WARP 74 / Spring 2010 / 2 Spring 2010 • Vol
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Writing About Comics and Copyright
CREATe Working Paper 2013/9 (December 2013) Writing About Comics and Copyright Authors Ronan Deazley Jason Mathis University of Glasgow www.jasonmathis.ca [email protected] [email protected] Initially released as a pre-publication edition privately printed for the authors, limited to a print run of 200 copies. CREATe Working Paper Series DOI: 10.5281/zenodo.8379. This release was supported by the RCUK funded Centre for Copyright and New Business Models in the Creative Economy (CREATe), AHRC Grant Number AH/K000179/1. 1 WRITING ABOUT COMICS AND COPYRIGHT Ronan Deazley and Jason Mathis Copyright © 2013 Ronan Deazley and Jason Mathis [ii] For Moira and Ruby [iii] [iv] TABLE OF CONTENTS Introduction 1 Comics scholarship and clearing rights 3 What is a ‘work’? 6 Insubstantial copying 12 Criticism and review 16 Current proposals for reform 20 Conclusion 23 30 Afterword / Manifesto 28 Notes [v] [1] [2] COMICS SCHOLARSHIP AND CLEARING RIGHTS Academics who research and write about the visual world often complain about the way in which copyright law can hinder their scholarly endeavours, and with good reason. Writing about visual work without reproducing that work is an impoverished exercise, for both writer and reader. But, reproducing visual material can trigger concerns on the part of the conscientious author or – more often – demands on the part of the publisher about the need to secure copyright permission. In this respect, comics scholarship is - ing rights for publication can be frustrating and time-consuming, andno different academic from publishers any other often field manage of visual the or cultural business studies. -
Download Booklet
H.G. Wells COMPLETE CLASSICS UNABRIDGED The Time Machine Read by Roger May NA0009 The time machine booklet-new template.indd 1 20/05/2010 15:02 CD 1 1 Chapter 1 6:15 2 ‘Scientific people,’ proceeded the Time Traveller… 6:02 3 The Time Traveller smiled round at us… 5:15 4 Everyone was silent for a minute… 5:18 5 Chapter 2 5:00 6 He said not a word, but came painfully… 4:45 7 The Time Traveller came to the place reserved… 4:36 8 Chapter 3 5:27 9 ‘The unpleasant sensations of the start…’ 4:40 10 ‘My sensations would be hard to describe…’ 5:10 11 Chapter 4 5:26 12 ‘The building had a huge entry…’ 6:10 13 ‘A queer thing I soon discovered…’ 6:00 14 ‘There I found a seat of some yellow metal…’ 5:05 Total time on CD 1: 75:16 2 NA0009 The time machine booklet-new template.indd 2 20/05/2010 15:02 CD 2 1 ‘Social triumphs, too, had been effected…’ 5:32 2 Chapter 5 5:07 3 ‘There I found a second great hall…’ 5:57 4 ‘I saw the heads of two orange-clad people…’ 3:28 5 ‘Going through the big palace…’ 5:17 6 ‘In the matter of sepulture, for instance…’ 4:48 7 ‘She was exactly like a child…’ 4:47 8 ‘As the eastern sky grew brighter…’ 5:27 9 ‘I do not know how long I sat peering down…’ 4:38 10 ‘At first, proceeding from the problems…’ 5:57 11 Chapter 6 4:36 12 ‘I had to clamber down a shaft…’ 4:44 13 ‘I have thought since how particularly ill-equipped…’ 5:03 14 Chapter 7 6:23 15 ‘As the hush of evening crept over the world…’ 6:04 Total time on CD 2: 77:56 3 NA0009 The time machine booklet-new template.indd 3 20/05/2010 15:02 CD 3 1 ‘Through that long night I held my mind off…’ 4:51 2 Chapter 8 4:01 3 ‘To judge from the size of the place…’ 4:19 4 ‘I took Weena’s hand. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Bcsfazine #447 • Felicity Walker
The Newsletter of the British Columbia Science Fiction Association #447 $3.00/Issue August 2010 In This Issue: This Month in BCSFA.........................................................0 About BCSFA......................................................................0 Letters of Comment............................................................1 Calendar...............................................................................5 News-Like Matter...............................................................17 Dating Game......................................................................23 Movies: The Man Who Wrote ‘Battlefield: Earth’............24 Media File...........................................................................25 Zines Received..................................................................27 E-Zines Received..............................................................28 Art Credits..........................................................................29 Why You Got This.............................................................29 BCSFAzine © August 2010, Volume 38, #8, Issue #447 is the monthly club newslet- ter published by the British Columbia Science Fiction Association, a social organiza- tion. ISSN 1490-6406. Please send comments, suggestions, and/or submissions to Felicity Walker (the editor), at felicity4711@ gmail .com or #209–3851 Francis Road, Richmond, BC, Canada, V7C 1J6. BCSFAzine solicits electronic submissions and black-and-white line illustrations in JPG, GIF, BMP, or PSD format, -
Drawn&Quarterly
DRAWN & QUARTERLY spring 2012 catalogue EXCERPT FROM GUY DELISLE’S JERUSALEM EXCERPT FROM GUY DELISLE’S JERUSALEM EXCERPT FROM GUY DELISLE’S JERUSALEM CANADIAN AUTHOR GUY DELISLE JERUSALEM Chronicles from the Holy City Acclaimed graphic memoirist Guy Delisle returns with his strongest work yet, a thoughtful and moving travelogue about life in Israel. Delisle and his family spent a year in East Jerusalem as part of his wife’s work with the non-governmental organiza- tion Doctors Without Borders. They were there for the short but brutal Gaza War, a three-week-long military strike that resulted in more than 1000 Palestinian deaths. In his interactions with the emergency medical team sent in by Doctors Without Borders, Delisle eloquently plumbs the depths of the conflict. Some of the most moving moments in Jerusalem are the in- teractions between Delisle and Palestinian art students as they explain the motivations for their work. Interspersed with these simply told, affecting stories of suffering, Delisle deftly and often drolly recounts the quotidian: crossing checkpoints, going ko- sher for Passover, and befriending other stay-at-home dads with NGO-employed wives. Jerusalem evinces Delisle’s renewed fascination with architec- ture and landscape as political and apolitical, with studies of highways, villages, and olive groves recurring alongside depictions of the newly erected West Bank Barrier and illegal Israeli settlements. His drawn line is both sensitive and fair, assuming nothing and drawing everything. Jerusalem showcases once more Delisle’s mastery of the travelogue. “[Delisle’s books are] some of the most effective and fully realized travel writing out there.” – NPR ALSO AVAILABLE: SHENZHEN 978-1-77046-079-9 • $14.95 USD/CDN BURMA CHRONICLES 978-1770460256 • $16.95 USD/CDN PYONGYANG 978-1897299210 • $14.95 USD/CDN GUY DELISLE spent a decade working in animation in Europe and Asia. -
English-Language Graphic Narratives in Canada
Drawing on the Margins of History: English-Language Graphic Narratives in Canada by Kevin Ziegler A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2013 © Kevin Ziegler 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re- evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). -
Cons & Confusion
Cons & Confusion The almost accurate convention listing of the B.T.C.! We try to list every WHO event, and any SF event near Buffalo. updated: July 19, 2019 to add an SF/DW/Trek/Anime/etc. event; send information to: [email protected] 2019 DATE local EVENT NAME WHERE TYPE WEBSITE LINK JULY 18-21 NYS MISTI CON Doubletree/Hilton, Tarrytown, NY limited size Harry Potter event http://connecticon.org/ JULY 18-21 CA SAN DIEGO COMIC CON S.D. Conv. Ctr, San Diego, CA HUGE media & comics show NO DW GUESTS YET! Neal Adams, Sergio Aragones, David Brin, Greg Bear, Todd McFarlane, Craig Miller, Frank Miller, Audrey Niffenegger, Larry Niven, Wendy & Richard Pini, Kevin Smith, (Jim?) Steranko, J Michael Straczynski, Marv Wolfman, (most big-name media guests added in last two weeks or so) JULY 19-21 OH TROT CON 2019 Crowne Plaza Htl, Columbus, OH My Little Pony' & other equestrials http://trotcon.net/ Foal Papers, Elley-Ray, Katrina Salisbury, Bill Newton, Heather Breckel, Riff Ponies, Pixel Kitties, The Brony Critic, The Traveling Pony Museum JULY 19-21 KY KEN TOKYO CON Lexington Conv. Ctr, Lexington, KY anime & gaming con https://www.kentokyocon.com/ JULY 20 ONT ELMVALE SCI-FI FANTASY STREET PARTY Queen St, Elmvale, Ont (North of Lake Simcoe!) http://www.scififestival.ca/ Stephanie Bardy, Vanya Yount, Loc Nguyen, Christina & Martn Carr Hunger, Julie Campbell, Amanda Giasson JULY 20 PA WEST PA BOOK FEST Mercer High School, Mercer, PA all about books http://www.westpabookfestival.com/ Patricia Miller, Michael Prelee, Linda M Au, Joseph Max Lewis, D R Sanchez, Judy Sharer, Arlon K Stubbe, Ruth Ochs Webster, Robert Woodley, Kimberly Miller JULY 20-21 Buf WILD RENN FEST Hawk Creek Wildlife Ctr, East Aurora, NY Renn fest w/ live animals https://www.hawkcreek.org/wp/ "Immerse yourself in Hawk Creek’s unique renaissance-themed celebration of wildlife diversity! Exciting entertainment and activities for all ages includes live wildlife presentations, bird of prey flight demonstrations, medieval reenactments, educational exhibits, food, music, art, and much more! JULY 20-21 T.O. -
April Steiner Wardrobe Stylist
APRIL STEINER WARDROBE STYLIST CELEBRITIES Abigail Breslin Christel Khalil Francesca Eastwood Adrianne Palicki Christina Hendricks Freddy Rodriguez Allison Sweeney Christine Lakin Gal Gadot Aly & AJ Cindy Crawford Giada DeLaurentiis America Ferrera Cole Hauser Gordon Ramsey Ana Ortiz Constance Marie Hilary Duff Andrea Bowen Danity Kane Hilary Winston Andrew Gunsberg Darren McMullen Holly Marie Combs Angela Lindvall Dax Shepard Hugh Laurie AnnaSophia Robb Diablo Cody Jack McBrayer Apolo Ohno Dominic Cooper Jackson Rathbone Arielle Kebbel Dominic Purcell James Denton Armie Hammer Doris Roberts James Maslow Ashlan Gorse Eddie McClintock James Woods Ashley Greene Eliza Dushku Jason Wahler Audrina Patridge Emilio Estevez Jennifer Stone Beau Garrett Emily VanCamp Jessalyn Gilsig Brittany Robertson Emma Bell Jill Larson Carrie Preston Eric Stonestreet Jim Parsons Cesar Milan Esai Morales Joel McHale Chandra Wilson Ever Carradine Joey McIntyre Charisma Carpenter Fiona Shaw Johnny Galecki Cheryl Burke Flava Flav Julia Ormond 1 Kaitlin Olson Michael Emerson Sarah Brown Karl Urban Michael Muhney Sasha Grey Kate Cazorla Michael Salahi Selita Ebanks Katie Holmes Michael Weatherly Seychelle Gabriel Keke Palmer Michelle Stafford Sharni Vinson Kelly Carlson Mindy Sterling Shawn Hatosy Kendra Wilkinson Miranda Cosgrove Sophia Bush Kerri Rhodes Morgan Eastwood Sterling Knight Kim Johnson Natalie Zea Steven Strait Kimberley Locke Nicole Richie Tamara Barney Kimberly Stewart Nicole Sullivan Tamara Jaber Kirstie Alley Nikki Cox Tamera Mowry Kristen Cavalleri -
This Is a Test
‘GOODNIGHT FOR JUSTICE: QUEEN OF HEARTS’ PRODUCTION BIOS LUKE PERRY (Executive Producer) – In 1989, Luke Perry was chosen for a starring role on the internationally popular television series “Beverly Hills 90210,” in which he portrayed the brooding but sensitive Dylan McCay. The highly-rated program won a Golden Globe Award for Best Dramatic Television series in 1991. Perry made his feature film debut in a starring role in “8 Seconds,” the remarkable account of champion bull rider Lane Frost, which he co-produced. His serious devotion to the inspirational legend of Lane Frost led him to train vigorously for 18 months in order to master the techniques of bull riding and to be able to perform many of his own stunts during production. Other film credits include Columbia’s “Fifth Element”, directed by Luc Besson, “Riot for Showtime,” “Normal Life,” “American Strays” and “The Florentine,” in which he co-starred with Chris Penn, Jim Belushi, Michael Madsen and Mary Stuart Masterson. Perry made his debut on Broadway in the critically acclaimed musical The Rocky Horror Picture Show, where he portrayed Brad, the character originally played by Barry Bostwick in the cult film classic. In 2004, Perry appeared onstage in London opposite Allyson Hannigan in When Harry Met Sally. Not one to be typecast because of his work on “90210,” Perry’s television credits include a myriad of roles, including a lead in the NBC drama “Windfall,” HBO’s “John From Cincinnati,” starring for two seasons on “Jeremiah,” the Showtime Network sci-fi series, a multi-episode arc on HBO’s critically acclaimed series “Oz,” in which he portrayed a televangelist convicted of fraud, as well as roles in Hallmark Channel productions “Johnson County War,” “Supernova,” “A Gunfighter’s Pledge” and “Angel and the Badman.” Perry starred in “Goodnight for Justice,” Hallmark Movie Channel’s highest rated movie of all time. -
Discover Your Comic Shop Check out a Selection of Our Dedicated Retail Partners Carrying the Boom! Books You Love!
DISCOVER YOUR COMIC SHOP CHECK OUT A SELECTION OF OUR DEDICATED RETAIL PARTNERS CARRYING THE BOOM! BOOKS YOU LOVE! ALABAMA Brave New World Comics Comix Experience Outpost Mission Comics And Art Richie’s Comic Cabana The Deep Comics & Games www.bravenewworldcomics.com www.comixexperience.com www.missioncomicsandart.com www.richies-comic-cabana.com www.deepcomics.com Brian’s Comics Crush Comics Next Door Comics DELAWARE Haven: Comics Etc www.brianscomics.com www.crushcomics.com www.nextdoorcomicshop.com Born to Game www.havencomics.com www.borntogame.net Cape And Cowl Comics Current Comics Njoy Games & Comics Sanctum Tattoos and Comics www.capeandcowlcomics.com www.currentcomics.net www.njoy.us Captain Blue Hen www.sanctumtattoosandcomics.com www.captainbluehen.com Captain Nemo Dr. Comics & Mr. Games Nuclear Comics Sho’Nuff Comics Games and Comics www.facebook.com/ www.nuclearcomics.com The Comic Book Shop www.shonuffcomics.com www.captainnemo.biz drcomicsmrgames www.thecomicbookshop.com Oasas Comics Quality Collectibles CheapGraphicNovels.com Earth 2 Comics (Northridge) www.oasascomics.com FLORIDA www.qcgaming.net www.cheapgraphicnovels.com www.earth2comics.com Altered Egos Comics & Games Pacific Coast Key Comics www.goaltered.com ARIZONA Collector’s Paradise (Pasadena) Earth 2 Comics (Sherman Oaks) www.pckcomics.com Amazing Discovers Gilbert www.comicsandcards.net www.earth2comics.com Arena Comics & Gaming Inc www.amazingmtg.com Pop! Comics www.arenacomicsandgaming.com Collector’s Ink Empire’s Comics Vault www.popcomicshop.com Ash Ave -
Plural Subjectivity in Stargate SG-1
Language, Literature, and Interdisciplinary Studies (LLIDS) ISSN: 2547-0044 ellids.com/archives/2020/07/3.4-Ferebee.pdf CC Attribution-No Derivatives 4.0 International License www.ellids.com “Pain in Someone Else’s Body”: Plural Subjectivity in Stargate SG-1 K.M. Ferebee Abstract Lennard Davis, in his work on visualizing the disabled body, argues that at root the body is inherently and always already fragmented. The unified “whole body” is, therefore, hallucinatory in nature—an imaginary figure through which the body’s multiplicity is repressed. There is much in this view that is consonant with posthumanism, which so often seeks to destabilize the “whole” and singular one in favor of the multiple, the fragmentary, and the hybrid. Yet despite these considerations of the body as fragmentary, little attention has been paid to the value of considering the body not only as fragmentary, but also as potential fragment. What might we learn by rejecting anthropocentric assumptions about the body-mind’s inherent completeness, and exploring the radically plural ontologies offered by visions of shared, joint, or group body-minds? This paper turns to science fiction as a source of such visions, considering depictions of symbiotic and hive minds through the non-traditional models of ontology and agency. While science fiction has traditionally represented plural being as a troubling and fearful injury to wholeness, this paper aims to highlight the symbiotic Tok’ra1 of television series Stargate SG-1 as a model of excess being that not only challenges the naturalization of the “complete” body, but also asks us to interrogate presumed boundaries between self and other. -
Preemptive Narratives in Recent Television Series Par Toni Pape
Université de Montréal Figures of Time: Preemptive Narratives in Recent Television Series par Toni Pape Département de littérature comparée, Faculté des arts et des sciences Thèse présentée à la Faculté des arts et des sciences en vue de l’obtention du grade de Ph. D. en Littérature, option Études littéraires et intermédiales Juillet 2013 © Toni Pape, 2013 Résumé Cette thèse de doctorat propose une analyse des temporalités narratives dans les séries télévisées récentes Life on Mars (BBC, 2006-2007), Flashforward (ABC, 2009-2010) et Damages (FX/Audience Network, 2007-2012). L’argument général part de la supposition que les nouvelles technologies télévisuelles ont rendu possible de nouveaux standards esthétiques ainsi que des expériences temporelles originales. Il sera montré par la suite que ces nouvelles qualités esthétiques et expérientielles de la fiction télévisuelle relèvent d’une nouvelle pertinence politique et éthique du temps. Cet argument sera déployé en quatre étapes. La thèse se penche d’abord sur ce que j’appelle les technics de la télévision, c’est-à- dire le complexe de technologies et de techniques, afin d’élaborer comment cet ensemble a pu activer de nouveaux modes d’expérimenter la télévision. Suivant la philosophie de Gilles Deleuze et de Félix Guattari ainsi que les théories des médias de Matthew Fuller, Thomas Lamarre et Jussi Parikka, ce complexe sera conçu comme une machine abstraite que j’appelle la machine sérielle. Ensuite, l’argument puise dans des théories de la perception et des approches non figuratives de l’art afin de mieux cerner les nouvelles qualités d’expérience esthétique dans la fiction sérielle télévisée.