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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. -
From Stories to Worlds: the Continuity of Marvel Superheroes from Comics to Film
From Stories to Worlds: The Continuity of Marvel Superheroes from Comics to Film David Sweeney, June 2013 Before its 2011 re-launch as the ‘New 52’ DC Comics’ advertising campaigns regularly promoted their inter-linked superhero line as ‘The Original Universe’. As DC did indeed publish the first ‘superteam’, the JSA (in All-Star Comics 3, Winter 1940), this is technically correct; however, the concept of a shared fictional world with an on-going fictive history, what comic book fans and professionals alike refer to as ‘continuity’, was in fact pioneered by DC’s main competitor, Marvel Comics, particularly in the 1960s. In this essay I will discuss, drawing on theories and concepts from the narratologists David A. Brewer and Lubomir Dolezel and with particular focus on the comic book writer Roy Thomas, how Marvel Comics developed this narrative strategy and how it has recently been transplanted to cinema through the range of superhero films produced by Marvel Studios. Superhero Origins Like DC, Marvel emerged from an earlier publishing company, Timely Publications, which had produced its own range of superheroes during the so-called ‘Golden Age of superhero comics, ushered in by the debut of Superman in Action Comics 1 in June, 1938) and lasting until the end of World War II, including Namor the Submariner, Captain America, and The Human Torch. Superhero comics declined sharply in popularity after the War and none of these characters survived the wave of cancellations that hit the genre; however, they were not out of print for long. Although -
How Superman Developed Into a Jesus Figure
HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
ARRI AMIRA Pocket Guide
Pocket Guide AMIRA Pocket Guide Table of Contents Overview 4 On Set 34 In Postproduction 66 Table of Contents of Table Screens 6 Exposure Index 34 AMIRA’s Ecosystem 66 Contents of Table Finding your way around the camera 8 Exposure and focus check options 36 Lens mounts 68 New features in SUP 1.1 10 Integrated ND filters 40 Lenses for AMIRA 70 Working with AMIRA 12 User Buttons 43 Accessories 80 Software Versions and USB Flash Drive 44 Specifications and Reference 84 Hardware Configuration 12 AMIRA Look Management 46 Resources and Contacts 92 AMIRA – ALEXA, the key differences 14 The different ways to change ARRI Sales 92 ProRes Recording 16 the look of your images 47 ARRI Service 94 Project rate and timecode base 18 AMIRA Look File 54 ARRI Digital Workflow Solutions 96 Color spaces 24 Overview on the available parameters 56 Online Resources 97 Recording media and card reader 30 AMIRA Look File in use 62 AMIRA Camera Simulator 32 AMIRA Color Tool 64 2 3 Overview Overview The AMIRA Camera – An Overview Overview ARRI’s ALEXA Pocket Guide became a very popular AMIRA is a versatile documentary-style camera that tool on set, so we decided to accompany AMIRA combines exceptional image quality and affordable with a Pocket Guide in the same way. This guide CFast 2.0 workflows with an ergonomic design contains preproduction and production information optimized for single-operator use and extended for an AMIRA shoot. shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, AMIRA Quick information on: is hardy enough to take anywhere and features • What is new with the AMIRA? in-camera grading, pre-loaded 3D LUTs and 200 fps • What is different from an ALEXA setup? slow motion. -
Kirby: the Wonderthe Wonderyears Years Lee & Kirby: the Wonder Years (A.K.A
Kirby: The WonderThe WonderYears Years Lee & Kirby: The Wonder Years (a.k.a. Jack Kirby Collector #58) Written by Mark Alexander (1955-2011) Edited, designed, and proofread by John Morrow, publisher Softcover ISBN: 978-1-60549-038-0 First Printing • December 2011 • Printed in the USA The Jack Kirby Collector, Vol. 18, No. 58, Winter 2011 (hey, it’s Dec. 3 as I type this!). Published quarterly by and ©2011 TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. 919-449-0344. John Morrow, Editor/Publisher. Four-issue subscriptions: $50 US, $65 Canada, $72 elsewhere. Editorial package ©2011 TwoMorrows Publishing, a division of TwoMorrows Inc. All characters are trademarks of their respective companies. All artwork is ©2011 Jack Kirby Estate unless otherwise noted. Editorial matter ©2011 the respective authors. ISSN 1932-6912 Visit us on the web at: www.twomorrows.com • e-mail: [email protected] All rights reserved. No portion of this publication may be reproduced in any manner without permission from the publisher. (above and title page) Kirby pencils from What If? #11 (Oct. 1978). (opposite) Original Kirby collage for Fantastic Four #51, page 14. Acknowledgements First and foremost, thanks to my Aunt June for buying my first Marvel comic, and for everything else. Next, big thanks to my son Nicholas for endless research. From the age of three, the kid had the good taste to request the Marvel Masterworks for bedtime stories over Mother Goose. He still holds the record as the youngest contributor to The Jack Kirby Collector (see issue #21). Shout-out to my partners in rock ’n’ roll, the incomparable Hitmen—the best band and best pals I’ve ever had. -
Jimmy Olsen Asks the Tough Questions on Kryptonian
Jimmy Olsen Asks the Tough Questions on Kryptonian Law Gabe Diani, Joshua Gilliland, Jessica Mederson, Jordon Huppert, Roger Quiles, Crystal Swanson, and Cynthia Kitchen Agenda Duty to Rescue Imprisoning Aliens Financial Responsibility for Super Villain Battles? “Phantom Zone” and Cruel & Unusual Punishment? J’onn J’onzz and Identity Theft Does Supergirl Violate U.S. Airspace? Invasion of Privacy And Jeepers More! Jessica Mederson Hero Name: Zippy Sworn Mission: To Help the Underdog Arch Nemesis: Hypocrites Weaknesses: Chocolate, sitcoms, and Celebrity gossip Jordon Huppert Hero Name: Link Skills: Defending the Public, arguing with the man, being a general pain in the Neck Weaknesses: Spiders that aren't Spider- man, usually the facts, being told the odds. Joshua Gilliland Hero Name: Bow Tie Skills: Wielding the Federal Rules of Civil Procedure for native file productions Weakness: New Comics on Wednesdays, Chicken tacos Crystal Swanson Hero Name: Pro Hawk V’che Skills: Gather the facts, seek the truth, cross like a boss Weaknesses: 80's hair bands Roger Quiles Hero Name: GameShark Sworn mission: to serve and protect professional video game players Arch nemeses: final bosses everywhere Weaknesses: controllers and keyboards with sticky buttons, cheat codes, and mojitos Cynthia Kitchen Superhero name: Captain Kitty Skills: Defender of contractors; cat whisperer Weaknesses: Sephora; Susiecakes “Jimmy Olsen” Name: James Bartholomew Olsen Occupation: Cub Reporter (75+ years experience) Aliases: Elastic Lad, Giant Turtle Boy, Superlad, Flamebird, -
Marvel Comics in the 1970S: an Issue-By-Issue Field Guide to a Pop
Marvel Comics in the 1970s: An Issue-by-Issue Field Guide to a Pop Culture Phenomenon, 2011, 223 pages, Pierre Comtois, 1605490342, 9781605490342, TwoMorrows Publishing, 2011 DOWNLOAD http://bit.ly/1dCxG5R http://www.powells.com/s?kw=Marvel+Comics+in+the+1970s%3A+An+Issue-by-Issue+Field+Guide+to+a+Pop+Culture+Phenomenon By popular demand, TwoMorrows Publishing presents Marvel Comics in the 1970s, the sequel to Pierre Comtois' heralded first volume on the 1960s! This book covers the company's final historical phase: the twilight years of the 1970s, after the initial '60s wave of popularity pushed them to the forefront of the comics industry, and made many of their characters household names. This full decade of pop-culture history saw Stan Lee's role as writer diminish as he ascended to Publisher, the stunning departure of Jack Kirby to DC (and later return to Marvel), the rise of Roy Thomas as editor (and eventual Editor In Chief), and the introduction of a new wave of writers and artists who would expand the boundaries of comics beyond super-heroes, while planting the seeds for the industry's eventual self-destruction. The Spider-Man "drug" issues, Conan the Barbarian, Tomb of Dracula, Master of Kung Fu, Howard the Duck, Star Wars, the new X-Men, and more are covered in detail-along with the creators who wrote and drew them, including Chris Claremont, Barry Windsor-Smith, Gene Colan, Marv Wolfman, Steve Gerber, John Romita, Gil Kane, Sal Buscema, and others. So don't be satisfied with only half the story! Check out Marvel Comics in the 1970s and find out why Marvel was once hailed as The House of Ideas! DOWNLOAD http://wp.me/2h3ie http://bit.ly/1rH6gwZ Stan Lee Conversations, Jeff McLaughlin, 2007, Biography & Autobiography, 237 pages. -
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. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
Superhero Origins As a Sentence Punctuation Exercise
Superhero Origins as a Sentence Punctuation Exercise The Definition of a Comic Book Superhero A comic book super hero is a costumed fictional character having superhuman/extraordinary skills and has great concern for right over wrong. He or she lives in the present and acts to benefit all mankind over the forces of evil. Some examples of comic book superheroes include: Superman, Batman, Spiderman, Wonder Woman, and Plastic Man. Each has a characteristic costume which distinguishes them from everyday citizens. Likewise, all consistently exercise superhuman abilities for the safety and protection of society against the forces of evil. They ply their gifts in the present-contemporary environment in which they exist. The Sentence Punctuation Assignment From earliest childhood to old age, the comics have influenced reading. Whether the Sunday comic strips or editions of Disney’s works, comic book art and narratives have been a reading catalyst. Indeed, they have played a huge role in entertaining people of all ages. However, their vocabulary, sentence structure, and overall appropriateness as a reading resource is often in doubt. Though at times too “graphic” for youth or too “childish” for adults, their use as an educational resource has merit. Such is the case with the following exercise. Superheroes as a sentence punctuation learning toll. Among the most popular of comic book heroes is Superman. His origin and super-human feats have thrilled comic book readers, theater goers, and television watchers for decades. However, many other comic book superheroes exist. Select one from those superhero origin accounts which follow and compose a four paragraph superhero origin one page double-spaced narative of your selection. -
Kirby Letterhead
SUPERGIRL IN THE BRONZE AGE! October 2015 No.84 $ 8 . 9 5 Supergirl TM & © DC Comics. All Rights Reserved. 0 9 Pre-Crisis Supergirl I Death of Supergirl I Rebirths of Supergirl I Superwoman ALAN BRENNERT interview I HELEN SLATER Supergirl movie & more super-stuff! 1 82658 27762 8 Volume 1, Number 84 October 2015 EDITOR-IN-CHIEF Michael Eury Comics’ Bronze Age and Beyond! PUBLISHER John Morrow TM DESIGNER Rich Fowlks COVER ARTISTS Karl Heitmueller, Jr., with Stephen DeStefano Bob Fingerman Dean Haspiel Kristen McCabe Jon Morris Jackson Publick COVER DESIGNER Michael Kronenberg PROOFREADER John Morrow SPECIAL THANKS Cary Bates Elliot S. Maggin Alan Brennert Andy Mangels ByrneRobotics.com Franck Martini BACK SEAT DRIVER: Editorial by Michael Eury . .2 Glen Cadigan Jerry Ordway FLASHBACK: Supergirl in Bronze . .3 and The Legion George Pérez The Maid of Might in the ’70s and ’80s Companion Ilya Salkind Shaun Clancy Anthony Snyder PRINCE STREET NEWS: The Sartorial Story of the Sundry Supergirls . .24 Gary Colabuono Roger Stern Oh, what to wear, what to wear? Fred Danvers Jeannot Szwarc DC Comics Steven Thompson THE TOY BOX: Material (Super) Girl: Pre-Crisis Supergirl Merchandise . .26 Jim Ford Jim Tyler Dust off some shelf space, ’cause you’re gonna want this stuff Chris Franklin Orlando Watkins FLASHBACK: Who is Superwoman? . .31 Grand Comics John Wells Database Marv Wolfman Elliot Maggin’s Miracle Monday heroine, Kristen Wells Robert Greenberger BACKSTAGE PASS: Adventure Runs in the Family: The Saga of the Supergirl Movie . .35 Karl Heitmueller, Jr. Hollywood’s Ilya Salkind and Jeannot Szwarc take us behind the scenes Heritage Comics Auctions FLASHBACK: Crisis on Infinite Earths #7 .