Trick, Treat, Transgress

Sandra Danneil

doi:10.5771/9783741001451

Summary

Die Simpsons sind nicht nur die berühmteste Fernseh-Familie der Welt; The Simpsons ist zudem eine der langlebigsten TV-Animationsserien der amerikanischen Fernsehgeschichte. Im Laufe von über dreißig Jahren sind die gelben Fünf aus Springfield zu einem weltweit bekannten Phänomen herangewachsen, das Akademiker zu Fans und Fans zu Akademikern macht. Die kultur- und medienwissenschaftliche Dissertation behandelt einen Teil der Serie, der von der Forschung bislang nicht beachtet wurde, die Halloween-Serie Treehouse of Horror. Es war das Ziel dieses Projekts, das Halloween special als subversiven Abkömmling von The Simpsons einer genauen Untersuchung zu unterziehen.

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Bibliographic data

Copyright year: 2021
ISBN-Print: 978-3-7410-0145-1
ISBN-Online: 978-3-7410-0145-1
Publisher: Schüren, Marburg
Language: English
Pages: 314
Product type: Book Titles

Titelei/Inhaltsverzeichnis No access Pages 1 - 4
Table of Contents No access Pages 5 - 6
Danksagung No access Pages 7 - 8
1. The Beginnings: Fox & The Simpsons No access
2. The Simpsons: A Non-Affirmative Part of Popular Culture No access
3. The Beginning of Thinking Seriously About Television No access
4. TV Studies; or, How to Establish an Independent Discipline No access
5. The Simpsons is ‘Us:’ The Early Days of Participatory Culture No access
6. Why This Book Needs to be Written No access
7. The Simpsons, Postmodernism, and Popular-Culture Studies: Between Fans and the ACAdemy No access
8. The Simpsons, Popular Culture, and Postmodern Theory: Matthew A. Henry and John Alberti No access
9. Postmodernism & Popular Satire No access
10. From The Simpsons to Treehouse of Horror: Popular Genre Mixing & Adult Animation No access
11. The Simpsons’ Halloween Special Cycle No access
12. TREEHOUSE OF HORROR: Time Travel through American Pop-Culture History No access
13. Popular-Culture History of the Digital Age: Theory, History, Analysis No access
14. To Be Continued? No access
1. Postmodernism: A Perfect Cromulent Wor(l)d? No access
2. When Postmodernism went Popular Culture No access
3. 1. Cartoon Clichés and Homeric Profundity in “The Simpsons Guy” No access
4. 1. Lisa the Wholesome: Feminist Representations in 1990s America No access
  2. Bart The Trickster: 1990s’ Boyhood between Boomer Enthusiasm and the Age of Innocence Lost No access
  3. Homer the Everyman: Representations of 1990s’ Marginalized Masculinity No access
  4. Wrapping up McRobbie: Thinking about Culture Wars with The Simpsons No access
5. 1. Appealing to the Masses: Walt Disney, Matt Groening, and the Different Ways of Cartoon Storytelling No access
  2. Morality according to THE SIMPSONS: Re-Telling Tales of Human Defectiveness and Mistaken Emancipation No access
  3. Rethinking THE SIMPSONS’ Parody: The Antithetical Gaze & Cartoon Layering No access
  4. Parody, Popular History, and TREEHOUSE OF HORROR as Historiographic Metafiction No access
6. 1. THE SIMPSONS’ Archive: Order of Disorder, or The Re-Organization of History No access
  2. The Language of TREEHOUSE OF HORROR: Reinventing American Halloween TV No access
  3. Remediation makes a New Archive: Repurposing Practices in TREEHOUSE OF HORROR No access
7. THE SIMPSONS, A Funhouse Mirror: A Conclusion No access
1. 1. What is TREEHOUSE OF HORROR? – The Boom of the ‘Danse Macabre’ No access
  2. American Broadcasting Traditions: In the Beginning there was the Radio No access
  3. TREEHOUSE OF HORROR Exclusives: Title Cards & Wraparound No access
  4. 1. Recurring Elements 1: Kang & Kodos No access
    2. Recurring Elements 2: The Couch Gag and its History No access
  5. TREEHOUSE OF HORROR’s Major Influences:EC Comics’ Scary Names & “The New Trend” No access
  6. TREEHOUSE OF HORROR: Anthology Structure & Portmanteau Films No access
  7. From Radio to Comics to TV to Cinema: Adaptation & Genre Mixing in TREEHOUSE OF HORROR No access
  8. What We’ve Learned So Far … No access
2. 1. Television: A Producer’s Medium No access
  2. The Contemporary Television Auteur No access
  3. THE SIMPSONS’ Auteurs: Fans, Filmmakers, Freaks No access
  4. The ‘Real’ Animation Auteurs: Revisiting THE SIMPSONS with Kricfalusi, Chomet, Plympton No access
  5. Auteurs’ Crossover Sphere of THE SIMPSONS’ Couch Gag No access
  6. Banksy: Street-Art Auteur for the Masses No access
  7. Fan Art, Lee Hardcastle, and the Limits of Participation No access
  8. The Collaborative Space of the Animated Archive: TREEHOUSE OF HORROR, Guillermo del Toro, and Genre Memorabi No access
  9. Conclusion: Animation Auteurs, Auteur Television, And Participatory Culture No access
3. 1. The Modern Horror Story and its Literary Touchstones No access
  2. Developing its Own Language – The Gothic of TREEHOUSE OF HORROR No access
  3. Initial Thoughts: The ‘Gothic Mode’ as Critical Activity No access
  4. Second Set of Thoughts: A Mode is not a Genre — TREEHOUSE OF HORROR’s Gothic Ways of Making Us Look at the World No access
  5. Third Set of Thoughts: History ‘Revives’ Itself – The Gothic’s Mode of Genre Participation No access
  6. TREEHOUSE OF HORROR and Narrative Complexity on the Series’ Own Medium Terms No access
  7. Transgressing Genre Boundaries: TREEHOUSE OF HORROR’s “The Island of Dr. Hibbert” & the Production of TV Horror No access
  8. Popular Gothic Fiction, Form, and Forensic Fandom: TREEHOUSE OF HORROR’s “The Raven” No access
  9. Conclusion: The Complexity of Cartoon Storytelling in TREEHOUSE OF HORROR No access
4. 1. Objects for Cinematic Horror: Television / Monsters / Abnormal Homes No access
  2. TREEHOUSE OF HORROR and the Strange Site of Television No access
  3. ‘Filling the Vacuum’ I: ToH’s “The Terror of Tiny Toon” No access
  4. ‘Filling the Vacuum’ II: ToH’s “UNnormal Activity” No access
  5. ‘Filling the Vacuum’ III: ToH’s “The Others” No access
  6. Hollywood at Home: TREEHOUSE OF HORROR and Pre-Code Hollywood No access
  7. Animating Hollywood Controversy I: Freaks and ToH’s “Freaks, No Geeks” No access
  8. Animating Hollywood Controversy II: KING KONG’s Fever Dreams of the East and ToH’s “King Homer” No access
  9. New Scares, Economic Nightmares, and Haunted Hotels: ToH’s ‘80s-Horror Retrospectives No access
  10. ToH’s ‘80s-Horror Retrospective I: New Scares No access
  11. ToH’s ‘80s-Horror Retrospective II: Economic Nightmares and “Bad Dream House” No access
  12. ToH’s ‘80s-Horror Retrospective III: Made-for-TV Cartoon Horror and “The Shinning” No access
  13. Conclusion: Horror (Begins) at Home No access
5. 1. Television’s Unrelated Storytelling: the Anthology No access
  2. Some Historical Notes on the Formula in THE TWILIGHT ZONE No access
  3. Disintegrating American Ideology with TREEHOUSE OF HORROR’s “The Bart Zone” (Fox 1991) No access
  4. Do ‘Gen Xers’ Dream of the Future? — TREEHOUSE OF HORROR’s “Stop the World, I Want to Goof Off” No access
  5. Thwarting Audience Expectation with Open Closure in TREEHOUSE OF HORROR’s “Terror at 5 1/2 Feet” No access
  6. Rope-a-Dope with American Angst in TREEHOUSE OF HORROR’s “Hungry are the Damned” No access
  7. Revenge on the Baby Boomers: Dysfunctional Masculinity in TREEHOUSE OF HORROR’s “Clown Without Pity” No access
  8. Science Fiction Becomes Real: 3-D Animation and TREEHOUSE OF HORROR’s “Homer3” No access
  9. Conclusion: The Treehouse That Matt Built on Rod’s Property No access
1. THE SIMPSONS’ TREEHOUSE OF HORROR under the Microscope of Postmodern Pop-Culture Theory No access
2. TREEHOUSE OF HORROR: Lessons to re-member No access
3. Finally: What Comes After THE SIMPSONS? No access
5 References No access Pages 273 - 286
1. TREEHOUSE OF HORROR Episode Guide No access
2. TREEHOUSE OF HORROR Reference Guide No access
3. Guest-Animated Couch-Gag Guide: THE SIMPSONS & TREEHOUSE OF HORROR No access
4. List of Figures No access
5. 1. # No access
  2. A No access
  3. B No access
  4. C No access
  5. D No access
  6. E No access
  7. F No access
  8. G No access
  9. H No access
  10. I No access
  11. J No access
  12. K No access
  13. L No access
  14. M No access
  15. N No access
  16. O No access
  17. P No access
  18. Q No access
  19. R No access
  20. S No access
  21. T No access
  22. U No access
  23. V No access
  24. W No access
  25. X No access
  26. Y No access
  27. Z No access