The Simpsons S23e13 Subtitles
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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 ................................................................................................... -
Set in Scotland a Film Fan's Odyssey
Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor. -
Gender Roles & Occupations
1 Gender Roles & Occupations: A Look at Character Attributes and Job-Related Aspirations in Film and Television Stacy L. Smith, PhD Marc Choueiti Ashley Prescott & Katherine Pieper, PhD Annenberg School for Communication & Journalism University of Southern California An Executive Report Geena Davis Institute on Gender in Media Our earlier research shows that gender roles are still stereotyped in entertainment popular with children.1 For example, female characters in feature films populate less than 30% of all speaking roles. A slightly better percentage emerges across our research on gender roles in children’s television programming. Not only are on screen females present less frequently than on screen males, they are often sexualized, domesticated, and sometimes lack gainful employment. To illustrate this last point, our recent analysis2 of every first run general audience film (n=21) theatrically released between September 2006 and September 2009 reveals that a higher percentage of males (57.8%) than females (31.6%) are depicted with an occupation. While females hold marginally more professional jobs than their male counterparts (24.6% vs. 20.9%), women are noticeably absent in some of the most prestigious occupational posts. Across more than 300 speaking characters, not one female is depicted in the medical sciences (e.g., doctor, veterinarian), executive business suites (e.g., CEO, CFO), legal world (e.g., attorney, judge), or political arena. More optimistically, 6 of the 65 working females (9%) are shown with a job in the hard sciences or as pilots/astronauts. These findings suggest that females have not shattered as many glass ceilings in the “reel” world as one might suspect. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
The Simpsons
Cultural Clashes in Translation: The Simpsons Lucie Trčková Bachelor Thesis 2013 ABSTRAKT Tato bakalářská práce se zabývá problémy spojenými s překladem kulturních rozdílů z anglického jazyka do jazyka českého v animovaném seriálu Simpsonovi. Teoretická část je zaměřena na metody samotného překladu,inertexualitu a samotné kulturní rozdíly mezi českou a americkou kulturou. Praktická část analyzuje několik vybraných dílů seriálu Simpsonovi. Tento seriál je přímo založený na kulturních reáliích, které jsou v překladu buďto ponechány v originálním znění, a nebo je překlad přizpůsoben české kultuře. Praktická část tak poukazuje na problematikupřekladu a zachování kulturních reálií. Klíčováslova:překlad, intertextualita, kultura, Simpsonovi ABSTRACT This bachelor thesis is dealt with problems connected with cultural differences translation from English language to Czech language in American cartoon The Simpsons. The theoretical part is focused on translating methods, intertextuality and it also concerns the American and Czech cultural differences. The practical part analyses several of The Simpsons episodes. This cartoon is full of cultural allusions which are either not translated or the translation is adapted to the Czech culture. This part discusses the differences of the given translation. Keywords: translation, intertexuality, culture, The Simpsons ACKNOWLEDGEMENTS I would like to thank my supervisor Mgr. PetrVinklárek for his help, ideas and kind assistance. CONTENTS INTRODUCTION .............................................................................................................. -
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 ::: -
BUSINESS BULLETIN No. 186/2012 Friday 3 February 2012
BUSINESS BULLETIN No. 186/2012 Friday 3 February 2012 1 Contents The sections which appear in today’s Business Bulletin are in bold Section A: Today’s Business - Meetings of Committees - Meeting of the Parliament Section B: Future Meetings of the Parliament Section C: Future Meetings of Committees Section D: Oral Questions - Questions selected for First Minister’s Question Time - Questions selected for response by Ministers and junior Scottish Ministers at Question Time Section E: Written Questions – new questions for written answer Section F: Motions and Amendments Section G: Bills - New Bills introduced - New amendments to Bills - Members’ Bills proposals Section H: New Documents – new documents laid before the Parliament and committee reports published Section I: Petitions – new public petitions Section J: Progress of Legislation – progress of Bills and subordinate legislation 2 Business Bulletin: Friday 3 February 2012 Section B – Future Meetings of the Parliament Business Programme agreed by the Parliament on 1 February 2012 Wednesday 8 February 2012 2.30 pm Time for Reflection – Paul McKeown, Tibetan Buddhist, Inverness followed by Parliamentary Bureau Motions followed by Stage 3 Proceedings: Budget (Scotland) Bill followed by Business Motion followed by Parliamentary Bureau Motions 5.00 pm Decision Time followed by Members’ Business – S4M-01532 Jamie McGrigor: Designation of Special Areas of Conservation (for text of motion see Section F of the Business Bulletin for Monday 12 December 2011) Thursday 9 February 2012 9.15 am Parliamentary -
TV Set in Scotland a VIEWER’S GUIDE to FILMING LOCATIONS from the SMALL SCREEN
TV Set in Scotland A VIEWER’S GUIDE TO FILMING LOCATIONS FROM THE SMALL SCREEN INSIDE STEP BACK IN TIME WITH OUTLANDER DOCTOR WHO HAS SCOTTISH CONNECTIONS BIG SCOTS ON THE SMALL SCREEN VISITSCOTLAND.COM WITH THANKS TO JOHN LOGIE BAIRD (1888-1946) Born in Helensburgh, the Scottish engineer and inventor was a pioneer of television and the first to show TV pictures to the world. On 26 January 1926, a viable television system was demonstrated for the first time in public. John Logie Baird (© Archive Pics/Alamy Stock Photo) TV Set in Scotland Contents Foreword – Peter May 02-03 North 04-07 East 08-11 Edinburgh & The Lothians 12-15 Outlander 16-17 Greater Glasgow & The Clyde Valley 18-21 West 22-25 Central and South 26-29 Doctor Wha? 30 Big Scots, Small Screen 31 Locations Map/Index 32-33 TV Set in Scotland explores some of the many Scottish attractions and locations to have graced the small screen. From Night Mail to Ordeal by Innocence, delve into the animations, documentaries, dramas, sitcoms and soap operas which have been filmed in or inspired by Scotland over the past 80 years. And this wouldn’t be a TV guide without a selection of film highlights to enjoy. For more on Scotland’s links to the big screen, see our sister publication Set in Scotland at visitscotland.com/film Looking down to Loch Restil and the A83 road at the Rest and Be Thankful, Argyll – which was the scene of some festive Eastenders drama (see page 23) 01 Foreword Gearrannan Blackhouse Village on the Isle of Lewis, Outer Hebrides TV Set in Scotland/Foreword Butt of Lewis Lighthouse, Isle of Lewis I spent nearly six years of my life filming a long-running The series sold around the world, offering a unique look at the Gaelic-language TV series (Machair, see page 25) on the culture and geography of Scotland, in countries as diverse as Isle of Lewis. -
Department of English and American Studies English Language And
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Barbora Vágnerová Cultural Substitution in the Dubbing Translation of The Simpsons Bachelor’s Diploma Thesis Supervisor: Mgr. Renata Kamenická, Ph.D. 2015 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. Renata Kamenická, Ph.D. for her valuable advice, support and guidance. Table of Contents 1. Introduction .............................................................................................................................. 1 2. The Significance of the Culture in The Simpsons....................................................................... 4 2.1. American Culture in The Simpsons ..................................................................................... 4 2.2. The Family of the Simpsons ............................................................................................. 10 2.2.1. Homer Jay Simpson ................................................................................................... 11 2.2.2. Marge Simpson ......................................................................................................... 11 2.2.3. Bart Simpson ............................................................................................................. 12 2.2.4. Lisa Simpson ............................................................................................................. -
Visions of Community on Television Between the End of the Cold War and 9/11
Syracuse University SURFACE Dissertations - ALL SURFACE 5-1-2016 The Lonely Nineties: Visions of Community on Television between the End of the Cold War and 9/11 Paul Andrew Arras Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Arts and Humanities Commons Recommended Citation Arras, Paul Andrew, "The Lonely Nineties: Visions of Community on Television between the End of the Cold War and 9/11" (2016). Dissertations - ALL. 420. https://surface.syr.edu/etd/420 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract “The Lonely Nineties” provides a close reading of six popular series on primetime American television in the 1990s, setting their depictions of community within the context of late 20th century problems and developments in civic disengagement. This dissertation examines Seinfeld, N.Y.P.D. Blue, Law & Order, The X-Files, Touched by an Angel, and The Simpsons within their respective genres, revealing what makes nineties television distinctive, and connecting those distinctions to related developments in American social and cultural history. In the final decade when the medium still offered regularly a simultaneous experience of mass culture, television imagined communities in various states of fragmentation just as America, itself, was grappling with a fragmented age. The Lonely Nineties: