Family Guy Character Analysis

To conclude, I would like to focus on the main types of humor illustrated in the pilot episode of Family Guy. After my analyses of the opening credits, episode titles and pilot episode, I realized that Zabalbeascoa’s classification of humor types (“Humor and Translation” 189-195) was almost useless in this case study, as it did not refer to audiovisual uses of humor. I believe Davies’ classification of jokes according to their translatability (148) is more adapted to this example, which thus confirms her theories. However, in order to examine the humor of the episode more deeply, let us go back to Mogorrón Huerta’s classification of humor in audiovisual text (77-84), which is more detailed than that of Davies.
The humor linked to linguistic

However, this does not mean that there is nothing to be gained from such a procedure. Even though some jokes were lost in translation, and some references were radically changed, it appears the adapted version is, on its own, a funny animated sitcom. The adaptation generally respects the main spirit of the show (Taillon): the catchphrases were carefully handled, the general vulgarity and register were kept, many cultural references are still present and the dark humor as a whole is still reflected. Thus, the series might not be as popular in France and other French-speaking regions as in the US, but on the whole, it embodies the same values and humor. Les Griffin might not be ninety percent funny, yet it still is at least seventy-five percent comical, which can be enough for a show to satisfy viewers. Furthermore, the target audience of the series in France is not necessarily the same as in the US. As I have already mentioned, countries like Italy and Canada have a much younger viewership for this type of show because of the fact that they are cartoons. In the case of France, I believe Les Griffin is probably perceived similarly to Les Simpson: the main audience is made of adults although some children are allowed to watch the show despite its vulgarity. In the case of Family Guy, it seems there was no anticipation of the exportation of the series. Nonetheless, this does not mean that there was no investment from FOX in the adaptation and choice of voicing actors, as was the case with The Simpsons (Ferrari 19). After all, Family Guy does also have some kind of global reach (Ferrari 21-24): even though a huge part of the humor is typically American, it is extremely varied and can be at least partly understood by a non-US