Women Lacking Complexity
Total Page:16
File Type:pdf, Size:1020Kb
Load more
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. -
Download Kill Or Be Killed Volume 1 Pdf Ebook by Ed Brubaker
Download Kill or Be Killed Volume 1 pdf ebook by Ed Brubaker You're readind a review Kill or Be Killed Volume 1 ebook. To get able to download Kill or Be Killed Volume 1 you need to fill in the form and provide your personal information. Ebook available on iOS, Android, PC & Mac. Gather your favorite books in your digital library. * *Please Note: We cannot guarantee the availability of this book on an database site. Ebook Details: Original title: Kill or Be Killed Volume 1 Series: Kill or Be Killed 128 pages Publisher: Image Comics (January 24, 2017) Language: English ISBN-10: 1534300287 ISBN-13: 978-1534300286 Product Dimensions:6.4 x 0.5 x 10 inches File Format: PDF File Size: 15503 kB Description: The bestselling team of ED BRUBAKER and SEAN PHILLIPS (THE FADE OUT, CRIMINAL, FATALE) return with KILL OR BE KILLED, the twisted story of a young man forced to kill bad people, and how he struggles to keep his secret from destroying his life.Both a thriller and a deconstruction of vigilantism, KILL OR BE KILLED is unlike anything BRUBAKER & PHILLIPS... Review: Finally found what Im looking for in a comic. The way this story is written makes you feel like it could actually happen (provided demons were real). Brubaker is really good at placing you in the head of the main character. I would recommend this to anyone who is into dark, gritty fantasies set in the modern world. The plot reminds me of the anime... Ebook File Tags: main character pdf, brubaker and phillips pdf, bad people pdf, looking forward pdf, sean phillips pdf, wait for volume pdf, comic book pdf, kill or be killed pdf, kill bad pdf, demon pdf, comics pdf, dylan pdf, liberal pdf, art pdf, dark pdf, protagonist pdf, vigilante pdf, artwork pdf, killing pdf, pages Kill or Be Killed Volume 1 pdf book by Ed Brubaker in pdf books Kill or Be Killed Volume 1 be killed 1 or volume pdf kill killed volume 1 be or fb2 killed kill or volume be 1 ebook 1 volume killed or kill be book Kill or Be Killed Volume 1 1 Volume or Be Kill Killed it's not worth the money. -
Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader 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 May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing. -
Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 4-2-2016 “Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Criminal Law Commons, Criminology Commons, Family, Life Course, and Society Commons, Public Affairs, Public Policy and Public Administration Commons, and the Social Control, Law, Crime, and Deviance Commons Bosch, Brandon, "“Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films" (2016). Sociology Department, Faculty Publications. 287. http://digitalcommons.unl.edu/sociologyfacpub/287 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 17, ISSUE 1, PAGES 37–54 (2016) Criminology, Criminal Justice Law, & Society E-ISSN 2332-886X Available online at https://scholasticahq.com/criminology-criminal-justice-law-society/ “Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln A B S T R A C T A N D A R T I C L E I N F O R M A T I O N Drawing on research on authoritarianism, this study analyzes the relationship between levels of threat in society and representations of crime, law, and order in mass media, with a particular emphasis on the superhero genre. -
Duplicity: Exploring the Many Faces of Gotham
Duplicity: Exploring the many faces of Gotham “And man shall be just that for the overman: a laughing stock or a painful embarrassment.” - Friedrich Nietzsche, Also Sprach Zarathustra The Dark Knight, Christopher Nolan’s follow up to 2005’s convention- busting Batman Begins, has just broken the earlier box office record set by Spiderman 3 with a massive opening weekend haul of $158 million. While the figures say much about this franchise’s impact on the popular imagination, critical reception has also been in a rare instance overwhelmingly concurrent. What is even more telling is that the old and new opening records were both set by superhero movies. Much has already been discussed in the media about the late Heath Ledger’s brave performance and how The Dark Knight is a gritty new template for all future comic-to-movie adaptations, so we won’t go into much more of that here. Instead, let’s take a hard and fast look at absolutes and motives: old, new, black, white and a few in between. The brutality of The Dark Knight is also the brutality of America post-9/11: the inevitable conflict of idealism and reality, a frustrating political comedy of errors, and a rueful Wodehouseian reconciliation of the improbable with the impossible. Even as the film’s convoluted and always engaging plot breaks down some preconceptions about the psychology of the powerful, others are renewed (at times without logical basis) – that politicians are corruptible, that heroes are intrinsically flawed, that what you cannot readily comprehend is evil incarnate – and it isn’t always clear if this is an attempt at subtle irony or a weary concession to formula. -
Narrative Epic and New Media: the Totalizing Spaces of Postmodernity in the Wire, Batman, and the Legend of Zelda
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-17-2015 12:00 AM Narrative Epic and New Media: The Totalizing Spaces of Postmodernity in The Wire, Batman, and The Legend of Zelda Luke Arnott The University of Western Ontario Supervisor Nick Dyer-Witheford The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Luke Arnott 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Film and Media Studies Commons Recommended Citation Arnott, Luke, "Narrative Epic and New Media: The Totalizing Spaces of Postmodernity in The Wire, Batman, and The Legend of Zelda" (2015). Electronic Thesis and Dissertation Repository. 3000. https://ir.lib.uwo.ca/etd/3000 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]. NARRATIVE EPIC AND NEW MEDIA: THE TOTALIZING SPACES OF POSTMODERNITY IN THE WIRE, BATMAN, AND THE LEGEND OF ZELDA (Thesis format: Monograph) by Luke Arnott Graduate Program in Media Studies A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Luke Arnott 2015 Abstract Narrative Epic and New Media investigates why epic narratives have a renewed significance in contemporary culture, showing that new media epics model the postmodern world in the same way that ancient epics once modelled theirs. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
Activity Kit Proudly Presented By
ACTIVITY KIT PROUDLY PRESENTED BY: #BatmanDay dccomics.com/batmanday #Batman80 Entertainment Inc. (s19) Inc. Entertainment WB SHIELD: TM & © Warner Bros. Bros. Warner © & TM SHIELD: WB and elements © & TM DC Comics. DC TM & © elements and WWW.INSIGHTEDITIONS.COM BATMAN and all related characters characters related all and BATMAN Copyright © 2019 DC Comics Comics DC 2019 © Copyright ANSWERS 1. ALFRED PENNYWORTH 2. JAMES GORDON 3. HARVEY DENT 4. BARBARA GORDON 5. KILLER CROC 5. LRELKI CRCO LRELKI 5. 4. ARARBAB DRONGO ARARBAB 4. 3. VHYRAE TEND VHYRAE 3. 2. SEAJM GODORN SEAJM 2. 1. DELFRA ROTPYHNWNE DELFRA 1. WORD SCRAMBLE WORD BATMAN TRIVIA 1. WHO IS BEHIND THE MASK OF THE DARK KNIGHT? 2. WHICH CITY DOES BATMAN PROTECT? 3. WHO IS BATMAN'S SIDEKICK? 4. HARLEEN QUINZEL IS THE REAL NAME OF WHICH VILLAIN? 5. WHAT IS THE NAME OF BATMAN'S FAMOUS, MULTI-PURPOSE VEHICLE? 6. WHAT IS CATWOMAN'S REAL NAME? 7. WHEN JIM GORDON NEEDS TO GET IN TOUCH WITH BATMAN, WHAT DOES HE LIGHT? 9. MR. FREEZE MR. 9. 8. THOMAS AND MARTHA WAYNE MARTHA AND THOMAS 8. 8. WHAT ARE THE NAMES OF BATMAN'S PARENTS? BAT-SIGNAL THE 7. 6. SELINA KYLE SELINA 6. 5. BATMOBILE 5. 4. HARLEY QUINN HARLEY 4. 3. ROBIN 3. 9. WHICH BATMAN VILLAIN USES ICE TO FREEZE HIS ENEMIES? CITY GOTHAM 2. 1. BRUCE WAYNE BRUCE 1. ANSWERS Copyright © 2019 DC Comics WWW.INSIGHTEDITIONS.COM BATMAN and all related characters and elements © & TM DC Comics. WB SHIELD: TM & © Warner Bros. Entertainment Inc. (s19) WORD SEARCH ALFRED BANE BATMOBILE JOKER ROBIN ARKHAM BATMAN CATWOMAN RIDDLER SCARECROW I B W F P -
{Dоwnlоаd/Rеаd PDF Bооk} Huntress Kindle
HUNTRESS PDF, EPUB, EBOOK Malinda Lo | 384 pages | 05 May 2011 | Little, Brown Book Group | 9781907411090 | English | London, United Kingdom Huntress PDF Book In Lego Batman 2: DC Super Heroes , Huntress is an unlockable character in free play mode and can be found by constructing a Gold Brick archway after collecting the requisite number of gold bricks on the roof of a building in the south east of the top island on the map, south east of the encounter with Ra's al Ghul. In this iteration of the character, she was kidnapped as a child aged 6 and raped by a rival mafia don purely to psychologically torture her father and is a withdrawn girl. After she witnesses the mob-ordered murder of her parents at the age of 19, she crusades to put an end to the Mafia. Arkham Knight. Bruce Wayne. She helps him to take down the enemies including Lyle Bolton and back Felicity. Fictional character. Gardner Fox. Dinah Drake Dinah Laurel Lance. Jones V-Man Wonder Man. During the League's restructuring following the Rock of Ages crisis, Batman sponsors Huntress' membership in the Justice League , [6] hoping that the influence of other heroes will mellow the Huntress, and for some time, Huntress is a respected member of the League. Members Only Merchandise Grow your collection with a wide range of exclusive merchandise—including the all-new Justice League Animated Series action figures —available in our members only store. Batgirl and the Birds of Prey. The stadiums may be empty, but believe it or not, the MLB playoffs have arrived. -
For Immediate Release Second Night of 2017 Creative Arts
FOR IMMEDIATE RELEASE SECOND NIGHT OF 2017 CREATIVE ARTS EMMY® WINNERS ANNOUNCED (Los Angeles, Calif. – September 10, 2017) The Television Academy tonight presented the second of its two 2017 Creative Arts Emmy® Awards Ceremonies honoring outstanding artistic and technical achievement in television at the Microsoft Theater in Los Angeles. The ceremony honored performers, artists and craftspeople for excellence in scripted programming including comedy, drama and limited series. Executive produced by Bob Bain, the Creative Arts Emmy Awards featured presenters from the season’s most popular show including Hank Azaria (Brockmire and Ray Donovan), Angela Bassett (911 and Black Panther), Alexis Bledel (The Handmaid’s Tale), Laverne Cox (Orange Is the New Black), Joseph Gordon-Levitt (Are You There Democracy? It's Me, The Internet) and Tom Hanks (Saturday Night Live). Press Contacts: Stephanie Goodell breakwhitelight (for the Television Academy) [email protected], (818) 462-1150 Laura Puig breakwhitelight (for the Television Academy) [email protected], (956) 235-8723 For more information please visit emmys.com. TELEVISION ACADEMY 2017 CREATIVE ARTS EMMY AWARDS – SUNDAY The awards for both ceremonies, as tabulated by the independent accounting firm of Ernst & Young LLP, were distributed as follows: Program Individual Total HBO 3 16 19 Netflix 1 15 16 NBC - 9 9 ABC 2 5 7 FOX 1 4 5 Hulu - 5 5 Adult Swim - 4 4 CBS 2 2 4 FX Networks - 4 4 A&E 1 2 3 VH1 - 3 3 Amazon - 2 2 BBC America 1 1 2 ESPN - 2 2 National Geographic 1 1 2 AMC 1 - 1 Cartoon Network 1 - 1 CNN 1 - 1 Comedy Central 1 - 1 Disney XD - 1 1 Samsung / Oculus 1 - 1 Showtime - 1 1 TBS - 1 1 Viceland 1 - 1 Vimeo - 1 1 A complete list of all awards presented tonight is attached. -
Hulk Smash! September, 2020, Vol
Journal of Criminal Justice and Popular Culture Hulk Smash! September, 2020, Vol. 20 (Issue 1): pp. 28 - 42 Clevenger and Acquaviva Copyright © 2020 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN: 1070-8286 Hulk Smash! Violence in The Incredible Hulk Comics Shelly Clevenger Sam Houston State University & Brittany L. Acquaviva Sam Houston State University 28 Journal of Criminal Justice and Popular Culture Hulk Smash! September, 2020, Vol. 20 (Issue 1): pp. 28 - 42 Clevenger and Acquaviva Abstract “Hulk smash!” is one of the most iconic phrases uttered in the pages of comic books. The Incredible Hulk is one of comics’ most violent characters as the Hulk smashes first and asks questions later. The popularity of the comic book genre has exploded within past decades and the interest in comics has increased. But exactly how violent is The Incredible Hulk and what does that mean for readers? This research examines the occurrence of violence in the Incredible Hulk comics through a thematic content analysis of 248 issues. Specifically, such themes as violence against men and women, unpunished violence, formal punishments of violence, interventions to stop violence and the justification provided for violence were assessed. The goal of the research was to determine the amount and level of violence within the comic and in what context it occurred. Results indicate that there is a large amount of violence occurring within the pages of the Incredible Hulk, but that this violence is often justified and committed by the Hulk to protect himself and others. A discussion is provided regarding the potential impact this may have on a reader and their view of violence, crime and justice.