In short, I intend to. Darrell Hamamoto. Hamamoto's claim is applicable to many contemporary. More importantly, The Simpsons embodies a. Of course, being a part of the commercial television system, there. Therefore, the show's satire prompts us to ask questions about the viability of subversive or. III To do so, I intend to discuss The Comment [ 3]: Argues for the importance of considering topics like Simpsons in relation to the televisual system in which it operates, examining the degree to which television shows by defining the "work" of the mass media, particularly in relation to identity politics.
The Simpsons, as a satirical artwork, challenges dominant ideologies and the degree to which the Also summarizes the topic's theoretical show, as a commercial product of contemporary American culture, might unquestioningly significance, and introduces the "strategy" by which the project will proceed—the perpetuate such ideologies.
Dobson, Parisi do so only tangentially, in deference to the author's primary concerns. The aim. For more, see Griffin, Kercher, and Weisenburger. IV As a product of the commercial television industry, The Simpsons is marked by a Comment [ 4]: Provides the definition of and evidence for one of the large degree of ambivalence and ambiguity on most highly politicized issues.
This, of course, argumentative points of the thesis that the importance of the topic is related to its nature as satire , and also addresses and can be seen as an accurate reflection of the ambivalence that many citizens have on such issues undercuts the most likely counterarguments to the proposed claim. Does the show, as a satire,.
This study, borrowing from Stuart Hall's model of cultural analysis, will concentrate. V I am aware that the other half of Hall's model i. This is one form that the Morley's The Nationwide Audience , Ien Ang's Watching Dallas , and John Fiske's "literature review" can take, and it is the strategy employed overall throughout the proposal.
Raises several smaller-scale or Television Culture , and these texts inspired the first wave of significant television discrete questions that will drive the project generally. The Simpsons e. VI Although quite recent and limited in Comment [ 6]: Continues to explain the project's orientation toward other work scope, these studies offer interesting insights into how various audiences actively read and on the subject.
Provides a discussion of a model for cultural analysis that the writer wants to employ, and the methodology for respond to The Simpsons. Where useful and relevant, I will draw upon such qualitative research this model and how the proposed research will differ from it. However, a full and comprehensive treatment of the reception of. The first section of this project will discuss The Simpsons in relation to its predecessors.
VII The Simpsons is part of a trajectory that Comment [ 7]: Begins to lay out the proposed organization of the project, extends from The Flintstones and The Jetsons to contemporary comedies such as King of the through sections rather than specific chapter summaries, and discusses some of the topic's historical background.
Hill and Family Guy. Both The Flintstones and The Jetsons offered a vision of the traditional Although this paragraph and the ones that nuclear family in its own version of a suburban environment respectively, the Stone Age and follow employ a relatively large amount of historical detail, this may be necessary when the topic might be considered the Space Age , and through this each provided oblique commentary on modem life.
Being firmly television shows seriously in fact has a quite long and well-established history. The Jetsons was modeled upon The Flintstones and designed to capitalize upon its success; however, The Jetsons failed as a primetime show and ran only one year, from to it only later became popular as a Saturday-morning children's show Brooks , The next section of the project will discuss the history of Fox Television, the origins of. Here I will draw principally from the histories of Fox Television e.
Chenoweth and Kiernan , and. VIII When The Simpsons began, Fox was a Comment [ 8]: Continues to outline the substantive approaches, the newcomer to the network game and needed to carve out a niche, which it did by offering intellectual perspectives, that will be employed. Also repeats the proposal's rhetorical strategy of raising discrete "edgy" and provocative fare. Has The Simpsons become more ''user friendly"? Has The. Simpsons become less reliant upon satire-especially satire aimed at its parent-and more likely to.
The remaining sections of the project will approach The Simpsons thematically, Comment [ 9]: Continues to outline concentrating on issues of race, ethnicity, nationality, class, gender, and sexuality.
IX I will the substantive approaches, the intellectual perspectives, that will be situate specific episodes of The Simpsons in the historical, social, and political contexts in employed. For this, I will draw on scholarship produced by. Morrison, Roediger. X My concern here is with the way in which The Simpsons constructs Comment [ 10]: In addition to asking more smaller-scale questions that will "American" identity.
As a satire, The Simpsons offers sharp critiques of many of the cherished drive specific sections of the project, further situates some of its argumentative points through reference to other literature myths of "American" identity, and it often displays welcome expressions of opposition to on theoretical approaches to identity politics.
However, explicitly and implicitly, the show also often relies upon Note that here and for the next three paragraphs the proposal was criticized for the traditions of assimilation and the myth of' 'the melting pot," and it often appears to advocate resorting to a vague and repetitive "On the issue of X" rather than working to explain the ideal of a meritocracy.
Such observations lead to a host of questions, among them: How what these "issues" actually consist of. Simpson family as well as other whites as compared to other and "othered" members of the.
The intention here is to reflect upon the politics of race, ethnicity,. The Simpsons is an inheritor of this sporadic working-class tradition, but its own class politics.
XI The show is often seen as a Comment [ 11]: Contrasts the project's approach to others that have been continuation of the WASP tradition, as many presume that The Simpsons are a middle-class employed on similar television shows or mass-media texts. However, the class status of the Simpson family is not so easy to determine. Simpsons is nowhere more evident than in the use of the ''white trash" characters Cletus and.
Brandine Delroy. The Delroys are a blind spot in the otherwise sophisticated satire of The Simpsons. After The Flintstones left the air in , no other working family series appeared on television until All in the Family in January of XII Contrary to most mainstream media, The Simpsons enacts a gay sensibility by Comment [ 12]: Continues to explain the projects theoretical antecedents in making abundant allusions to gay life and sexual orientation, flaunting a camp sensibility, relation to subsets of identity politics.
In this section, I will talk again about the differences. XIII This section will Comment [ 13]: Situates this particular section within other work on the specifically explore the representation of women on The Simpsons and examine how the show subject. Understandings of. Alba, Richard and Victor Nee.
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Gross, Larry. Front Matter Pages i-xi. Pages Back Matter Pages About this book Introduction How is The Simpsons a satirical artwork engaged with important social, political, and cultural issues? In time for the twenty-fifth anniversary, Henry offers the first comprehensive understanding of the show as a satire and explores the ways in which The Simpsons participates in the so-called "culture war" debates taking place in American society. About the authors Matthew A.
Reviews "[This] book is well written, well organized, and well researched, drawing heavily on literature on [The Simpsons] and on satire in general. James Q. In recent years, there has been a growth in scholarship rejecting earlier analyses and affirming the idea of a polarized populace.
For more, see Alan I. Abramowitz and Kyle L. CrossRef Google Scholar. Darrell Y. It should be noted that Simpson approaches satire from a largely traditional literary and linguistic perspective. Malden, MA: Blackwell, , Jonathan Gray, Jeffrey P. Jones, and Ethan Thompson, eds. Steven C. Stephan E. The Daily Show has recently drawn a great deal of critical and scholarly attention.
Michael L. Paul R. Jeffrey P. Amarnath Amarasingam, ed. Horace Newcomb, ed.
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