It's Abird! It's . . . Superman II
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Superman's Girl Friend, Lois Lane and the Represe
Research Space Journal article ‘Superman believes that a wife’s place is in the home’: Superman’s girl friend, Lois Lane and the representation of women Goodrum, M. Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Please cite this publication as follows: Goodrum, M. (2018) ‘Superman believes that a wife’s place is in the home’: Superman’s girl friend, Lois Lane and the representation of women. Gender & History, 30 (2). ISSN 1468-0424. Link to official URL (if available): https://doi.org/10.1111/1468-0424.12361 This version is made available in accordance with publishers’ policies. All material made available by CReaTE is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Contact: [email protected] ‘Superman believes that a wife’s place is in the home’: Superman’s Girl Friend, Lois Lane and the representation of women Michael Goodrum Superman’s Girl Friend, Lois Lane ran from 1958-1974 and stands as a microcosm of contemporary debates about women and their place in American society. The title itself suggests many of the topics about which women were concerned, or at least were supposed to concern them: the mediation of identity through heterosexual partnership, the pressure to marry and the simultaneous emphasis placed on individual achievement. Concerns about marriage and Lois’ ability to enter into it routinely provide the sole narrative dynamic for stories and Superman engages in different methods of avoiding the matrimonial schemes devised by Lois or her main romantic rival, Lana Lang. -
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. -
AKA Clark Kent) Middle Name Is Joseph
Superman’s (AKA Clark Kent) Middle Name Is Joseph. What’s that?! There in the sky? Is it a bird? Is it a plane? No! It’s the Man of Tomorrow! Superman has gone by many names over the years, but one thing has remained the same. He has always stood for what’s best about humanity, all of our potential for terrible destructive acts, but also our choice to not act on the level of destruction we could wreak. Superman was first created in 1933 by Joe Shuster and Jerry Siegel, the writer and artist respectively. His first appearance was in Action Comics #1, and that was the beginning of a long and illustrious career for the Man of Steel. In his unmistakable blue suit with red cape, and the stylized red S on his chest, the figure of Superman has become one of the most recognizable in the world. The original Superman character was a bald telepathic villain that was focused on world domination. It was like a mix of Lex Luthor and Professor X. Superman’s powers include incredible strength, the ability to fly. X-ray vision, super speed, invulnerability to most attacks, super hearing, and super breath. He is nearly unstoppable. However, Superman does have one weakness, Kryptonite. When exposed to this radioactive element from his home planet, he becomes weak and helpless. Superman’s alter ego is mild-mannered reporter Clark Kent. He lives in the city of Metropolis and works for the newspaper the Daily Planet. Clark is in love with fellow reporter Lois Lane. -
Superman: What Makes Him So Iconic?
SUPERMAN: WHAT MAKES HIM SO ICONIC? Superman: What makes him so Iconic? Myriam Demers-Olivier George Brown College © 2009, Myriam Demers-Olivier SUPERMAN: WHAT MAKES HIM SO ICONIC? Introduction “Faster than a speeding bullet, more powerful than a locomotive, able to leap tall buildings in a single bound. Look! Up in the sky! It’s a bird, it’s a plane, it’s Superman! “ (Daniels, 1998, p. 1-7). Some people might not recognize the reference to early radio shows and cartoons, but most people will recognize the name Superman. Superman has become such an amazing cultural icon, that almost everyone knows his name, and often his weakness, his powers, the colors of his suit and the name of his arch nemesis. It’s part of common knowledge and everyone has been exposed to him at some time or another. Since the creation of Superman in 1938, comic book research and literary studies have come along way. These allows us to more deeply analyze and understand, as well as unravel the deeper signified meanings associated with the iconic Superman (Wandtke, 2007, p. 25). He is seen as a superhero, but also upholds “truth, justice and the American way” (Watt-Evans, 2006, p. 1). Some see him as Christ-like or Jewish, and even as a fascist. He fulfills some of our needs from the Maslow’s hierarchy of needs, and also expresses different messages depending on the medium in which he is portrayed. There is no end to the Superman merchandise, but Superman as an icon, can change a person. -
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. -
“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 ................................................................................................................................... -
Superman Ebook, Epub
SUPERMAN PDF, EPUB, EBOOK Jerry Siegel | 144 pages | 30 Jun 2009 | DC Comics | 9781401222581 | English | New York, NY, United States Superman PDF Book The next event occurs when Superman travels to Mars to help a group of astronauts battle Metalek, an alien machine bent on recreating its home world. He was voiced in all the incarnations of the Super Friends by Danny Dark. He is happily married with kids and good relations with everyone but his father, Jor-EL. American photographer Richard Avedon was best known for his work in the fashion world and for his minimalist, large-scale character-revealing portraits. As an adult, he moves to the bustling City of Tomorrow, Metropolis, becoming a field reporter for the Daily Planet newspaper, and donning the identity of Superman. Superwoman Earth 11 Justice Guild. James Denton All-Star Superman Superman then became accepted as a hero in both Metropolis and the world over. Raised by kindly farmers Jonathan and Martha Kent, young Clark discovers the source of his superhuman powers and moves to Metropolis to fight evil. Superman Earth -1 The Devastator. The next few days are not easy for Clark, as he is fired from the Daily Planet by an angry Perry, who felt betrayed that Clark kept such an important secret from him. Golden Age Superman is designated as an Earth-2 inhabitant. You must be a registered user to use the IMDb rating plugin. Filming on the series began in the fall. He tells Atom he is welcome to stay while Atom searches for the people he loves. -
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. -
Master Class Superman at 80
Master Class Superman at 80 The iconic superhero, who turned 80 in 2018, has come in and out of fashion. A historian explores why. Interview by Karen McCally ’02 (PhD) The Superman movie, released at the end of 1978, was a turning point. On the one hand, it was the way that it was marketed that I grew up in Australia in the 1960s. The Adventures of Superman made it important, and made Superman important, in my view. television show was on constantly. And I read a lot of comics— They enlisted Marlon Brando in a small role and at a very expen- Superman, Batman, those kind of comics. You could buy black- sive salary, because Christopher Reeve was then an unknown. And and-white reprints of Superman comics, because at the time you they hired several other marquee names, like Gene Hackman. It couldn’t get books published by DC Comics in Australia. So the was one of the first movies to use Dolby sound. And DC Comics superheroes were just there. Just part of the media. was also a very successful licensor of toys and other products. Superman was a product of the Depression, and he was a symbol But I also think the movie came at a moment when America of hope. During the war, it was quite interesting that in the comic was ready for it. I’m pretty sure it wasn’t designed to plug into book, he never really engaged in war. The comic books themselves post-Watergate angst, but it certainly was aware of that. -
Ese Two Books Are Very Different Beasts. Superman: E Movie
Medien / Kultur 47 Sammelrezension: Superman: Comics, Film, Brand ese two books are very diff erent are stories from e New York Times, beasts. Superman: e Movie – e 40th Rolling Stone or Newsweek. Two or three Anniversary Interviews is focused on a references hail from University Pres- single fi lm text, whereas Superman and ses, and yet this material underpins the Comic Book Brand Continuity ranges whole book. across the cultural history of Superman. Whilst Bettinson’s interviews are However, the diff erences between these always interesting, ranging across two studies go far deeper. people such as executive producer Ilya Bettinson’s book is an “oral history Salkind, director Richard Donner, and [… ] of big-budget fi lm production in Lois Lane herself, Margot Kidder – the new Hollywood era” (p.11), but interviewed relatively shortly before it assumes that such a thing requires her passing in 2018 – it is diffi cult to nothing much in terms of methodolo- see how they diff er from standard fan gical discussion or theoretical framing. convention fare or DVD/blu-ray extras. Consequently, it contains almost no What, if anything, is added to the pro- content communally identifi able as ‘aca- ject via its publication by an academic demic’ – the References page (p.131) press, and having been written by a lists a mere 13 entries, of which several Senior Lecturer? e entire volume 48 MEDIENwissenschaft 01/2020 seems to be aimed at a fan readership, of academia’s cultural distinctiveness. and not as a crossover from the acade- If hybridised aca-fandom lies beneath mic market, but in place of it instead. -
The Return of Superman: the Return of Superman Pdf, Epub, Ebook
SUPERMAN THE RETURN OF SUPERMAN: THE RETURN OF SUPERMAN PDF, EPUB, EBOOK Jon Bogdanove,Tom Grummett,Gerard Jones,Dan Jurgens,Karl Kesel,Jeph Loeb | 480 pages | 24 May 2016 | DC Comics | 9781401266622 | English | United States Superman the Return of Superman: The Return of Superman PDF Book Marlon Brando appears posthumously as Jor-El , Superman's biological father. But will he be too late to save Coast City from the clutches of a traitor and the return of the alien warlord, Mongul? He'll take her on a shopping spree to her favorite character store to please her. Batman s Batman. December 23, Seeing Jason seemingly have a slight reaction to Kryptonite, Luthor asks who Jason's father really is; Lois asserts that the father is Richard. Park Hyun-bin Trot singer. The New York Times. While visiting a traditional Korean sauna, Seoeon pulled on older girls to play with him. And then go off to play on his own without waking his family up. Even father Hwijae is put to the side once he sees a cute female. In an attempt to protect the world he loves from cataclysmic destruction, Superman embarks on an epic journey of redemption that takes him from the depths of the ocean to the far reaches of outer space. Following a mysterious absence of several years, the Man of Steel comes back to Earth in the epic action-adventure Superman Returns, a soaring new chapter in the saga of one of the world's most beloved superheroes. The phrase has become a special saying between Hwijae and the triplets. -
Thinking About Journalism with Superman 132
Thinking about Journalism with Superman 132 Thinking about Journalism with Superman Matthew C. Ehrlich Professor Department of Journalism University of Illinois at Urbana-Champaign Urbana, IL [email protected] Superman is an icon of American popular culture—variously described as being “better known than the president of the United States [and] more familiar to school children than Abraham Lincoln,” a “triumphant mixture of marketing and imagination, familiar all around the world and re-created for generation after generation,” an “ideal, a hope and a dream, the fantasy of millions,” and a symbol of “our universal longing for perfection, for wisdom and power used in service of the human race.”1 As such, the character offers “clues to hopes and tensions within the current American consciousness,” including the “tensions between our mythic values and the requirements of a democratic society.”2 This paper uses Superman as a way of thinking about journalism, following the tradition of cultural and critical studies that uses media artifacts as tools “to size up the shape, character, and direction of society itself.”3 Superman’s alter ego Clark Kent is of course a reporter for a daily newspaper (and at times for TV news as well), and many of his closest friends and colleagues are also journalists. However, although many scholars have analyzed the Superman mythology, not so many have systematically analyzed what it might say about the real-world press. The paper draws upon Superman’s multiple incarnations over the years in comics, radio, movies, and television in the context of past research and criticism regarding the popular culture phenomenon.