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Super Heroes V Scorsese: a Marxist Reading of Alienation and the Political Unconscious in Blockbuster Superhero Film
Kutztown University Research Commons at Kutztown University Kutztown University Masters Theses Spring 5-10-2020 SUPER HEROES V SCORSESE: A MARXIST READING OF ALIENATION AND THE POLITICAL UNCONSCIOUS IN BLOCKBUSTER SUPERHERO FILM David Eltz [email protected] Follow this and additional works at: https://research.library.kutztown.edu/masterstheses Part of the Film Production Commons, Literature in English, North America Commons, and the Screenwriting Commons Recommended Citation Eltz, David, "SUPER HEROES V SCORSESE: A MARXIST READING OF ALIENATION AND THE POLITICAL UNCONSCIOUS IN BLOCKBUSTER SUPERHERO FILM" (2020). Kutztown University Masters Theses. 1. https://research.library.kutztown.edu/masterstheses/1 This Thesis is brought to you for free and open access by Research Commons at Kutztown University. It has been accepted for inclusion in Kutztown University Masters Theses by an authorized administrator of Research Commons at Kutztown University. For more information, please contact [email protected]. SUPER HEROES V SCORSESE: A MARXIST READING OF ALIENATION AND THE POLITICAL UNCONSCIOUS IN BLOCKBUSTER SUPERHERO FILM A Thesis Presented to the Faculty of the Department of English Kutztown University of Pennsylvania Kutztown, Pennsylvania In Partial Fulfillment of the Requirements for the Degree Master of Arts in English by David J. Eltz October, 2020 Approval Page Approved: (Date) (Adviser) (Date) (Chair, Department of English) (Date) (Dean, Graduate Studies) Abstract As superhero blockbusters continue to dominate the theatrical landscape, critical detractors of the genre have grown in number and authority. The most influential among them, Martin Scorsese, has been quoted as referring to Marvel films as “theme parks” rather than “cinema” (his own term for auteur film). -
Comic Book Biography: Keith Giffen by Rik Offenberger
Comic Book Biography: Keith Giffen by Rik Offenberger It’s one of the better creator stories of the past couple of years. After a stretch where he could barely get a nod of recognition from Marvel or DC, Keith Giffen is experiencing a career renaissance rarely seen. While he was a major force to contend with in comics in the later ‘80s and ‘90s, thanks to his work on Legion of Super- Heroes and Justice League, both titles ultimately went through major shifts in tone, and as their directions changed, so did their writer. For a long-ish period, it seemed that Giffen was gone from comics as well. His name would pop up occasionally, but for the most part, comics seemed to have moved on, and Giffen wasn’t on the train. Give it a few years, and things do change. With a solid foundation based in translating popular manga series, and some new superhero work through Boom! Studios, Giffen is back in full force, overseeing not one, but two major events: Annihilation at Marvel and 52 at DC. It’s a comeback that would make not only any of Giffen’s contemporaries, but…well, any creator working in mainstream comics jealous. During some of his rare free time, we sat down with Giffen for a look back, around, and forward. Newsarama: Keith, let's just jump into it at the beginning - where did you study art? Keith Giffen: The Little Falls public library. I didn't really have any formal art training and it shows. The year I spent at the NY School of Visual Arts was a faux hippie, metaphysical nightmare and the night courses I took at the DuCret School only reinforced what I'd already pulled from the library's books. -
Digital Cinema and the Legacy of George Lucas
DOCTOR OF PHILOSOPHY Digital cinema and the legacy of George Lucas Willis, Daniel Award date: 2021 Awarding institution: Queen's University Belfast Link to publication Terms of use All those accessing thesis content in Queen’s University Belfast Research Portal are subject to the following terms and conditions of use • Copyright is subject to the Copyright, Designs and Patent Act 1988, or as modified by any successor legislation • Copyright and moral rights for thesis content are retained by the author and/or other copyright owners • A copy of a thesis may be downloaded for personal non-commercial research/study without the need for permission or charge • Distribution or reproduction of thesis content in any format is not permitted without the permission of the copyright holder • When citing this work, full bibliographic details should be supplied, including the author, title, awarding institution and date of thesis Take down policy A thesis can be removed from the Research Portal if there has been a breach of copyright, or a similarly robust reason. If you believe this document breaches copyright, or there is sufficient cause to take down, please contact us, citing details. Email: [email protected] Supplementary materials Where possible, we endeavour to provide supplementary materials to theses. This may include video, audio and other types of files. We endeavour to capture all content and upload as part of the Pure record for each thesis. Note, it may not be possible in all instances to convert analogue formats to usable digital formats for some supplementary materials. We exercise best efforts on our behalf and, in such instances, encourage the individual to consult the physical thesis for further information. -
Between the Panels
Between the Panels How the interactions between commerce and art shape superhero comic book film adaptations (2000-13) Tim Stafford Between The Panels: How the interactions between commerce and art shape superhero comic book film adaptations (2000-13) Tim Stafford Submitted to the University of Hertfordshire in partial fulfilment of the requirements of the degree of PhD January 2018 Acknowledgments I would like to thank my Principal Supervisor, Professor Keith Randle and my Second Supervisors, Visiting Professor Richard Miller and Dr Mariana Dodourova for their support and guidance during this project. I would also like to thank Greg Pan at Marvel for granting permission to reproduce the three selected comic book panels and Roni Lubliner at Universal for granting permission to use the still from Hulk. This thesis is dedicated in its entirety to my parents, Terry and Sheila Stafford, to Derek Watson, my best friend and guide in the world of comic books and to Hugh Jackman, who started the whole thing off. Between the Panels Contents List of figures 1 Abstract 3 Introduction 5 Research questions 8 Introduction to the conceptual framework and methodology 9 Thesis structure 12 Chapter One: Up, up and away: superheroes and their adaptations 14 Origin story: A brief history of superhero adaptations 14 The superhero film renaissance: 2000 to the present 20 Why are superhero films so popular? 26 i) The studio perspective 26 ii) The audience perspective 29 iii) The role of comic book readers 31 The theory of adaptation 34 The role of the director -
Black Panther: Complete Collection Vol
BLACK PANTHER: COMPLETE COLLECTION VOL. 3 PDF, EPUB, EBOOK Christopher Priest,Sal Velluto,J. Torres | 456 pages | 26 Apr 2016 | Marvel Comics | 9780785195085 | English | New York, United States Black Panther: Complete Collection Vol. 3 PDF Book John Buscema. Instead, those villains are never seen again, and instead the foe becomes a group of other African leaders who presumably represent other animal deity totems. Why not? Yeah, no real complaints. A major improvement over book Two with much more interesting stories such as "Return of the Dragon" and "Enemy of the State", where once again we are witnesses to T'Challa's superb strategist skills. Was well on my way to hating this collection. Great Read! Members save with free shipping everyday! Details if other :. Related Searches. Iron Man shows up after a while. Mar 24, Ricardo Noronha rated it really liked it. It's like being on a shitty rollercoaster that keeps ramping up, but all the drops are four or five feet, and then it's flat forever. The Skrull invasion only lasts 3 issues and is written by Jason Aaron, who does a fantastic job telling an action-packed story of what happens when powerful alien shapeshifters make a play for the vibranium mound. Return to Book Page. Welcome back. Eric Sadler rated it it was amazing May 14, Incredible Hulk Vol 2 33 December, So I naturally thought the story would progress with at least Atlantis and Latveria waging war on the vulnerable country while their military and spiritual leader is down. This story's not horrible but there's not really a great context for what type of story this alternate future, etc. -
IN PROGRESS Animals, and Creatures
GUIDEBOOK TO THE MARVEL CINEMATIC UNIVERSE “GUARDIANS OF THE GALAXY” INTERNATIONAL MASTER BILLING REVISED 6/13/14 • Changed “A.C.E.” to “ACE” after Film Editors’ credits on third line MARVEL STUDIOS PRESENTS A JAMES GUNN FILM “GUARDIANS OF THE GALAXY” CHRIS PRATT ZOE SALDANA DAVE BAUTISTA FEATURING VIN DIESEL AS GROOT BRADLEY COOPER AS ROCKET LEE PACE MICHAEL ROOKER KAREN GILLAN DJIMON HOUNSOU CASTING MUSIC MUSIC HEAD OF VISUAL CO-HEAD OF VISUAL VISUAL EFFECTS COSTUME WITH JOHN C. REILLY WITH GLENN CLOSE AS NOVA PRIME AND BENICIO DEL TORO AS THE COLLECTOR BYSARAH HALLEY FINN, C.S.A. SUPERVISORDAVE JORDAN BYTYLER BATES DEVELOPMENTCHARLIE WEN DEVELOPMENTRYAN MEINERDING SUPERVISORSTEPHANE CERETTI DESIGNERALEXANDRA BYRNE EDITED PRODUCTION DIRECTOR OF CO- EXECUTIVE EXECUTIVE EXECUTIVE EXECUTIVE BYFRED RASKIN CRAIG WOOD, ACE HUGHES WINBORNE, ACE DESIGNCHARLES WOOD PHOTOGRAPHY BEN DAVIS, BSC PRODUCERSDAVID J. GRANT JONATHAN SCHWARTZ PRODUCERSNIK KORDA STAN LEE PRODUCERSVICTORIA ALONSO JEREMY LATCHAM PRODUCERALAN FINE PRODUCERLOUIS D’ESPOSITO Soundtrack available on MARVEL MUSIC / HOLLYWOOD RECORDS PRODUCED WRITTEN DIRECTED BY p.g.a. BY AND BY ® KEVIN FEIGE, JAMES GUNN NICOLE PERLMAN JAMES GUNN © 2014 MARVEL www.marvel.com IMAX is a registered trademark of IMAX Corporation. Collecting information from Marvel’s Guardians of the Galaxy (2014), Marvel’s Guardians of the Galaxy Infi nite Comic #1 (2014), and Marvel’s Guardians of the Galaxy Prelude #1-2 (2014). HEAD WRITER/COORDINATOR: MIKE O’SULLIVAN COORDINATION: DARON JENSEN WRITERS: ROB BOCK, -
Las Tres Muertes De Gwen Stacy Um Ihn Gewisser Zu Erschüttern
Aún no consigo salir de mi asombro. Ocurrió, ¡finalmente ocurrió! Un número del Calabozo del Androide sin ninguna nota de mi autoría. Sólo Calabozo del Androide nº 36 / abril material de mis estimados amigos y 2007 colaboradores. La verdad es que no hay palabras para expresar lo que siento en estos momentos, Chairman Emeritus & Master of the como dijo el viejo Stan en Spider-Man 3: Nuff Universe/ Diagramación & todo lo Said! demás exxPero como no quiero dejar vacío el espacio Sergio Alejandro Amira dedicado a la editorial, los dejaré con un fragmento del Fausto de Goethe. Director adjunto Armando sigo mono Rosselot DIREKTOR: Ihr beiden, die ihr mir so oft, In Not und Trübsal, beigestanden, exxSagt, was ihr wohl in deutschen Landen Portada Von unsrer Unternehmung hofft? Mike Deodato exxIch wünschte sehr der Menge zu behagen, Besonders weil sie lebt und leben läßt. Colaboran en esta edición Die Pfosten sind, die Bretter aufgeschlagen, Elvin Solares Und jedermann erwartet sich ein Fest. A. César Osses Cobián Sie sitzen schon mit hohen Augenbraunen Javier Hildebrandt Gelassen da und möchten gern erstaunen. Miguel Ángel López Ich weiß, wie man den Geist des Volks versöhnt; Maytland Goyeneche Doch so verlegen bin ich nie gewesen: Zwar sind sie an das Beste nicht gewöhnt, Allein sie haben schrecklich viel gelesen. Wie machen wir's, daß alles frisch und neu Und mit Bedeutung auch gefällig sei? Verhülle mir das wogende Gedränge, Denn freilich mag ich gern die Menge sehen, Das wider Willen uns zum Strudel zieht. Wenn sich der Strom nach unsrer Bude drängt, Nein, führe mich zur stillen Himmelsenge, Und mit gewaltig wiederholten Wehen Wo nur dem Dichter reine Freude blüht; Sich durch die enge Gnadenpforte zwängt; Wo Lieb und Freundschaft unsres Herzens Segen Bei hellem Tage, schon vor vieren, Mit Götterhand erschaffen und erpflegen. -
American Superhero Comics: Fractal Narrative and the New Deal a Dissertation Presented to the Faculty of the College of Arts
American Superhero Comics: Fractal Narrative and The New Deal A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Lawrence W. Beemer June 2011 © 2011 Lawrence W. Beemer. All Rights Reserved. 2 This dissertation titled American Superhero Comics: Fractal Narrative and The New Deal by LAWRENCE W. BEEMER has been approved for the English Department of Ohio University and the College of Arts and Sciences by ______________________________ Robert Miklitsch Professor of English ______________________________ Benjamin M. Ogles Dean, College of Arts and Sciences 3 ABSTRACT BEEMER, LAWRENCE W., Ph.D., June 2011, English American Superhero Comics: Fractal Narrative and The New Deal (204 pp.) Director of Dissertation: Robert Miklitsch Coining the term "fractal narrative," this dissertation examines the complex storytelling structure that is particular to contemporary American superhero comics. Whereas other mediums most often require narrative to function as self-contained and linear, individual superhero comics exist within a vast and intricate continuity that is composed of an indeterminate number of intersecting threads. Identical to fractals, the complex geometry of the narrative structure found in superhero comics when taken as a whole is constructed by the perpetual iteration of a single motif that was established at the genre's point of origin in Action Comics #1. The first appearance of Superman institutes all of the features and rhetorical elements that define the genre, but it also encodes it with the specific ideology of The New Deal era. In order to examine this fractal narrative structure, this dissertation traces historical developments over the last seven decades and offers a close reading Marvel Comics' 2006 cross-over event, Civil War. -
CCI Annual Alumni Awards
COLLEGE OF COMMUNICATION & INFORMATION 2020 Annual Report University of Tennessee College of Communication & Information 2020 Annual Report UT Today: Now & Then Now Today: UT WELCOME 02 Letter from Dean Wirth 03 Working from Home 50 YEARS OF CCI 04 CCI 50th Anniversary Gala 08 Alumni Memories 10 CCI Timeline CCI TODAY 12 Diversity & Inclusion 14 The Library That Dolly Built 16 Social Media 18 Research & Alumni Awards 20 Student Feature: Charli Kerns 21 Torchbearer History 22 Global Programs 24 New Paths 26 Alumni 30 Giving All qualified applicants will receive equal consideration for employment and admission without regard to race, color, national origin, religion, sex, pregnancy, marital status, sexual ori- entation, gender identity, age, physical or mental disability, genetic information, veteran status, and parental status. In accordance with the requirements of Title VI of the Civil Rights Act of 1964, Title IX of the Education Amendments of 1972, Section 504 of the Rehabilitation Act of 1973, and the Americans with Disabilities Act of 1990, the University of Tennessee affirmatively states that it does not discriminate on the basis of race, sex, or disability in its education programs and activities, and this policy extends to employment by the university. Inquiries and charges of violation of Title VI (race, color, and national origin), Title IX (sex), Section 504 (disability), the ADA (disability), the Age Discrimination in Employment Act (age), sexual orientation, or veteran status should be directed to the Office of Equity and Diversity, 1840 Melrose Avenue, Knoxville, TN 37996-3560, telephone 865-974-2498. Requests for accommodation of a disability should be directed to the ADA Coordinator at the Office of Equity and Diversity. -
Amazing Spider-Man by Nick Spencer Vol. 3 Tpb J
MAY AMAZING SPIDER-MAN BY NICK SPENCER VOL. 3 TPB J. Jonah Jameson, former publisher of the Daily Bugle, former mayor of New York City, has a new job — as a shock jock! It’s the perfect job for the outspoken Jonah, but is the world ready for a JJJ who’s…pro-Spider-Man?! More importantly, is Peter Parker ready? His post-secret-identity relationship with Jonah was already complicated enough, but this very controversial public embrace may put him over the edge! This would be a terrible time for some of Spider-Man’s oldest foes to attack…so sure enough, here come the Enforcers! And they’ve got a plan to smack Spidey down harder than ever before… COLLECTING: AMAZING SPIDER-MAN 11-15 DATA MARKETING Review coverage from major entertainment and comic websites. AUTHOR: NICK SPENCER ARTIST: RYAN OTTLEY Presence at comic conventions and publishing trade shows. ISBN: 978-1-302-91433-2 Advertising in national magazines, newspapers and trade PUB MONTH: MAY publications. PRICE: $ 15.99 US / $ 20.99 CAN SUBJECT CATEGORY: TRADE PAPERBACK News coverage on Marvel.com with exclusive interiors previews RATING: RATED T available. TRIM SIZE: 6-5/8 X 10-3/16 PAGE COUNT: 112 TYPES OF ILLUSTRATION: COLOR COMP TITLES AMAZING SPIDER-MAN: WORLDWIDE VOL. 3 TPB ISBN: 978-0-7851-9944-1 - DEC-16 AMAZING SPIDER-MAN: WORLDWIDE VOL. 2 TPB ISBN: 978-0-7851-9943-4 - JUL-16 5 MAY STAR WARS: AGE OF REPUBLIC - HEROES TPB This is the Age of Star Wars — an epic series of adventures that unite your favorite characters from all three trilogies! Join the greatest heroes of the waning days of the Old Republic. -
2. the Avengers
UNIVERSITY LUISS GUIDO CARLI & FREE UNIVERSITY OF BRUSSELS Department of Political Science The Exceptionalism of the Avengers: 9/11 Representations, Security and Manicheanism presented by GRILLO, Hugo (638942) in the framework of Master Thesis - Double Degree in Political Science Supervisor: Professor Sorice, Michele Co-Supervisor: Professor Giansante, Gianluca Academic Year 2018 - 2019 Table of Contents Introduction ......................................................................................................1 Chapter I - Popular Culture and "Spectacle" ..................................................4 Introduction .....................................................................................................................4 1. Popular Culture and International Relations .............................................................5 2. Film and the "Spectacle" ........................................................................................... 10 3. Construction of identities ........................................................................................... 16 Conclusion ...................................................................................................................... 20 Chapter II - Superheroes and American Exceptionalism ............................... 22 Introduction ................................................................................................................... 22 1. Superheroes ............................................................................................................... -
“And I Think to Myself – What a Marvel-Ous World” An
“AND I THINK TO MYSELF – WHAT A MARVEL-OUS WORLD” AN EXAMINATION OF MARVEL STUDIOS’ INFLUENCE AND ROLE IN THE FRANCHISING OF CONTEMPORARY SUPERHERO FILMS By Elizabeth C.A. MacLeod, B.A. (Hons.) A thesis submitted to the Faculty of Graduate Studies and Research In partial fulfillment of the requirements for the degree of Masters of Arts in Film Studies Carleton University Ottawa, Ontario April 2015 i TABLES OF CONTENTS TABLES OF CONTENTS ................................................................................................... i ABSTRACT ....................................................................................................................... ii ACKNOWLEDGEMENTS ............................................................................................... iii DEDICATION .................................................................................................................... iv INTRODUCTION ............................................................................................................... v CHAPTER ONE - ORIGIN STORY: SUPERHERO BUSINESS AND CINEMATIC BEGINNINGS ..................................................................................................................... 1 CHAPTER TWO - “SOME ASSEMBLY REQUIRED”: MARVEL STUDIO’S METEORIC MONOPOLY OF HOLLYWOOD .............................................................. 20 CHAPTER THREE - “A FINGER IN EVERY PIE”: CONVERGENCE CULTURE AND THE TRANSMEDIA NARRATIVE OF THE “MARVEL CINEMATIC UNIVERSE.” ....................................................................................................................