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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 ................................................................................................... -
Treehouse of Horror: Dead Mans Jest Free
FREE TREEHOUSE OF HORROR: DEAD MANS JEST PDF Matt Groening | 123 pages | 01 Sep 2008 | HarperCollins Publishers Inc | 9780061571350 | English | New York, NY, United States The Simpsons Treehouse of Horror Dead Man's Jest - Wikisimpsons, the Simpsons Wiki That is one of the many stories in which there are self-referential jokes, a nice touch that Simpsons fans will find amusing. There are secondary plot lines in two of the stories about comics, the comic industry, and the challenges to comics over the years. These jokes will probably go over the heads of younger readers, but they should get enough to find them funny. Inserts between comic Treehouse of Horror: Dead Mans Jest allow Bart time to tell readers how to craft a great haunted house or which candy to avoid. These are funny and add a touch of MAD Magazine to the whole book. Simpsons comics tend to circulate until they fall apart, so libraries will be happy to know that the binding for this oversized graphic novel feels tight and sturdy. A nice choice for libraries looking for horror silliness Treehouse of Horror: Dead Mans Jest a great selection for fans of The Simpsons. Snow Wildsmith is a writer and former teen librarian. Printz Award Committee. Currently she is working on her first books, a nonfiction series for teens. Please visit the original post to see the rest of the […]. Notify me of followup comments via e-mail. You can also subscribe without commenting. Follow This Blog:. Filed Under: Graphic NovelsReviews. About Snow Wildsmith Snow Wildsmith is a writer and former teen librarian. -
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. -
PD! Adds a New Dimension to the Sim Psons™
ft/ss For Immediate Release Contact: Abby Letteri l>l>l (408) 745-6755 PD! Adds a New Dimension to The Simpsons™ Animation Studio Creates First-ever 3D Animation of Homer and Bart for Halloween Episode October 24, 1995 (Sunnyvale, CA) -- For the first time ever, Homer and Bart Simpson will be brought to the screen as three-dimensional characters, rendered in state-of-the-art computer animation by Pacific Data Images. "Treehouse of Horror VI,” the latest installment in The Simpsons' popular Halloween specials, features Homer3, a parody of a memorable episode of "The Twilight Zone” in which a young girl passes through a wall and is trapped in the 4th dimension. As in years past, "Treehouse of Horror VI” features three vignettes, each a parody of a Hollywood legend or cultural icon. Spoofs of'50's monster movies, "Nightmare on Elm Street,” and "The Twilight Zone,” will be showcased in this year's episode slated to air on October 29th at 8pm on Fox. In the climactic moments of "Treehouse of Horror VI," Homer accidentally steps into the third dimension while desperately trying to avoid his sisters-in-law, Patty and Selma. Having lived his entire life in the 2D world, Homer enjoys his new depth until, through a minor mishap, he creates a black hole which threatens to engulf the entire universe. Bart alone is brave enough to cross over into this other world, in an attempt to save his father. According to The Simpsons’ executive producers, Bill Oakley & Josh Weinstein, “PDI has provided a caliber and quality of animation never before seen on series television .. -
Simpson Treehouse of Horror 7 Download Free Simpsons Treehouse of Horror Font
simpson treehouse of horror 7 download free Simpsons Treehouse of Horror Font. Visit www.24hourfonts.co.uk or www.geocities.com/theknightfoughtweakly/fonts or www.24hourbauer.co.uk for details. 2008 Made by David Martin Visit 24hourfonts.co.uk for details. Legal notice. Cufonfonts.com's fonts are uploaded by our members. The license information stated by the members is usually correct but we cannot guarantee it. We give great importance to copyright and have developed some techniques to make sure that the previously mentioned issue doesn't occur, also the system automatically displays the copyright information of the font here. If you believe that this font is in violation of copyright and isn't legal, please let us know in order for the font to be removed or revised. The legal authority of the font can make a request using the "Report a Violation" button above. You can also check the legal and commercial status of this font; It is the users' own legal responsibility to download and use this font. Simpsons Treehouse of Horror 0.1.0. Simpsons Treehouse of Horror pays homage to the classic game with beat-em-up gameplay and an alien invasion storyline. Gamepads are supported, and all keyboard controls can be customized and sound and video options as well. Each level gets progressively difficult, and just when you think you have it down pat, the boss appears. A similar, difficult character will also appear in the next level. Watch for random cans which give you a power-up donut. You're going to need it. -
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 ::: -
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 -
The Performance of Interactive Narrative Experiences
School of Media, Culture, and Creative Arts Department of Communication and Cultural Studies Techno-Historical Limits of the Interface: the Performance of Interactive Narrative Experiences Andrew Hutchison This thesis is presented for the Degree of Doctor of Philosophy of Curtin University of Technology June 2009 Declaration To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material that has been accepted for the award of any other degree or diploma in any university. Signature: …………………………………………. Date: ………………………... 2 Abstract This thesis takes the position that current analyses of digitally mediated interactive experiences that include narrative elements often lack adequate consideration of the technical and historical contexts of their production. From this position, this thesis asks the question: how is the reader/player/user's participation in interactive narrative experiences (such as hypertext fiction, interactive fiction, computer games, and electronic art) influenced by the technical and historical limitations of the interface? In order to investigate this question, this thesis develops a single methodology from relevant media and narrative theory, in order to facilitate a comparative analysis of well known exemplars from distinct categories of digitally mediated experiences. These exemplars are the interactive fiction Adventure, the interactive art work Osmose, the hypertext fiction Afternoon, a story, and the computer/video games Myst, Doom, Half Life and Everquest. The main argument of this thesis is that the technical limits of new media experiences cause significant ‘gaps’ in the reader’s experience of them, and that the cause of these gaps is the lack of a dedicated technology for new media, which instead ‘borrows’ technology from other fields. -
Functions of Intermediality in the Simpsons
Functions of Intertextuality and Intermediality in The Simpsons Der Fakultät für Geisteswissenschaften der Universität Duisburg-Essen zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) eingereichte Dissertation von Wanja Matthias Freiherr von der Goltz Datum der Disputation: 05. Juli 2011 Gutachter: Prof. Dr. Josef Raab Prof. Dr. Jens Gurr Table of Contents List of Figures...................................................................................................................... 4 1. Introduction .............................................................................................. 5 1.1 The Simpsons: Postmodern Entertainment across Generations ................ 5 1.2 Research Focus .............................................................................................11 1.3 Choice of Material ..........................................................................................16 1.4 Current State of Research .............................................................................21 2. Text-Text Relations in Television Programs ....................................... 39 2.1 Poststructural Intertextuality: Bakhtin, Kristeva, Barthes, Bloom, Riffaterre .........................................................................................................39 2.2 Forms and Functions of Intertextual References ........................................48 2.3 Intertextuality and Intermediality ..................................................................64 2.4 Television as a -
Stereotyping Scotland: Groundskeeper Willie's Illocutionary
.........................................................................................CROSSROADS. A Journal of English Studies 32 (2021) (CC BY-NC-SA 4.0) DANIELA FRANCESCA VIRDIS1 DOI: 10.15290/CR.2021.32.1.02 University of Cagliari, Italy ORCID: 0000-0003-2819-3847 Stereotyping Scotland: Groundskeeper Willie’s illocutionary acts in The Simpsons2 Abstract. This article explores the Scottish character of Groundskeeper Willie in the American animat- ed sitcom The Simpsons with a pragmatic and social-psychological approach. It firstly introduces Willie’s linguistic and visual features, the sample of three episodes the analysis is based on, Scottish stereotypes in Lindsay’s (1997) sociological research, and Searle’s (1976) taxonomy of illocutionary acts (representa- tives or assertives, directives, commissives, expressives and declarations). Secondly, the turns uttered by the groundskeeper in the sample are classified by applying Searle’s taxonomy, and his illocutionary acts are examined in their contexts and compared with the list of national-ethnic Scottish stereotypes compiled by Lindsay. This study demonstrates that Willie’s illocutionary acts and the stereotypes they convey depict him as a figure characterised by positive traits; nevertheless, the responses his illocution- ary acts are met with not only counter his pleasant aspects, but also ultimately represent the Scottish groundskeeper as a ludicrous victim of his American fellow townspeople. Keywords: Groundskeeper Willie; The Simpsons; Lindsay’s (1997) list of national-ethnic Scottish stereo- types; stereotypes; Searle’s (1976) taxonomy of illocutionary acts; pragmatics. 1. Scottish Groundskeeper Willie and national-ethnic stereotypes in The Simpsons Groundskeeper Willie is one of the recurring figures in the American animated sitcom The Simpsons, broadcast by Fox Broadcasting Company from 1989 to the present. -
The Simpsons” and Intertextuality – How a Cartoon Initiated a Second Boom in Prime Time Animation
DIPLOMARBEIT Titel der Diplomarbeit “The Simpsons” and Intertextuality – How a cartoon initiated a second boom in Prime Time Animation Verfasserin Claudia Czernecki angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 20. Dezember 2012 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Diplomstudium Anglistik und Amerikanistik Betreuer: Priv.-Doz. Dr. Stefan L. Brandt E-mail adresse: [email protected] Table of Contents Introduction: The Simpsons - Entertainment across generations? .......................................... 1 1. The Simpsons’ production background - A fresh breeze in a stale media landscape .... 4 1.1. The Simpsons’ potential as an animated series ...................................................................... 9 1.2. The Simpsons emerges as a sophisticated and reflective show ........................................... 16 2. Postmodernism – How The Simpsons represents a cultural movement ....................... 24 2.1. The Simpsons rejects metanarratives ................................................................................... 26 2.2. The Simpsons represents a fragmented and plural society .................................................. 33 2.3. Why is The Simpsons hyperreal? ......................................................................................... 36 2.3.1 Homer the passive television viewer .................................................................................................. 38 2.3.2 Cartoon within a cartoon ..................................................................................................................