“Where Is the Essence That Was So Divine?”: the Nostalgia of Moore's Minutemen
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Watchmen" After 9/11
Swarthmore College Works Film & Media Studies Faculty Works Film & Media Studies Fall 2011 Adapting "Watchmen" After 9/11 Bob Rehak Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-film-media Part of the Film and Media Studies Commons Recommended Citation Bob Rehak. (2011). "Adapting "Watchmen" After 9/11". Cinema Journal. Volume 51, Issue 1. 154-159. https://works.swarthmore.edu/fac-film-media/3 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Film & Media Studies Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Cinema Journal 51 | No. 1 | Fall 2011 a neoliberal politics interested in citizens (and soldiers) who "do security" themselves. At the same time, we might come to recognize that our response to 9/ 1 1 has not been merely a product of political ideologies and institutions, but has also been motivated by a cultural logic of participation. The important questions to ask are not about whether 24 determined the war on terror or the other way around, but instead about the shared cultural and political protocols that laid the foundation for both. * Adapting Watchmen after 9/1 1 by Bob Rehak Every generation has its own reasons for destroying New York. - Max Page, The City's End 1 a very ambitious experiment in hyperfaithful cinematic adaptation. Taking its source, Alan Moore and Dave Gibbons's 1987 graphic Released Taking novel, novel, a very as script, as ambitious storyboard, in andits script,design bible, March the source,production storyboard, vowed experiment 2009, Alan Zack Moore and in Snyder's hyperfaithful and design Dave film bible, Gibbons's version the cinematic production of 1987 Watchmen adaptation. -
WATCHMEN: PART II by Lon Turner
WATCHMEN: PART II by Lon Turner Based on the graphic novel WATCHMEN By Alan Moore and David Gibbons DISCLAIMER: All characters and licences © 1985 DC Comics FADE IN EXT. RETIREMENT HOME - DAY Somewhere in Florida. Pretty, welcoming. SALLY (O.S.) Laurie, honey? Are you okay? INT. SALLY’S ROOM - DAY A utility apartment: one big room, plus a connected bathroom. Great view of the outside. SALLY JUSPECZYK (66), still attractive if a bit battered, wheelchair bound, peeks into the bathroom. SALLY You don’t sound so good. IN THE BATHROOM Laurie on her knees before the toilet, her head over the bowl. LAURIE (spits) I’ll live. Laurie stands, unsteady, and enters the room proper. LAURIE Happens every time Jon teleports me. One second I’m in New York, I blink and here I am in Florida. Adios, breakfast. And to think, I get to do it again when Jon’s finished. SALLY My poor little girl. Where is Jon, anyway? LAURIE At a funeral. Laurie checks out the room. Porcelain figurines on a shelf. Hollis Mason’s book on a bedside table. Photos on a wall. SALLY Anyone I know? 2. LAURIE Uh...some government thing. They even made him put on clothes. SALLY It’s Eddie Blake’s funeral, isn’t it... LAURIE Now, mom, you shouldn’t upset yourself -- SALLY Please, Laurie. Don’t treat me like a child. I still keep in contact with Hollis Mason, he told me all about it. Sally looks at a photo on the wall. Same as the photo Rorschach found in Edward Blake’s apartment -- The Minutemen group photo. -
“The Superman Exists, and He Is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture
Connecticut College Digital Commons @ Connecticut College Film Studies Honors Papers Film Studies Program 2010 “The upS erman Exists, and He is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture Richard Charles Abate Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/filmhp Part of the American Film Studies Commons, American Popular Culture Commons, and the Film and Media Studies Commons Recommended Citation Abate, Richard Charles, "“The uS perman Exists, and He is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture" (2010). Film Studies Honors Papers. 2. http://digitalcommons.conncoll.edu/filmhp/2 This Honors Paper is brought to you for free and open access by the Film Studies Program at Digital Commons @ Connecticut College. It has been accepted for inclusion in Film Studies Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. “The Superman Exists, and He is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture An Honors Thesis presented by Richard Charles Abate to The Department of Film Studies in partial fulfillment of the requirements for Honors in the Major Field Connecticut College New London, Connecticut May 2010 Acknowledgements I would like to thank Professor Nina Martin for advising me throughout this project and for introducing me to the wonderful world of film theory. I would also like to thank my readers, Professor Simon Hay and Professor David Greven, for taking the time to read over drafts of this thesis and for their invaluable comments and constructive criticisms. -
Discovering the Literary Relevancy of Watchmen: a Review of the Graphic
Running head: LITERARY RELEVANCY OF WATCHMEN 1 Discovering the Literary Relevancy of Watchmen A Review of the Graphic Novel’s Philosophical Themes (2 inches) Tyler Flynn (2 inches) A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2012 (1.5 inches) LITERARY RELEVANCY OF WATCHMEN 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Dr. Carey Martin, Ph.D. Thesis Chair (1 inch) ______________________________ Dr. Cliff Kelly, Ph.D. Committee Member (1 inch) ______________________________ Dr. David Duby, Ph.D. Committee Member (1 inch) ______________________________ Brenda Ayres, Ph.D. Honors Director (1 inch) ______________________________ Date LITERARY RELVANCY OF WATCHMEN 3 Abstract The American comic book, specifically those of the superhero genre, is a medium that has been associated with stagnant, morally upright characters and formulaic plots. However, author Alan Moore and artist Dave Gibbons changed said stigma with their groundbreaking series Watchmen . An analysis of the work’s storyline, as well as some of the main characters, will reveal the deep philosophical and psychological underpinnings of the graphic novel, and, more importantly, its literary merit. A Christian interpretation of the work will also be presented. LITERARY RELEVANCY OF WATCHMEN 4 Discovering the Literary Relevancy of Watchmen A Review of the Graphic Novel’s Philosophical Themes The advent of the superhero is widely agreed to have been initiated by Jerry Siegel and Joe Schuster with the creation of Superman in the 1938 publication of Action Comics #1 (Goulart 43). -
WATCHMENAND PHILOSOPHY EDITED by Can We Justify Ozymandias’S Grand Plan? MARK D
PHILOSOPHY/POP CULTURE IRWIN SERIES EDITOR: WILLIAM IRWIN WATCHMEN EDITED BY Can we justify Ozymandias’s grand plan? MARK D. WHITE Does Dr. Manhattan really know what’s going to happen in the future? Is the Comedian actually a comedian (or just a jerk)? Can either Silk Spectre be considered a feminist? Does Nite Owl’s paunch actually make him virtuous? AND PHILOSOPHY ATCHMEN is the most critically acclaimed graphic novel ever published Wand turned the world of comic superheroes on its head. This masterpiece of realistic storytelling, dialogue, and artwork, courtesy of Alan Moore and Dave Gibbons, raises a host of compelling philosophical questions. How do Ozymandias and Rorschach justify their actions? What are the political ramifi cations of the Comedian’s work for the government? How do we explain the nature of Dr. Manhattan? And can a graphic novel be considered literature? Whether you’re reading Watchmen for the fi rst time or have been a fan for more than twenty years, Watchmen and Philosophy will help you read deeper into the philosophical questions and the revolutionary story that changed comic fi ction forever. MARK D. WHITE is an associate professor in the Department of Political Science, Economics, and Philosophy at the College of Staten Island/CUNY and coeditor of { Batman and Philosophy. A RORSCHACH TEST WATCHMEN WILLIAM IRWIN is a professor of philosophy at King’s College. He originated the philosophy and popular culture genre of books as coeditor of the bestselling The Simpsons and Philosophy and has overseen recent titles, including Batman and AND PHILOSOPHY Philosophy, House and Philosophy, and Watchmen and Philosophy. -
Vigilantes, Incorporated: an Ideological Economy of the Superhero Blockbuster
VIGILANTES, INCORPORATED: AN IDEOLOGICAL ECONOMY OF THE SUPERHERO BLOCKBUSTER BY EZRA CLAVERIE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor José B. Capino, Chair Associate Professor Jim Hansen Associate Professor Lilya Kaganovsky Associate Professor Robert A. Rushing Professor Frank Grady,Department of English, University of Missouri, Saint Louis ii ABSTRACT Since 2000, the comic-book superhero blockbuster has become Hollywood’s most salient genre. “Heroes, Incorporated: A Political Economy of the Superhero Blockbuster” examines these seemingly reactionary fantasies of American power, analyzing their role in transmedia storytelling for a conglomerated and world-spanning entertainment industry. This dissertation argues that for all their apparent investment in the status quo and the hegemony of white men, superhero blockbusters actually reveal the disruptive and inhuman logic of capital, which drives both technological and cultural change. Although focused on the superhero film from 2000 to 2015, this project also considers the print and electronic media across which conglomerates extend their franchises. It thereby contributes to the materialist study of popular culture and transmedia adaptation, showing how 21st century Hollywood adapts old media for new platforms, technologies, and audiences. The first chapter traces the ideology of these films to their commercial roots, arguing that screen superheroes function as allegories of intellectual property. The hero’s “brand” identity signifies stability, even as the character’s corporate owners continually revise him (rarely her). -
Watchmen Thesis
1 I. Introduction My argument begins with a quote from the blog of Tony Long, a writer for the magazine Wired , a magazine which is immersed in popular culture and technology, and is usually ahead of the times in its cultural evaluations. However, there are still some areas in which the writers are not completely aware of the changes of genre, as Long demonstrates in his argument for why a graphic novel that was recently nominated for the National Book Award should not be eligible. Long says, I have not read this particular "novel" but I'm familiar with the genre so I'm going to go out on a limb here. First, I'll bet for what it is, it's pretty good. Probably damned good. But it's a comic book. And comic books should not be nominated for National Book Awards, in any category. That should be reserved for books that are, well, all words. This is not about denigrating the comic book, or graphic novel, or whatever you want to call it. This is not to say that illustrated stories don't constitute an art form or that you can't get tremendous satisfaction from them. This is simply to say that, as literature, the comic book does not deserve equal status with real novels, or short stories. (para 15-16) Long feels quite strongly that graphic novels are “comic books,” and does not know of any distinction between the two. He considers “comic books” and graphic novels to both be “illustrated stories” and so not eligible to be considered “literature.” His distinction of literature seems to be that of novels and short stories, and the reason those are literary is because they are “all words.” Long is displaying a prejudice towards what he considers “comic books” that is endemic to the mind of the American reader, and most American scholars. -
Reading Space in Watchmen Dr Spiros Xenos (Independent Scholar)
Reading Space in Watchmen Dr Spiros Xenos (Independent Scholar) Abstract In this paper I argue that the grammar of Watchmen is a spatial grammar, a place of constituent elements transformed into practised space. Watchmen provokes a modernist strategy of estrangement in its representation and problematisation of the postmodern by employing the rational grid of the orderly mode of modernity, and disabling its instinct towards compartmentalisation and containment. Paper (S)pace is a practiced place.1 Introduction To speak of a comics narrative in a structural sense is to speak of a spatial narrative form. That is, comics narratives are composed of spatial units – panels. To speak of a spatial narrative form is to speak of certain spatial reading strategies, and thus to partake in a discourse in spatial hermeneutics in which ‘reading’ is the privileged metaphor of the ‘textualisation’ and ‘narrativisation’ and ‘visualisation’ of space. In this paper I elaborate on such strategies and metaphors in Watchmen. Watchmen provokes a strategy of estrangement in employing the rational grid of the orderly mode of modernity and disrupting its instinct towards compartmentalisation and containment. The connotations of the nine-panel grid - of standardisation, rationality, inviolability and classical perspectivism - have been undermined. The “elegant, labyrinthine”2 structure of Watchmen has been mobilised into a critique of the static and orderly. In the first part of 1 de Certeau 1984: 117, italics in text, my parentheses 2 Schechter 1989: 559 this paper I discuss spatial narrative strategies in Watchmen with reference to modes of filmic representation – mise-en-scène and montage. In the second part I develop these points in discussing the visuality of space as encountered in Watchmen. -
GRAPHIC NOVELS- SECONDARY & ADULT Compiled by Sheila Kirven
GRAPHIC NOVELS- SECONDARY & ADULT compiled by Sheila Kirven HYBRID Secondary Blaufarb, Rafe Inhuman Traffick: The International struggle Juv.306.3.B645i & Clarke, Liz against the Transatlantic Slave Trade: A Graphic history (Contains historical documents, maps and explanatory text to show the historical context of the story.) Dreaming in Indian: Juv.D7713 Contemporary Native American voices Hosler, Jay Optical Allusions Juv.H8265o (eyes and evolutionary science) Myers, Walter Dean Autobiography of my dead brother Juv.M9967a Pyle, Kevin C. Bad for You: Exposing the war on fun Juv. 305.23.P996b And Cunningham, Scott (history of censorship based on fallacious reports and studies, including comic books, Dungeons and Dragons gaming, internet addiction) Sax, Aline War within these walls Juv.S2722w (Mischa living in WWII Warsaw takes part in the Warsaw ghetto uprising.) Schecter, Ronald and Mendoza the Jew: Boxing, manliness and Juv.927.6.M539s Clarke, Liz nationalism (Mendoza the Jew combines graphic history with primary documentation and contextual information to analyze and explore issues of nationalism, identity, culture, and historical methodology through the life story of Daniel Mendoza, a poor Sephardic Jew from East London who became the boxing champion of Britain in 1789) Talbot, Bryan Tale of one bad rat Juv. T138t (Tells the story of a young girl, Helen Potter, who runs away from home to escape an uncaring mother and a sexually abusive father. Eventually she finds her way to the Lake District, drawn there by her love of the work of Beatrix Potter, and in that beautiful landscape she at last finds peace.) Zimmerman, William 100 things guys need to know Juv.170.83.A76o Secondary Graphic novels Abadzis, Brad Laika Juv. -
Heroclix Bestand 16-10-2012
Heroclix Liste Infinity Challenge Infinity Gauntlet Figure Name Gelb Blau Rot Figure Name Gelb Blau Rot Silber und Bronze Adam Warlock 1 SHIELD Agent 1 2 3 Mr. Hyde 109 110 111 Vision 139 In-Betweener 2 SHIELD Medic 4 5 6 Klaw 112 113 114 Quasar 140 Champion 3 Hydra Operative 7 8 9 Controller 115 116 117 Thanos 141 Gardener 4 Hydra Medic 10 11 12 Hercules 118 119 120 Nightmare 142 Runner 5 Thug 13 14 15 Rogue 121 122 123 Wasp 143 Collector 6 Henchman 16 17 18 Dr. Strange 124 125 126 Elektra 144 Grandmaster 7 Skrull Agent 19 20 21 Magneto 127 128 129 Professor Xavier 145 Infinity Gauntlet 101 Skrull Warrior 22 23 24 Kang 130 131 132 Juggernaut 146 Soul Gem S101 Blade 25 26 27 Ultron 133 134 135 Cyclops 147 Power Gem S102 Wolfsbane 28 29 30 Firelord 136 137 138 Captain America 148 Time Gem S103 Elektra 31 32 33 Wolverine 149 Space Gem S104 Wasp 34 35 36 Spider-Man 150 Reality Gem S105 Constrictor 37 38 39 Marvel 2099 Gabriel Jones 151 Mind Gem S106 Boomerang 40 41 42 Tia Senyaka 152 Kingpin 43 44 45 Hulk 1 Operative 153 Vulture 46 47 48 Ravage 2 Medic 154 Jean Grey 49 50 51 Punisher 3 Knuckles 155 Hammer of Thor Hobgoblin 52 53 54 Ghost Rider 4 Joey the Snake 156 Fast Forces Sabretooth 55 56 57 Meanstreak 5 Nenora 157 Hulk 58 59 60 Junkpile 6 Raksor 158 Fandral 1 Puppet Master 61 62 63 Doom 7 Blade 159 Hogun 2 Annihilus 64 65 66 Rahne Sinclair 160 Volstagg 3 Captain America 67 68 69 Frank Schlichting 161 Asgardian Brawler 4 Spider-Man 70 71 72 Danger Room Fred Myers 162 Thor 5 Wolverine 73 74 75 Wilson Fisk 163 Loki 6 Professor Xavier 76 -
Heroes and Villains in Watchmen
FACULTAD de FILOSOFÍA Y LETRAS DEPARTAMENTO de FILOLOGÍA INGLESA Grado en Estudios Ingleses TRABAJO DE FIN DE GRADO Heroes and Villains in Watchmen Miguel García Pérez Tutor: Marta Gutiérrez Rodríguez Curso 2017/2018 Abstract This dissertation aims to analyze one of the aspects of what is, almost unanimously, considered the best comic ever written: Watchmen, created by Alan Moore and Dave Gibbons. This analysis will be focused on the main characters of this comic, from the perspective of how well they fit into different villain and hero archetypes. For this purpose, some of the most common heroic and villainous archetypes in the Western narrative will be analyzed, and those data will be used to analyze the main characters of the comic. The final objective of this analysis will be to prove how incredibly complex the characters of a Superhero comic (normally dismissed as a minor genre for teenagers) can be. Key Words: Watchmen, Comic, Superhero, Archetype, Hero, Villain Resumen El objetivo de este Trabajo de fin de Grado es analizar una parte de la obra que es, casi universalmente considerada come el mejor comic que se ha escrito: Watchmen, creada por Alan Moore y Dave Gibbons. Este análisis se centrará en los personajes principales del comic, con el objetivo de examinar como encajan en los diferentes arquetipos tanto de villanos como de héroes. Para esto, se analizarán algunos de los arquetipos heroicos y de villanos más importantes de la literatura occidental, y esto se usará para analizar a los personajes del comic. El objetivo último de este análisis será probar que los personajes de un comic de superhéroes, normalmente considerado un género menor para adolescentes, también pueden ser increíblemente complejos. -
Who Watches the Watchmen: the Revaluation of the Superhero in the Nihilistic World Of
Who Watches the Watchmen: The Revaluation of the Superhero in the Nihilistic World of Alan Moore’s Watchmen by Stacy Ryan Ange August, 2011 Chair: Ken Parille Department: English Alan Moore’s comic book series Watchmen is unique in comic book history in that it possesses a multi-layered, multi-interpretive structure and complex philosophically driven narrative. One of the novel approaches of Watchmen is Moore’s treatment of superheroes, revealing in their realistic psychological portrayals the inherent pathologies present in a person who presumes to act on behalf of a society, even if their justification is one of benevolence. In a postmodern world where God is absent and humans are left to construct their own belief systems independent of a creator, the superheroes of Watchmen are more often than not just as morally troubling as the villains of the comic. It is Moore’s revaluation of the superhero, by placing the superhero archetype in a largely nihilistic alternate universe that brings into relief the problematic existence of such super-powered beings, and questions their authority and justification to act on behalf of the world. Moore ultimately asks readers to make qualitative distinctions between the moral approaches his superheroes apply, generally revaluate the morality and ideals superheroes represent, and last, but not least, use their own critical reasoning to take responsibility for their lives and their own moral systems. Moore, in effect, asks readers to apply the kind of heroism his superheroes fail to exemplify: hopefully,