! Kittet innehåller 4 nystan + beskrivning. Storlek: ca 25 cm i diameter. Kvalité: 100% kammad bomull.Tvättråd: 40° skontvätt. Köp till:Virknål 4mm. Art.nr: 08-0432 99,-/paket Art.nr: 37-4397 Virknål 4 mm 22,- Nyhet från Viking of Norway! Garn Järbo Garn Alpaca Liten Storm 2 tr Ull. Garn Alpaca Liten Storm från Viking of Norway Stickas lika fint på tunna stickor är lillebror till Garn Alpaca Storm och är till vantar som på grova stickor till ett mjukt aplackagarn som passar luftiga tröjor. Ullen i garnet är en perfekt till barn och babyplagg kvalitétsull som kommer från och andra lättare plagg. Nya Zeeland. Den är garanterat Nystan: 50 gram = 175 meter. mulesing-fri och ger ett mjukt Kvalité: 40% superfine alpaca, ullgarn. Kvalité: 100% mulesing- 40% merinoull och 20% nylon. fri ull. Härva: 100 g. = 300 m. Stickfasthet: 25 m =10 cm. Stickfasthet: 21 m x 30 v Rekommenderade stickor: 3 mm. = 10 x 10 cm. Tvättråd: 30° maskintvätt. Virkfasthet: 18 fm x 22 v = 10 x 10 cm. Se alla färger på knittingroom.se Rekommenderade stickor/virknål: 3,5 mm. Handtvätt. Se alla färger på knittingroom.se Kundtjänst tel. 033 - 16 99 50 Knittingroom, Box 923, 501 10 Borås. E-post: [email protected] Org.nr 556669-2082. -
MELBOURNE PROGRAM GUIDE Sunday 15Th January 2012
http://prtten04.networkten.com.au:7778/pls/DWHPROD/Program_Repo... MELBOURNE PROGRAM GUIDE Sunday 15th January 2012 06:00 am Jag (Rpt) Merry Little Christmas, A Former fighter pilot, Captain Harmon "Harm" Rabb, and his team of lawyers are charged with the duty of investigating and litigating crimes committed by Navy and Marine personnel. Starring: David James Elliott, Catherine Bell, Tracey Needham, Zoe McLellan 07:00 am Macgyver (Rpt) PG The Wish Child Mild Violence Armed with only a roll of duct tape and a Swiss Army knife, super resourceful secret agent, Angus MacGyver, can get himself out of any sticky situation by using his brains over brawn. Starring: Richard Dean Anderson, Dana Elcar 08:00 am The Brady Bunch (Rpt) G The Undergraduate Here's the story of a lovely lady 1 you know how it goes! Carol married Mike, both have three children each, together with housekeeper, Alice, and dog, Tiger, they became the Brady Bunch. Starring: Robert Reed, Florence Henderson, Barry Williams, Maureen McCormick, Christopher Knight, Eve Plumb, Mike Lookinland, Susan Olsen, Ann B Davis 08:30 am Everybody Loves Raymond (Rpt) CC PG Vote For Debra, A WS Debra decides to run for school president, but Ray isn't sure he can handle the twins by himself during all those meetings so he votes against her. Starring: Ray Romano, Patricia Heaton, Doris Roberts, Peter Boyle, Brad Garrett 09:00 am Touched By An Angel (Rpt) PG The Penalty Box Be inspired as Monica, Tess and Andrew bring messages of hope and love from God to the people who need His guidance the most. -
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. -
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 -
POD STRECHAMI SPRINGFIELDU Diplomova
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA DĚJINY DIVADELNÍCH, FILMOVÝCH A MEDIÁLNÍCH STUDIÍ magisterská diplomová práce POD ST ŘECHAMI SPRINGFIELDU (Under Roofs of Springfield) Simpsonovi – kontext a analýza stylu, témat a narativu (The Simpsons - Context and an Analysis of Style, Themes and Narrativity) Bc. Lukáš GREGOR rok 2008 Prohlášení: Prohlašuji, že jsem tuto práci vypracoval samostatně a použil literaturu a prameny uvedené v seznamu. Pod ěkování: Chci pod ěkovat Mgr. Jakubu Kordovi za vedení, jeho doporu čení a rady, kterými mi dopomohl k výslednému tvaru. 2 OBSAH ÚVOD ........ 005 PRÁCE S LITERATUROU ........ 008 I. KONTEXT ........ 014 I. 1. Cesta amerického animovaného filmu z kina sm ěrem k televizi……. 016 I. 2. Animovaný seriál v televizi........ 021 I. 3. Animovaný seriál v prime time........ 026 II. ANALÝZA STYLU ....... .033 III. TEMATICKÁ ANALÝZA ........ 040 III.1. Hlavní témata…….. 041 III.1.1. Televize uvnitř televize…….. 041 III.1.2. Politika, justice a policie…….. 049 III.1.3. Rodina…….. 054 III.1.3.1. Obraz rodiny v amerických televizních seriálech... 054 III.1.3.2. Obraz rodiny v Simpsonových …….. 059 III.2. Lidská práva a hodnoty…….. 071 III.2.1. Víra a náboženství…….. 071 III.2.2. Stá ří…….. 076 III.2.3. Vzd ělání…….. 080 III.3. Násilí……. .082 IV. ANALÝZA NARATIVU ……. .087 IV.1. Úvod do naratologie Simpsonových ……. .088 IV.1.1. Žánr……. .088 IV.1.2. Struktura zápletek……. .090 IV.1.3. Narativní techniky a plán d ěje……. .092 IV.1.4. Postavy……. .093 IV.1.5. Čas a prostor……. .095 IV.2. Úvod do intertextuality Simpsonových ……. .098 IV.2.1. -
Turabian Citation Style the Chicago Style for Students and Researchers, 7Th Edition, by Kate Turabian
Turabian Citation Style The Chicago Style for Students and Researchers, 7th edition, by Kate Turabian This is a general guide to the Turabian notes-bibliography style of citation, used most often by the History and Music Departments. It is intended to help you understand the kind of information you should be keeping track of as you research and to help you begin to create you bibliography. There are a number of other rules, suggestions, and allowances for creating your bibliography. Please consult the Manual for Writers of Research Papers, Theses, and Dissertations, 7th ed., which is located behind the Circulation Desk at the West Library. You can also ask one of the librarians ([email protected]) or your professor if you have any questions or need help. Preparing your Citations Books (Turabian: 17.1) Footnote: Give the author’s name as it appears on the title page. List the complete book title, including subtitle, italicized. Include the city of publication, the state of publication (if published in the US and the state isn’t obvious or mentioned in the publisher’s name), name of publisher (eliminate abbreviations such as Co. or Ltd.), and year of publication. All information should be given as it appears on the title page. Include the pages referenced. 1. Philipp Ziesche, Cosmopolitan Patriots: Americans in Paris in the Age of Revolution, (Charlottesville: University of Virginia Press, 2010), 105-8. Bibliography: Ziesche, Philipp. Cosmopolitan Patriots: Americans in Paris in the Age of Revolution. Charlottesville: University of Virginia Press, 2010. See the Turabian guide (section 17.5) for special situations or specific types of monographs. -
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.