Nursery Rhymes

Total Page:16

File Type:pdf, Size:1020Kb

Nursery Rhymes NURSERY RHYMES 1 In pairs, read the definition of internal and external rhyme. Discuss the meaning with your teacher and analyze some examples. What are the characteristics of nursery rhymes? Most nursery rhymes make use of rhyme. Internal rhyme is rhyme that takes place inside a line or a sentence. External rhyme is rhyme that takes place at the end of lines or sentences. 2 Read again the nursery rhymes on page 118 and complete the table. Put a check mark (✔) or an X (✘) according to the type of rhyme you identify. Then correct as a class. ‘Humpty Dumpty…’ ‘Jack and Jill…’ ‘Baa, baa, black sheep…’ Internal rhyme External rhyme 3 In pairs, read the definition and check that you understand the meaning. What is a parody? A parody is an imitation of a particular writer, genre or text that produces a comic effect. 4 Read the nursery rhyme parodies and put the last line of each parody in order. Then make a drawing to illustrate the meaning of each last line. Share your work with the class and vote for the best drawing. Nursery rhyme parodies Your drawing 1 Humpty Dumpty sat on a wall Humpty Dumpty had a great fall. All the king’s horses and all the king’s men for / scrambled / again / had / eggs / breakfast / . 2 Mary had a little lamb Her father shot it dead. Now it goes to school with her, two / bread / of / between / loaves / . 3 Jack and Jill went up the hill And planned to do some kissing. Jack made a pass When they sat on the grass missing / two / his / are / now / teeth / front / . Creative Corner Worksheets - PHOTOCOPIABLE © Macmillan Education S.A. NURSERY RHYMES 5 Read the nursery rhymes. Then rewrite them to create your own versions using parody. Use the words in parentheses or your own ideas. Original nursery rhymes Your version One, two, the sky is blue, One, two, , (shoe, do, flue, glue, too, true, you, zoo) Three, four, open the door, Five, six, pick up sticks, Three, four, , Seven, eight, this is Kate, (chore, floor, more, shore, snore, war) Nine, ten, a big fat hen. Five, six, , (bricks, fix, mix, tricks) Seven, eight, , (ate, gate, date, hate, skate, wait, weight) Nine, ten, . (again, Big Ben, pen, men) Solomon Grundy, , (your name) Born on a Monday, on a Monday, 1 Christened on Tuesday, on Tuesday, Married on Wednesday, on Wednesday, Took ill on Thursday, Grew worse on Friday, on Thursday, Died on Saturday, on Friday, Buried on Sunday, on Saturday, That was the end, on Sunday, Of Solomon Grundy. That was , Of . (your name) 1 Christened: baptized Creative Corner Worksheets - PHOTOCOPIABLE © Macmillan Education S.A. MOBY-DICK 1 In groups of three or four students, discuss and answer. Then check as a class. 1 Why were the officers like the captains of the ship for several months? 2 Why do you think Captain Ahab seemed tired? 3 Why did the officers feel uneasy once the captain came on board? 4 Why did Captain Ahab smile? 2 Turn the adjectives from the box into adverbs of manner and use some of them to complete the sentences. especial uneasy nervous silent tired 1 I looked for a strange face. I just hoped there was no curse on Ahab. 2 Captain Ahab stood on deck and . 3 Under Ahab’s supervision, the officers moved on deck. 4 He came on deck more often, at night. Creative Corner Worksheets - PHOTOCOPIABLE © Macmillan Education S.A. MOBY-DICK 3 Imagine you are Captain Ahab. Think of five things you plan to do and write them in your travel log. My plans 3 . 1 I am going to . 4 . 2 . 5 . 4 In pairs, imagine you are Captain Ahab. Complete the ‘Wanted poster’ you nailed to one of the ship’s masts. Then cut it and stick it on the classroom walls. Creative Corner Worksheets - PHOTOCOPIABLE © Macmillan Education S.A. MOBY-DICK 5 In pairs, imagine how the narrator and Starbuck reacted to the news given by Captain Ahab. Draw each character and complete their thought bubbles. Share your work with the class and vote for the best one. 6 In pairs, search for stories of killer animals on the Internet and choose the most dangerous animal. You can check these websites: www.cracked.com/article_20546_5-true-stories-killer-animals-too-unrealistic-movie.html or www.cracked.com/article_18483_the-5-creepiest-serial-killers-who-were-animals.html. 7 In pairs, complete the chart with information about the story you chose. Write the headline, the lead sentence and answer the Wh- questions. Remember that the headline is the title of the article and the lead sentence is a sentence that captures the attention of the reader and sums up the story. Headline: Lead sentence: Who? What? Where? When? Why? How? Note: All the web links included in these worksheets were retrieved on November 1st, 2016. Creative Corner Worksheets - PHOTOCOPIABLE © Macmillan Education S.A. MOBY-DICK 8 In pairs, write the full article including the information in the chart in Activity 7. Stick your article on the classroom walls. WORST KILLER ANIMAL EVER Creative Corner Worksheets - PHOTOCOPIABLE © Macmillan Education S.A. BALLADS 1 In pairs, read ‘Lord Randall’ and ‘Molly Malone’ on pages 124 and 125 again and then complete the table. Check (✔) the characteristics that apply to each ballad. ‘Lord Randall’ ‘Molly Malone’ Abrupt beginning Simple and short descriptions Characters speak Refrain (words that are repeated) Supernatural elements Abrupt end Tragic end 2 In groups of three or four students, think of any ballad that you know in your language and answer: Does it have characteristics similar to the ones present in ‘Lord Randall’ or ‘Molly Malone’? Which ones? 3 In pairs, imagine Lord Randall and his mother live in modern times and they chat on WhatsApp. Write a modern version of their conversation. Then share your work with the class. Randall online Good afternoon, Lord Randall my son. Creative Corner Worksheets - PHOTOCOPIABLE © Macmillan Education S.A. BALLADS 4 This is a part of a ballad about two sisters. In pairs, read and choose the best options. Look up the words you don’t know. Once you have finished, write an end for the ballad and compare endings as a class. Choose the most effective one. There were two sisters in a hall, O Binnorie, O Binnorie; There came a (1) night / knight to court them both; By the Bonnie mill-dams of Binnorie. He gave the eldest a glove and a (2) ring / bottle, O Binnorie, O Binnorie; But he loved the youngest above all things; By the Bonnie mill-dams of Binnorie. O sister sister let’s go and (3) give / take a walk, O Binnorie, O Binnorie; And see our father’s (4) ships / bikes how they float; By the Bonnie mill-dams of Binnorie. The youngest stood on a (5) bone / stone, O Binnorie, O Binnorie; The eldest pushed her sister down; By the Bonnie mill-dams of Binnorie. O sister sister (6) push / give me your glove, O Binnorie, O Binnorie; And sweet William will be your love; By the Bonnie mill-dams of Binnorie. Creative Corner Worksheets - PHOTOCOPIABLE © Macmillan Education S.A. BALLADS 5 In pairs, imagine you work for the Tourist Information Office in Dublin and complete the brochure about Molly Malone. Where can you fi nd Molly Malone's statue? Who is Molly Malone? Malone Molly Creative Corner Worksheets - PHOTOCOPIABLE © Macmillan Education S.A. PROJECTTÍTULO – Level 3 Step 1 1 In pairs, retell to each other the following fairy tales: • ‘Cinderella’ • ‘Sleeping Beauty’ • ‘Little Red Riding Hood’ • ‘The Beauty and the Beast’ • ‘Snow White’ 2 Still in pairs, do an online search to find the original version of each fairy tale and find at least one fact you didn’t know. Write it in the table. Fairy Tale What we didn’t know… ‘Cinderella’ ‘Sleeping Beauty’ ‘Little Red Riding Hood’ ‘The Beauty and the Beast’ ‘Snow White’ Step 2 1 Sit in groups of three or four students and read the following definition. What is a retelling? A retelling is a new, and often updated, version of a story. Every time a fairy tale gets retold it becomes a different version from the previous one. Lately, lots of fairy tales have been adapted into movies. These also can be considered new retellings of fairy tales. 2 In the same groups, watch the trailers of the following movie adaptations. • Cinderella’s retelling: Disney’s Cinderella (2015) www.youtube.com/watch?v=20DF6U1HcGQ, Ever After: A Cinderella Story (1998): www.youtube.com/watch?v=SMMx37Co61Y and Another Cinderella story (2008): www.youtube.com/watch?v=gK_1oWCyEVA. • Sleeping Beauty’s retelling: Maleficent (2014) www.youtube.com/watch?v=w-XO4XiRop0 • Little Red Riding Hood’s retelling: Red Riding Hood (2010) www.youtube.com/watch?v=ekKMYAOmTj0 • The Beauty and the Beast’s retelling: Beastly (2011) www.youtube.com/watch?v=vbC1Gp-ffi4 • Snow White’s retelling: Mirror, Mirror (2012) www.youtube.com/watch?v=ILDeA7AqA84 and Snow White and the Huntsman (2012) https://www.youtube.com/watch?v=2-UMNSVX7_I Note: All the web links included in these worksheets were retrieved on November 1st, 2016. Creative Corner Worksheets - PHOTOCOPIABLE © Macmillan Education S.A. PROJECTTÍTULO – Level 3 3 Now choose one of the trailers in Activity 2 and think: What has changed from the original tale? Complete the table. In the adaptation, the fairy tale has... Example yes not been changed. no yes a strong female protagonist. no The focus has changed to… Example yes an unimportant character. no yes the antagonist. no The setting has become more… Example yes modern.
Recommended publications
  • Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
    WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal.
    [Show full text]
  • A Chilling Look Back at Jeph Loeb and Tim Sale's
    Jeph Loeb Sale and Tim at A back chilling look Batman and Scarecrow TM & © DC Comics. All Rights Reserved. 0 9 No.60 Oct. 201 2 $ 8 . 9 5 1 82658 27762 8 COMiCs HALLOWEEN HEROES AND VILLAINS: • SOLOMON GRUNDY • MAN-WOLF • LORD PUMPKIN • and RUTLAND, VERMONT’s Halloween Parade , bROnzE AGE AnD bEYOnD ’ s SCARECROW i . Volume 1, Number 60 October 2012 Comics’ Bronze Age and Beyond! The Retro Comics Experience! EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow DESIGNER Rich J. Fowlks COVER ARTIST Tim Sale COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Scott Andrews Tony Isabella Frank Balkin David Anthony Kraft Mike W. Barr Josh Kushins BACK SEAT DRIVER: Editorial by Michael Eury . .2 Bat-Blog Aaron Lopresti FLASHBACK: Looking Back at Batman: The Long Halloween . .3 Al Bradford Robert Menzies Tim Sale and Greg Wright recall working with Jeph Loeb on this landmark series Jarrod Buttery Dennis O’Neil INTERVIEW: It’s a Matter of Color: with Gregory Wright . .14 Dewey Cassell James Robinson The celebrated color artist (and writer and editor) discusses his interpretations of Tim Sale’s art Nicholas Connor Jerry Robinson Estate Gerry Conway Patrick Robinson BRING ON THE BAD GUYS: The Scarecrow . .19 Bob Cosgrove Rootology The history of one of Batman’s oldest foes, with comments from Barr, Davis, Friedrich, Grant, Jonathan Crane Brian Sagar and O’Neil, plus Golden Age great Jerry Robinson in one of his last interviews Dan Danko Tim Sale FLASHBACK: Marvel Comics’ Scarecrow . .31 Alan Davis Bill Schelly Yep, there was another Scarecrow in comics—an anti-hero with a patchy career at Marvel DC Comics John Schwirian PRINCE STREET NEWS: A Visit to the (Great) Pumpkin Patch .
    [Show full text]
  • Talisman: Batman™ Super-Villains Edition Rules
    INTRODUCTION Key Components and The object of the game is to sneak, fight and search your way through Arkham Asylum, and be the first of the Concepts Overview Villains to reach the Security Control Room at the top of This section will introduce new players to the key concepts the Guard Tower. Once there you must subdue Batman and components of Talisman. For players who are familiar and turn off all security systems. The first player to do with Batman Talisman, or the original Talisman game, we this will free all of the Villains and become the leader of recommend jumping ahead to ‘Game Set-up’ on page 6. Gotham City’s underworld, and will win the game. In order to reach the end, you’ll need to collect various Items, gain Followers and improve your Strength and Cunning. Game Board Most importantly, you will need to locate a Security Key Card The game board depicts the Villains’ hand drawn maps of to unlock the Security Control Room. Without one of these Arkham Asylum. It is divided into three Regions: First Floor powerful cards there is no hope of completing your task. (Outer Region), Second Floor (Middle Region), and Tower (Inner Region). Number of Players Up to six players can play Batman Talisman, but the more players that are participating, the longer the game will last. For this reason we suggest using the following rules for faster play. If you have fewer players, or would like to experience the traditional longer Talisman game there are alternative rules provided at the end of this rulebook on page 14.
    [Show full text]
  • Archives - Search
    Current Auctions Navigation All Archives - Search Category: ALL Archive: BIDDING CLOSED! Over 150 Silver Age Comic Books by DC, Marvel, Gold Key, Dell, More! North (167 records) Lima, OH - WEDNESDAY, November 25th, 2020 Begins closing at 6:30pm at 2 items per minute Item Description Price ITEM Description 500 1966 DC Batman #183 Aug. "Holy Emergency" 10.00 501 1966 DC Batman #186 Nov. "The Jokers Original Robberies" 13.00 502 1966 DC Batman #188 Dec. "The Ten Best Dressed Corpses in Gotham City" 7.50 503 1966 DC Batman #190 Mar. "The Penguin and his Weapon-Umbrella Army against Batman and Robin" 10.00 504 1967 DC Batman #192 June. "The Crystal Ball that Betrayed Batman" 4.50 505 1967 DC Batman #195 Sept. "The Spark-Spangled See-Through Man" 4.50 506 1967 DC Batman #197 Dec. "Catwoman sets her Claws for Batman" 37.00 507 1967 DC Batman #193 Aug. 80pg Giant G37 "6 Suspense Filled Thrillers" 8.00 508 1967 DC Batman #198 Feb. 80pg Giant G43 "Remember? This is the Moment that Changed My Life!" 8.50 509 1967 Marvel Comics Group Fantastic Four #69 Dec. "By Ben Betrayed!" 6.50 510 1967 Marvel Comics Group Fantastic Four #66 Dec. "What Lurks Behind the Beehive?" 41.50 511 1967 Marvel Comics Group The Mighty Thor #143 Aug. "Balder the Brave!" 6.50 512 1967 Marvel Comics Group The Mighty Thor #144 Sept. "This Battleground Earth!" 5.50 513 1967 Marvel Comics Group The Mighty Thor #146 Nov. "...If the Thunder Be Gone!" 5.50 514 1969 Marvel Comics Group The Mighty Thor #166 July.
    [Show full text]
  • Monitor User Manual
    Monitor User Manual S29E790C The color and the appearance may differ depending on the product, and the specifications are subject to change without prior notice to improve the performance. BN46-00442C-01 Table of contents Before Using the Product Connecting and Using a Source Screen Setup Device Copyright 5 SAMSUNG MAGIC Bright 28 Configuring SAMSUNG MAGIC Bright 28 Securing the Installation Space 6 Before Connecting 23 Precautions for storage 6 Pre-connection Checkpoints 23 Brightness 30 Configuring Brightness 30 Safety Precautions 6 Connecting and Using a PC 23 Symbols 6 Connection Using the HDMI Cable 23 Contrast 31 Cleaning 7 Connection Using the DP Cable 24 Configuring Contrast 31 Electricity and Safety 7 Connecting to Headphones or Speakers 24 Sharpness 32 Installation 8 Connecting the Power 25 Configuring Sharpness 32 Operation 10 Tidying Up the Connected Cables 26 Color 33 Correct posture to use the product 13 Driver Installation 27 Configuring Color 33 Setting Optimum Resolution 27 HDMI Black Level 34 Configuring the HDMI Black Level Settings 34 Preparations Eye Saver Mode 35 Checking the Components 14 Configuring Eye Saver Mode 35 Components 14 Game Mode 36 Parts 15 Configuring Game Mode 36 Control Panel 15 Response Time 37 Direct Key guide 16 Configuring the Response Time 37 Function Key Guide 17 Reverse Side 19 Picture Size 38 Changing the Picture Size 38 Installation 20 Adjusting the Product Tilt and Height 20 Screen Adjustment 40 Anti-theft Lock 22 Configuring H-Position & V-Position 40 2 Table of contents Configuring the
    [Show full text]
  • Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-21-2013 12:00 AM Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance Caitlin Foster The University of Western Ontario Supervisor Dr. Joseph Wlodarz The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Caitlin Foster 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Advertising and Promotion Management Commons, and the Film and Media Studies Commons Recommended Citation Foster, Caitlin, "Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance" (2013). Electronic Thesis and Dissertation Repository. 1494. https://ir.lib.uwo.ca/etd/1494 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CLASH OF THE INDUSTRY TITANS: MARVEL, DC AND THE BATTLE FOR MARKET DOMINANCE (Thesis format: Monograph) By Caitlin Foster Graduate Program in Film Studies A thesis submitted in partial fulfillment Of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Caitlin Foster 2013 Abstract This thesis examines the corporate structures, marketing strategies and economic shifts that have influenced the recent resurgence of the comic book superhero in popular Hollywood cinema. Using their original texts and adaptation films, this study will chronologically examine how each company’s brand identities and corporate structures have reacted to and been shaped by the major cultural and industrial shifts of the past century in its attempt to account for the varying success of these companies throughout their histories.
    [Show full text]
  • Working Paper Series
    Working Paper Series SPECIAL ISSUE: REVISITING AUDIENCES: RECEPTION, IDENTITY, TECHNOLOGY Superheroes and Shared Universes: How Fans and Auteurs Are Transforming the Hollywood Blockbuster Edmund Smith University of Otago Abstract: Over the course of the 2000s, the Hollywood blockbuster welcomed the superhero genre into its ranks after these films saw an explosion in popularity. Now, the ability to produce superhero films through an extended transmedia franchise is a coveted prize for major studios. The likes of Sony, 20th Century Fox, and Warner Bros. are locked in competition with the new kid on the block, Marvel, who changed the way Hollywood produces the blockbuster franchise. Drawing upon my previous and current postgraduate work, this essay will discuss fans and authorship in relation to the superhero genre which, I posit, exemplifies the industrial model of the Hollywood blockbuster and the cycle of appropriation and revitalisation that defines it. I will explain how studios like Marvel call upon up-and-coming directorial talent to further legitimise their films in order to appeal to middlebrow expectations through auteur credibility. Such director selection demonstrates: 1) how the contemporary auteur has become commodified within transmedia franchise blockbusters and, 2) how, due to the conflicting creative and commercial interests inherent to the blockbuster, these films are now supported by a form of co-dependent authorship. Related to this, I will also explore how fans function within this industrial context and the effect that their fannish support and promotion of superhero films has had on the latter’s viability as a staple of studio production. ISSN2253-4423 © MFCO Working Paper Series 3 MFCO Working Paper Series 2017 Introduction From the 2000s, through to the present day, the superhero film has seen a titanic increase in popularity, becoming a staple of the mainstream film industry.
    [Show full text]
  • What Superman Teaches Us About the American Dream and Changing Values Within the United States
    TRUTH, JUSTICE, AND THE AMERICAN WAY: WHAT SUPERMAN TEACHES US ABOUT THE AMERICAN DREAM AND CHANGING VALUES WITHIN THE UNITED STATES Lauren N. Karp AN ABSTRACT OF THE THESIS OF Lauren N. Karp for the degree of Master of Arts in English presented on June 4, 2009 . Title: Truth, Justice, and the American Way: What Superman Teaches Us about the American Dream and Changing Values within the United States Abstract approved: ____________________________________________________________________ Evan Gottlieb This thesis is a study of the changes in the cultural definition of the American Dream. I have chosen to use Superman comics, from 1938 to the present day, as litmus tests for how we have societally interpreted our ideas of “success” and the “American Way.” This work is primarily a study in culture and social changes, using close reading of comic books to supply evidence. I argue that we can find three distinct periods where the definition of the American Dream has changed significantly—and the identity of Superman with it. I also hypothesize that we are entering an era with an entirely new definition of the American Dream, and thus Superman must similarly change to meet this new definition. Truth, Justice, and the American Way: What Superman Teaches Us about the American Dream and Changing Values within the United States by Lauren N. Karp A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented June 4, 2009 Commencement June 2010 Master of Arts thesis of Lauren N. Karp presented on June 4, 2009 APPROVED: ____________________________________________________________________ Major Professor, representing English ____________________________________________________________________ Chair of the Department of English ____________________________________________________________________ Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries.
    [Show full text]
  • 13 Superhero Passages
    13 Informational Text Passages w/TDQs Can be used in centers, for Close Reading for ELA Assessments, or will make up to 13 weeks of homework. Text Evidence Practice! Aligned to CCSS Teacher’s Guide Thank you so much for purchasing! Background: Citing text evidence is a difficult task for many students. Children are inclined by nature to use their background knowledge. This packet will help students to maintain integrity to “Cite the Evidence”. You will find the structural response system known as RACE on pages where it applies. This communicates the manner in which to answer questions. Parents and students understand expectations. Utilizations: This packet can be used during small group time for guided reading and/or close reading. As the teacher, you can have students highlight, code the text, attend to structural analysis, and conduct vocabulary mini-lessons. Students can then revisit the piece for homework. For each passage, you will find two pages of text dependent questions aligned to Common Core standards. This makes it appropriate to use for assessment purposes. Passage borders are corrugated. This makes it easy for you to match up for your files or when creating homework packets. I have the passages duplicated without border. Scroll to the end of the unit or click here. The purpose of the passages without border is so you have room to code text and annotate in the margins. These passages were specifically designed for Close Reading. Examine word choice! Examine functions of words and sentences. I worked VERY HARD on this unit. Please leave kind feedback and respectable ratings.
    [Show full text]
  • Vigilantes, Incorporated: an Ideological Economy of the Superhero Blockbuster
    VIGILANTES, INCORPORATED: AN IDEOLOGICAL ECONOMY OF THE SUPERHERO BLOCKBUSTER BY EZRA CLAVERIE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor José B. Capino, Chair Associate Professor Jim Hansen Associate Professor Lilya Kaganovsky Associate Professor Robert A. Rushing Professor Frank Grady,Department of English, University of Missouri, Saint Louis ii ABSTRACT Since 2000, the comic-book superhero blockbuster has become Hollywood’s most salient genre. “Heroes, Incorporated: A Political Economy of the Superhero Blockbuster” examines these seemingly reactionary fantasies of American power, analyzing their role in transmedia storytelling for a conglomerated and world-spanning entertainment industry. This dissertation argues that for all their apparent investment in the status quo and the hegemony of white men, superhero blockbusters actually reveal the disruptive and inhuman logic of capital, which drives both technological and cultural change. Although focused on the superhero film from 2000 to 2015, this project also considers the print and electronic media across which conglomerates extend their franchises. It thereby contributes to the materialist study of popular culture and transmedia adaptation, showing how 21st century Hollywood adapts old media for new platforms, technologies, and audiences. The first chapter traces the ideology of these films to their commercial roots, arguing that screen superheroes function as allegories of intellectual property. The hero’s “brand” identity signifies stability, even as the character’s corporate owners continually revise him (rarely her).
    [Show full text]
  • Fun Bookbook INCLUDES ANSWERS for LAST WEEK’S PUZZLES! Show Your Teacher Appreciation!
    Number 3! FunFun BookBook INCLUDES ANSWERS FOR LAST WEEK’S PUZZLES! Show Your Teacher Appreciation! LIST YOUR TEACHER Write your teacher’s name in the blank box on the Toucan coloring sheet on the next page. COLOR THE SHEET Be as creative as you like, and fill in as much of the coloring sheet as you want. Just the Toucan? Great! The background, too? Awesome! Use crayons, markers, watercolor, colored pencils, pastels–anything you have on hand. Add stickers or glitter–you name it! SHARE A PHOTO Take a photo of the colored sheet by itself, or take a photo holding it up! Then, with your parent’s permission, send the photo to your teacher. Bonus step! Share the photo on social media with the tags: @comicconmuseum #comicconmuseum #teacherappreciationweek #teacherappreciation FUN BOOK #3 @comicconmuseum #comicconmuseum is a superhero! From original art by Rick Geary @comicconmuseum #comicconmuseum Tools for Introspection: “Gracias” Coloring sheet by artist Gloria Muriel (@gloriamuriel) FUN BOOK #3 @comicconmuseum #comicconmuseum WonderCon 2020 Guests Learn more about Author Nalo Hopkinson. ACROSS DOWN 4. Imprint that published Hopkinson's first novel. 1. A converted building she dreams of living in one day. 6. One of Homer's epic poems, which Hopkinson was 2. Abby's sister in Hopkinson's novel Sister Mine. reading by age 10. 3. Material Hopkinson designs for, besides wallpaper and 9. Protagonist of Vertigo's House of Whispers, written by gift wrap. Hopkinson. 5. University of California where she teaches Creative 11. Term for the way twins Abby and 2 Down were born. Writing. 12. Genderqueer follower of 9 Across in House of Whispers.
    [Show full text]
  • Collective of Heroes: Arrow's Move Toward a Posthuman Superhero Fantasy
    St. Cloud State University theRepository at St. Cloud State Culminating Projects in English Department of English 12-2016 Collective of Heroes: Arrow’s Move Toward a Posthuman Superhero Fantasy Alyssa G. Kilbourn St. Cloud State University Follow this and additional works at: https://repository.stcloudstate.edu/engl_etds Recommended Citation Kilbourn, Alyssa G., "Collective of Heroes: Arrow’s Move Toward a Posthuman Superhero Fantasy" (2016). Culminating Projects in English. 73. https://repository.stcloudstate.edu/engl_etds/73 This Thesis is brought to you for free and open access by the Department of English at theRepository at St. Cloud State. It has been accepted for inclusion in Culminating Projects in English by an authorized administrator of theRepository at St. Cloud State. For more information, please contact [email protected]. Collective of Heroes: Arrow’s Move Toward a Posthuman Superhero Fantasy by Alyssa Grace Kilbourn A Thesis Submitted to the Graduate Faculty of St. Cloud State University in Partial Fulfillment of the Requirements for the degree of Master of Arts in Rhetoric and Writing December, 2016 Thesis Committee: James Heiman, Chairperson Matthew Barton Jennifer Tuder 2 Abstract Since 9/11, superheroes have become a popular medium for storytelling, so much so that popular culture is inundated with the narratives. More recently, the superhero narrative has moved from cinema to television, which allows for the narratives to address more pressing cultural concerns in a more immediate fashion. Furthermore, millions of viewers perpetuate the televised narratives because they resonate with the values and stories in the shows. Through Fantasy Theme Analysis, this project examines the audience values within the Arrow’s superhero fantasy and the influence of posthumanism on the show’s superhero fantasy.
    [Show full text]