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BEN MORRISON SAG / TV ACADEMY Commercial : Maureen Rose - Osbrink / VO : Abbie Waters - Osbrink Theatrical : Mark Scroggs - LB Talent [email protected] / www.benthemorrison.com FILM : THE OUIJA EXORCISM Joe / Lead AMAZON PRIME / VOD FROM THE DEAD Dirk / Lead ITUNES / VOD 30 NIGHTS OF PARANORMAL ACTIVITY Abe Lincoln Vampire Hunter FOX / DIR. CRAIG MOSS PROPER BRITISH SEX Thomas SUPERFUNNY FILMS F*CKING GHOSTS Father McManus SUPERFUNNY FILMS LA 2 NEW ORLEANS Lead HONDA WEBSERIES TELEVISION : NCIS Recurring CBS THE MAGICIANS Co-Star SYFY CSY:NY Co-Star CBS COMICS UNLEASHED Comedian ENTERTAINMENT STUDIOS WEATHER GONE VIRAL Comedian THE WEATHER CHANNEL GOTHAM COMEDY LIVE Comedian AXS TV MR. BOX OFFICE Guest-Star ENTERTAINMENT STUDIOS WARNING: MEN THINKING Co-Host / Writer HULU ORIGINAL BRAIN GAMES Guest-Star NATGEO CINEDOPES Series Reg. TOTAL ANARCHY PROD. UFO (Pilot) Ensemble MEETINGHOUSE PROD. MR. PERSONALITIES Series Reg / Writer HDNET JOKES ON YOU (Pilot) Series Reg. CBS / 495 PRODUCTIONS PUNK’D Season 8 Lead MTV / KATALYST DAMAGE CONTROL Series Reg. MTV NETWORKS LAST COMIC DRIVING Comedian NBC SERIOUS DAMAGE (Pilot) Series Reg. SERIOUS DAMAGE PROD. HOBOS (Pilot) Series Reg. DIR: LEE FARBER LIVE : SUPERFUNNY Creator / Host CC STAGE / IMPROV CLUBS IMPROV / LAUGH FACTORY CLUBS Paid Regular MOONCHILDREN (Off Broadway) Mike DIR. JOHN COONEY DAVID MAMET ONE-ACTS Various ATLANTIC THEATER CO. SHEL SILVERSTEIN’S SIGNS Various ATLANTIC THEATER CO. TRAINING : ACCOLADES : BACHELOR OF FINE ARTS NYU TISCH 2001 2020 BURBANK COMEDY FEST ACTING TECHNIQUE WILLIAM H. MACY, NYC Best of Fest SCENE STUDY DAVID MAMET, NYC 2020 PINNACLE FILM AWARDS ACTING TECHNIQUE HOWARD FINE, LA Best Actor SCENE STUDY ALAN MILLER, LA 2016 CABO COMEDY FEST EMOTIONAL TECHNIQUE JOSH PAIS, NYC Winner IMPROV TECHNIQUE UCB - SEAN CONROY, LA AUDITION TECHNIQUE LEE COHN, LA .

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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.
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DIARIES AJAMA P THE ERNEST & FRANK WORTH Y MAR FRIENDS BETWEEN BIZARRO OOP ALLEY LEE EDISON OF MIND BRILLIANT Monday Evening Television 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 12:00 2 News at 6:00pm Entertainment To- Kevin Can Wait: Man With a 2 Broke Girls (N) The Odd Couple: I Scorpion: Bat Poop Crazy. The team 2 News at (10:37) The Late Show With Stephen (11:39) The Late Late Show With KUTV (N) (CC) night (N) (s) (CC) Hallow-We-Ain’t- Plan (N) (s) (CC) (s) (CC) (TV14) Kid, You Not. (N) investigates a bat population. (N) (s) 10:00pm (N) (CC) Colbert: Ruth Wilson; J.B. Smoove. James Corden: Harry Connick Jr.; Home. (N) (TVPG) (TVPG) (TVPG) (CC) (TV14) (N) (s) (TVPG) Alice Eve. (N) (s) (CC) (TV14) ABC 4 Utah News Inside Edition (N) Dancing With the Stars: Halloween-themed routines. (N Same-day Tape) (s) (9:01) All Access Nashville: Celebrat- ABC 4 Utah News (10:35) Jimmy Kimmel Live (N) (s) (11:37) Nightline (12:07) Access KTVX at 6pm (N) (s) (CC) (TVPG) (CC) (TVPG) ing the CMA Awards With Robin at 10pm (N) (CC) (TV14) (N) (CC) (TVG) Hollywood (N) (s) Roberts (N) (s) (CC) (CC) (TVPG) KSL 5 News at 6p KSL 5 News at The Voice: The Knockouts, Part 3. Artists perform for the coaches. (N) (s) (9:01) Timeless: The Alamo. The KSL 5 News at 10 (10:34) The Tonight Show Starring (11:37) Late Night With Seth Meyers: KSL (N) (CC) 6:30p (CC) (CC) (TVPG) team is stranded inside the Alamo.
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Batman, Screen Adaptation and Chaos - What the Archive Tells Us
This is a repository copy of Batman, screen adaptation and chaos - what the archive tells us. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/94705/ Version: Accepted Version Article: Lyons, GF (2016) Batman, screen adaptation and chaos - what the archive tells us. Journal of Screenwriting, 7 (1). pp. 45-63. ISSN 1759-7137 https://doi.org/10.1386/josc.7.1.45_1 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Batman: screen adaptation and chaos - what the archive tells us KEYWORDS Batman screen adaptation script development Warren Skaaren Sam Hamm Tim Burton ABSTRACT W B launch the Caped Crusader into his own blockbuster movie franchise were infamously fraught and turbulent. It took more than ten years of screenplay development, involving numerous writers, producers and executives, before Batman (1989) T B E tinued to rage over the material, and redrafting carried on throughout the shoot.
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The Ghosts of War by Ryan Smithson
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Surveillance, Social Order, and Gendered Subversions
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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.
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