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The Evolution of Batman and His Audiences
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 12-2009 Static, Yet Fluctuating: The Evolution of Batman and His Audiences Perry Dupre Dantzler Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Dantzler, Perry Dupre, "Static, Yet Fluctuating: The Evolution of Batman and His Audiences." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/73 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STATIC, YET FLUCTUATING: THE EVOLUTION OF BATMAN AND HIS AUDIENCES by PERRY DUPRE DANTZLER Under the Direction of H. Calvin Thomas ABSTRACT The Batman media franchise (comics, movies, novels, television, and cartoons) is unique because no other form of written or visual texts has as many artists, audiences, and forms of expression. Understanding the various artists and audiences and what Batman means to them is to understand changing trends and thinking in American culture. The character of Batman has developed into a symbol with relevant characteristics that develop and evolve with each new story and new author. The Batman canon has become so large and contains so many different audiences that it has become a franchise that can morph to fit any group of viewers/readers. Our understanding of Batman and the many readings of him gives us insight into ourselves as a culture in our particular place in history. -
Copyright by Avi Santo 2006
Copyright by Avi Santo 2006 The Dissertation Committee for Avi Dan Santo Certifies that this is the approved version of the following dissertation: Transmedia Brand Licensing Prior to Conglomeration: George Trendle and the Lone Ranger and Green Hornet Brands, 1933-1966 Committee: ______________________________ Thomas Schatz, Co-Supervisor ______________________________ Michael Kackman, Co-Supervisor ______________________________ Mary Kearney ______________________________ Janet Staiger ______________________________ John Downing Transmedia Brand Licensing Prior to Conglomeration: George Trendle and the Lone Ranger and Green Hornet Brands, 1933-1966 by Avi Dan Santo, B.F.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2006 Acknowledgements The support I have received from family, friends, colleagues and strangers while writing this dissertation has been wonderful and inspiring. Particular thanks go out to my dissertation group -- Kyle Barnett, Christopher Lucas, Afsheen Nomai, Allison Perlman, and Jennifer Petersen – who read many early drafts of this project and always offered constructive feedback and enthusiastic encouragement. I would also like to thank Hector Amaya, Mary Beltran, Geoff Betts, Marnie Binfield, Alexis Carreiro, Marian Clarke, Caroline Frick, Hollis Griffin, Karen Gustafson, Sharon Shahaf, Yaron Shemer, and David Uskovich for their generosity of time and patience in reading drafts and listening to my concerns without ever making these feel like impositions. A special thank you to Joan Miller, who made this past year more than bearable and brought tremendous joy and calm into my life. Without you, this project would have been a far more painful experience and my life a lot less pleasurable. -
À the Dark Knight Rises (2012) Jérôme Rossi
Document généré le 25 sept. 2021 12:01 Revue musicale OICRM Essai de caractérisation de l’évolution des musiques super-héroïques de Batman (1989) à The Dark Knight Rises (2012) Jérôme Rossi Création musicale et sonore dans les blockbusters de Remote Control Résumé de l'article Volume 5, numéro 2, 2018 Vingt-trois années séparent les musiques des films Batman (Tim Burton, 1989) et The Dark Knight Rises (Christopher Nolan, 2012) avec les compositions URI : https://id.erudit.org/iderudit/1054146ar respectives de Danny Elfman et Hans Zimmer. Si les compositeurs restent tous DOI : https://doi.org/10.7202/1054146ar deux fidèles à une conception signalétique des thèmes, Zimmer propose toutefois un nombre plus élevé de matériaux thématiques, avec la présence Aller au sommaire du numéro d’un « ostinato identifiant » pour chacun des trois personnages principaux, en plus de leurs thèmes propres. Élaborée par une véritable équipe, la « narration sonore » constitue également un enjeu majeur de l’esthétique de Nolan et Zimmer avec l’élaboration, sur Éditeur(s) l’ensemble du film, d’un continuum bruit/musique, dont ce que nous avons Observatoire interdisciplinaire de création et recherche en musique (OICRM) appelé l’« effects underscoring » constitue l’une des stratégies les plus novatrices parmi celles proposées. L’« effects underscoring » est une technique ISSN compositionnelle par laquelle la musique se voit destinée à former un écrin émotionnel non plus aux voix, mais aux bruits lors de séquences où ce sont eux 2368-7061 (numérique) qui, par leur -
This List Attempts to Document Every Vinyl Record Released in the USA, Only, Relating to the Batman Craze of the 1960’S
This list attempts to document every vinyl record released in the USA, only, relating to the Batman craze of the 1960’s. US 7”/Singles: Artist – “Title” A-Side / “Title” B-Side (Mfg’r Record #, Date) (Notes) · 4 Of Us - “Batman” / “You Gonna Be Mine” (Hideout 1003, 1965) (A surf instrumental and is not related to the TV series; later pressings of this single have the Batman song retitled as “Freefall”) · 5th Avenue Busses - “Robin Boy Wonder” / “Fantastic Voyage” (20th Century Fox 45-6653, 1966) (Promo copy exists) · The Airmen Of Note – “Theme From Batman” / “Second Time Around” (The United States Airforce Public Service Program” GZS 108695, 1966?) (“Music In the Air” radio transcription 33 1/3 RPM, 7” single, Programs NR: 423/424. Label reads “This record is the property of the U.S. Government and cannot be used for commercial purposes.” The Airmen Of Note are the jazz ensemble within the US Army Air Forces Band and was formed to carry on the music of The Major Glenn Miller Army Air Forces Orchestra.) · Davie Allan & The Arrows - “Batman Theme” (Reportedly recorded in 1966 but never issued as 45. Instead, it first appeared on the 1996 reissue CD of the Various Artists “Wild Angels” soundtrack.) · Astronauts - “Batman Theme” (Never issued as 45. A surf instrumental first released on 1963 LP so is not TV show influenced) · Avengers - “The Batman Theme” / “Back Side Blues” (MGM K 13465, 1966) (Though released as by "The Avengers," the A-side was recorded by all-female group The Robins, while the flip was recorded by popular Ardent recording -
Customer Order Form
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Historicizing the Liminal Superhero
BOX OFFICE BACK ISSUES: HISTORICIZING THE LIMINAL SUPERHERO FILMS, 1989–2008 by ZACHARY ROMAN A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2020 DISSERTATION APPROVAL PAGE Student: Zachary Roman Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Peter Alilunas Chairperson Janet Wasko Core Member Erin Hanna Core Member Benjamin Saunders Institutional Representative and Kate Mondloch Interim Vice-Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2020 ii © 2020 Zachary Roman iii DISSERTATION ABSTRACT Zachary Roman Doctor of Philosophy School of Journalism and Communication December 2020 Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 Although the superhero film became a dominant force in Hollywood early in the 21st century, the formation of the superhero genre can be attributed to a relatively small temporal window beginning in 1989 and ending in 2008. This dissertation argues that a specific group of superhero films that I call the liminal superhero films (LSF) collectively served as the industrial body that organized and created a fully formed superhero genre. The LSF codified the superhero genre, but that was only possible due to several industrial elements at play before they arrived. An increasing industrial appetite for blockbusters coming out of the 1970s, the rise of proprietary intellectual property after the corporate conglomeration that occurred at the end of the 20th century, and finally, the ability of the LSF to mitigate risk (both real and perceived) all led to this cinematic confluence. -
4. Selva & Fénix ENG VF
David Selva -Ruiz Soundtrack Music Videos: https://orcid.org/0000-0002-9251-0045 [email protected] The Use of Music Videos Universidad de Cádiz as a Tool for Promoting Films Desirée Fénix-Pina https://orcid.org/0000-0001-8525-615X Abstract [email protected] Universidad de Cádiz The soundtrack music video is an audiovisual format used by the cultural industries of film and music as a commercial communication tool, since it is based on a song from the Submitted soundtrack of a film, so that both the artist that performs the song August 20th, 2020 Approved and the film itself obtain promotional benefits. This paper January 18th, 2021 conceptualizes this poorly studied phenomenon of cross- promotion connecting the music and film industries and uses a © 2021 content analysis of 119 music videos produced over a period of 33 Communication & Society years in order to study the importance of the artist and the movie ISSN 0214-0039 E ISSN 2386-7876 in the video, the various strategies developed in order to doi: 10.15581/003.34.3.47-60 accomplish its double promotional mission, and the specific www.communication-society.com formal and strategic features of this audiovisual format. Analysis reveals that the soundtrack music video has the distinctive feature 2021 – Vol. 34(3) of including promotional elements both for the musical artist and pp. 47-60 for the movie. Although the artist tends to be more prominent, the vast majority of music videos include images from the film or use How to cite this article: various ways of integrating the artist’s identity with the film’s Selva-Ruiz, D. -
Speculative Shakespeare 1 Leaders: Louise Geddes, Adelphi University [email protected] Valerie M
2018 SAA Seminar: Speculative Shakespeare 1 Leaders: Louise Geddes, Adelphi University [email protected] Valerie M. Fazel, Arizona State University [email protected] Darlena Ciraulo, University of Central Missouri Shakespeare’s Bust as Speculative Object in the 1966 Batman The 1960s live-action television series Batman introduced a new incarnation of the Caped Crusader that drew on the global prestige of Shakespeare. Created by William Dozier, Batman aired for three seasons from January 1966 to March 1968 on the American ABC network where it occupied a coveted primetime slot. Anticipating the wide-appeal of the thirty-minute show, Batman’s producers ran weekly episodes on two consecutive nights; this crowd-pleasing, cliffhanger format was eventually scaled back, however, in the final year of production. Many eager TV goers who first tuned into the program--especially those diehard fans who expected to see their favorite comic book superhero triumph over Gotham City’s villains--expressed surprise, if not disdain, to encounter instead what has been called a “campy” batman. This newfangled batman (played by Adam West) possessed a perversely sophisticated appeal: he danced chicly to the “batusi”; drove a sleek Lincoln Futura “batmobile”; and utilized a broad assortment of state- of-the-art “bat” devices and gadgets in the cavalier fashion of James Bond. Batman’s bat paraphernalia and charm helped to fashion the Dark Knight, as well as his sidekick Robin (played by Burt Ward), into amusing avatars of crime-fighting. One outlandish set prop, Shakespeare’s bust, appeared regularly on the series and became specifically associated with Batman’s millionaire alter-ego, Bruce Wayne. -
Elliot Goldenthal
ELLIOT GOLDENTHAL COMPOSER AWARDS ASCAP Awards (2014) Founders Award ACADEMY AWARD WINNER (2003) FRIDA Best Music, Original Score ACADEMY AWARD NOMINATION (2003) FRIDA Best Music, Original Song ACADEMY AWARD NOMINATION (1997) MICHAEL COLLINS Best Music, Original Score ACADEMY AWARD NOMINATION (1995) INTERVIEW WITH THE VAMPIRE: Best Music, Original Score THE VAMPIRE CHRONICLES GOLDEN GLOBE WINNER (2003) FRIDA Best Original Score GOLDEN GLOBE NOMINATION (1997) MICHAEL COLLINS Best Original Score GOLDEN GLOBE NOMINATION (1995) INTERVIEW WITH THE VAMPIRE: Best Music, Original Score THE VAMPIRE CHRONICLES GRAMMY AWARD NOMINATION (2008) ACROSS THE UNIVERSE Best Compilation Soundtrack Album for Motion Picture GRAMMY AWARD NOMINATION (1997) A TIME TO KILL Best Instrumental Composition Written for a Motion Picture GRAMMY AWARD NOMINATION (1996) BATMAN FOREVER Best Instrumental Composition Written for a Motion Picture WORLD SOUNDTRACK AWARD WINNER (2003) FRIDA Soundtrack Composer of the Year WORLD SOUNDTRACK AWARD WINNER (2003) FRIDA Best Original Soundtrack of the Year 15233 Ventura Boulevard, Suite 200, Sherman Oaks, California 91403 Tel. 818-380-1918 Fax 818-380-2609 Goldenthal Page 1 of 4 ELLIOT GOLDENTHAL COMPOSER AWARDS (continued) WORLD SOUNDTRACK AWARD NOMINATION (2003) FRIDA Best Original Song Written for a Film WORLD SOUNDTRACK AWARD NOMINATION (2002) FINAL FANTASY: THE SPIRITS Best Original Song Written for a Film WITHIN MOTION PICTURES OUR SOULS AT NIGHT Ritesh Batra, dir. Netflix A MIDSUMMER NIGHT’S DREAM Julie Taymor, dir. Londinium Films THE TEMPEST Julie Taymor, dir. Miramax Films PUBLIC ENEMIES Michael Mann, dir. Universal Pictures ACROSS THE UNIVERSE Julie Taymor, dir. Columbia Pictures S.W.A.T. Clark Johnson, dir. Columbia Pictures THE GOOD THIEF Neil Jordan, dir. -
Edwards and Monnet 2Nd Pages.Indd
6 “I’ll Be Whatever Gotham Needs Me to Be” Batman, the Gothic and Popular Culture Agnieszka Soltysik Monnet Batman fi rst appeared in 1939, close on the heels of the recently created and hugely successful Superman. The young comic book industry, just emerg- ing as a separate medium from the newspaper comic strip, and hitherto mainly defi ned by men in suits, now demanded more visually appealing (i.e. costumed) characters. Batman was born as a darker and more com- plex variation on the red-caped superhero: he is Superman’s Gothic dou- ble.1 Although many superheroes were created in the 1940s and since then, Batman has remained the darkest and most problematic, not least because his powers come not from a magical source but from the brooding inten- sity of a childhood trauma. Over seventy years later, Batman has grown to become bigger than ever, eclipsing even Superman in recent decades. Why has this been the case? And how did this happen? In addressing these ques- tions, I want to suggest that the main reason for the success of Batman in the twenty-fi rst century—a multi-billion dollar Batman industry—has been Christopher Nolan’s return to the darker roots of the Batman story. Like any enduring Gothic fi gure, Batman’s regenerative cultural power depends on his ambivalence, his ethical complexity and moral ambiguity. On a formal level, this ambivalence plays itself out in the tension between Bat- man’s camp aesthetics and the Gothic characteristics of the fi gure; that is, between the campy smirk of the “Caped Crusader” and the furrowed brow of the brooding “Dark Knight.” Historically, whenever Batman is camped to its limit, the Gothic creeps in, returning the character to a darker and more complicated fi gure within the narrative. -
Batman and Robin As Evolving Cutural Icons Elizabeth C
St. Catherine University SOPHIA 2014 Sr. Seraphim Gibbons Undergraduate Sr. Seraphim Gibbons Undergraduate Symposium Research Symposium The Dynamic Duo Then and Now: Batman and Robin as Evolving Cutural Icons Elizabeth C. Wambheim St. Catherine University Follow this and additional works at: https://sophia.stkate.edu/undergraduate_research_symposium Wambheim, Elizabeth C., "The Dynamic Duo Then and Now: Batman and Robin as Evolving Cutural Icons" (2014). Sr. Seraphim Gibbons Undergraduate Symposium. 2. https://sophia.stkate.edu/undergraduate_research_symposium/2014/Humanities/2 This Event is brought to you for free and open access by the Conferences and Events at SOPHIA. It has been accepted for inclusion in Sr. Seraphim Gibbons Undergraduate Symposium by an authorized administrator of SOPHIA. For more information, please contact [email protected]. THE DYNAMIC DUO THEN AND NOW: BATMAN AND ROBIN AS EVOLVING CULTURAL ICONS by Elizabeth C. Wambheim A Senior Project in Partial Fulfillment of the Requirements of the Honors Project ST. CATHERINE UNIVERSITY April 1, 2014 2 With many thanks to Patricia Montalbano (project advisor), Rachel Neiwart Emily West and Sharon Doherty for their continuous and invaluable interest, assistance, and patience with the project. 3 Introduction When presented with the simple silhouette of a stylized bat inside a yellow oval, people the world over are able to recognize this emblem and, at the very least, name its wearer. Even as the logo is altered with time, the yellow backdrop traded for a grey one, the awareness persists. Yet even as people recognize Batman’s logo, one person’s impression of the superhero does not always align with another’s: a cheerful, law-abiding Batman who orders orange juice instead of alcohol at bars is Batman as he appeared in the 1960s, and a brooding hero wreathed in darkness and prone to conflicted inner monologues is the Batman of the 1980s. -
Comic-Con Heroes
COMIC-CON HEROES THE FANS WHO MAKE THE GREATEST SHOW ON EARTH Joe Wilcox Bunny Bows Press Comic-Con Heroes: The Fans Who Make the Greatest Show on Earth Joe Wilcox Copyright © 2013 by Joe Wilcox No Rights Reserved Cover concept and design: Joe Wilcox All photos: Joe Wilcox The author independently-published this book under the auspices of Bunny Bows Press and released the title into the public domain on July 8, 2015. Published in the United States by Bunny Bows Press Released September 2013 ISBN: 978-0-9897349-1-2 Comic-Con is a registered trademark of the San Diego Comic-Con Convention Contents 1. Contents 2. The Roles We Play 3. Arrival 4. The Dark Knight 5. The Fighter 6. The Collectors 7. The Academic 8. The Nerd Culturist 9. The Writer 10. The Bicyclists 11. The Heroine 12. The Time Lord 13. The Volunteer 14. The Vendor 15. The Millennial 16. Departure 17. About the Author The Roles We Play The best books, anime, comics, films, graphic novels and manga all share something in common: Storytelling inspires people to aspire for something better. It's all the story they tell about the roles we play everyday and the people we wish we could be. San Diego Comic-Con is an amazing amalgamation of hopes and aspirations—and the grandest storytelling. The first, full three-day event took place from Aug. 1-3, 1970, at the U.S. Grand Hotel, with about 300 attendees and sci-fi luminaries of the day, including Ray Bradbury and A.E.