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Copyright 2013 Shawn Patrick Gilmore
Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way. -
The Nominees for Best Feature Length Drama
2012 LEO AWARDS NOMINEES & WINNERS BEST FEATURE LENGTH DRAMA WINNER Sisters&Brothers Carl Bessai, James Brown, Emily Alden - Producers NOMINEES Daydream Nation Christine Haebler, Trish Dolman - Producers Doppleganger Paul Katherine Hazon, Oliver Linsley, Dylan Akio Smith, Kris Elgstrand - Producers Marilyn Christopher Petry, Kaleena Kiff, Bruce Borland - Producers The Odds Simon Davidson, Kirsten Newlands, Oliver Linsley - Producers Page 1 of 78 2012 LEO AWARDS NOMINEES & WINNERS BEST DIRECTION FEATURE LENGTH DRAMA WINNER Carl Bessai Sisters&Brothers NOMINEES Dylan Akio Smith, Kris Elgstrand Doppleganger Paul Paul A. Kaufman Magic Beyond Words: The J.K. Rowling Story Christopher Petry Marilyn Simon Davidson The Odds Page 2 of 78 2012 LEO AWARDS NOMINEES & WINNERS BEST SCREENWRITING FEATURE LENGTH DRAMA WINNER Kris Elgstrand Doppleganger Paul NOMINEES Melodie Krieger, Jim Cliffe Donovan's Echo Christopher Petry Marilyn Aaron Houston Sunflower Hour Simon Davidson The Odds Page 3 of 78 2012 LEO AWARDS NOMINEES & WINNERS BEST CINEMATOGRAPHY FEATURE LENGTH DRAMA WINNER Jon Joffin Daydream Nation NOMINEES Michael C. Blundell Hamlet Pieter Stathis Hit 'n Strum Mathias Herndl Magic Beyond Words: The J.K. Rowling Story Norm Li The Odds Page 4 of 78 2012 LEO AWARDS NOMINEES & WINNERS BEST PICTURE EDITING FEATURE LENGTH DRAMA WINNER Sabrina Pitre Sisters&Brothers NOMINEES Jamie Alain Daydream Nation Mark Shearer Donovan's Echo Kirby Jinnah Marilyn Greg Ng Sunflower Hour Page 5 of 78 2012 LEO AWARDS NOMINEES & WINNERS BEST OVERALL SOUND FEATURE LENGTH -
Will This Manhattan Projects Original Artwork Cliffhanger Make Another
COMICS COSPLAY TV/FILM GAMES SUBMIT CGC Search … Will This Manhattan Projects Original Artwork Cliffhanger Make Another Big Splash? Posted by Mark Seifert March 19, 2014 0 Comments Facebook Twitter Pinterest LinkedIn Tumblr Email Reddit [The Manhattan Projects #18 has been out for a couple weeks, but still — if you haven’t read this issue and plan to, you might want to skip this post for now.] Several years into the digital era for both comics reading and comics production, I still love to look at original comic art up close. The look and feel of the art board, the subtle texture of the ink, the faint traces of changes and corrections… it all adds up to a little extra insight into the time and circumstances behind the comics book’s creation. We’ve mentioned a bunch of noteworthy original art sales here in recent times — from that awe-inspiring Golden Age Action Comics #15 cover by Fred Guardineer, to this Silver Age Fantastic Four #55 page by Jack Kirby, to this Bronze Age classic Amazing Spider- Man #121 cover by John Romita Sr, down to the current record holder for a piece of American comic book art with this Amazing Spider-Man #328 cover by Todd McFarlane. And increasingly, original art sales from much more recent comics are turning heads as well. It’s probably no surprise that Skottie Young original art is highly sought after, or that Walking Dead original art — even panel pages — can command some eye- popping prices. But modern comic art collectors have broadened their interests to many other artists and titles of quality in recent times, such as this Pia Guerra Y: The Last Man panel page that recently went for $1000. -
Episode 47 – “A Very Merry Supernatural Christmas”
Episode 47 – “A Very Merry Supernatural Christmas” Release Date: December 24, 2018 Running Time: 1 hour, 11 minutes Sally: Kay. Fuck, marry, kill. Sam, Dean, Cas. Emily: Ah, fu-- (laugh) Brie: I feel like that’s easy. (laugh) Emily: That’s super easy. Sally: I just -- we gotta start the episode somehow. Emily: OK, kill Sam, obviously. Brie: Duh. Yeah, no, duh. Yeah. Emily: Yeah. Brie: Yeah. Mm. Sally: (laugh) Emily: Uh, then I guess I’d marry Cas? Brie: Yeah … Sally: Fuck Dean? Emily: Yeah. Sally: That’s where I was sitting too. Brie: Yeah. Sally: So we’re all in agreement. Brie: Yeah. Emily: I just -- Cas actually has a personality I can stand. When he actually develops a personality, which is later, I guess, in the series. Sally: Yeah. Brie: I do think, though, that, like, the emotional parts of Dean -- Emily: Yeah. Brie: If that -- if that was, like, turned on all the time. Marry. Emily: My idealized version of Dean -- Brie: Yeah. Emily: I would marry. Brie: Yeah. Yeah. Emily: But the Dean that’s actually on the show? Mm-mm. Fuckin’ leave. Sally: OK! (all laugh) Emily, singing: Have a holly, jolly Christmas … Sally: Um, earlier I was reading an article called -- Brie: Oh! Oh, yeah. Yeah. Emily: Don’t repeat it. It’s the worst. Sally: (laughing) Emily: I know we’re an explicit podcast, but this might be the line of what’s too explicit. Brie: (laugh) Sally: K, it was an article about monster erotica, and the title of the article is also a title for the book. -
ABSTRACT the Women of Supernatural: More Than
ABSTRACT The Women of Supernatural: More than Stereotypes Miranda B. Leddy, M.A. Mentor: Mia Moody-Ramirez, Ph.D. This critical discourse analysis of the American horror television show, Supernatural, uses a gender perspective to assess the stereotypes and female characters in the popular series. As part of this study 34 episodes of Supernatural and 19 female characters were analyzed. Findings indicate that while the target audience for Supernatural is women, the show tends to portray them in traditional, feminine, and horror genre stereotypes. The purpose of this thesis is twofold: 1) to provide a description of the types of female characters prevalent in the early seasons of Supernatural including mother-figures, victims, and monsters, and 2) to describe the changes that take place in the later seasons when the female characters no longer fit into feminine or horror stereotypes. Findings indicate that female characters of Supernatural have evolved throughout the seasons of the show and are more than just background characters in need of rescue. These findings are important because they illustrate that representations of women in television are not always based on stereotypes, and that the horror genre is evolving and beginning to depict strong female characters that are brave, intellectual leaders instead of victims being rescued by men. The female audience will be exposed to a more accurate portrayal of women to which they can relate and be inspired. Copyright © 2014 by Miranda B. Leddy All rights reserved TABLE OF CONTENTS Tables -
A University of Wisconsin Arboretum Narrative: Changing Landscapes and Changing Meaning
A University of Wisconsin Arboretum Narrative: Changing Landscapes and Changing Meaning Molly Evjen, Andreas Karlsson, Ryan Kelly, Matt Lamb Geography 565 Fall 2010 Abstract As societies change, so too does their relationship with the land. These changing relationships are reflected in and imprinted upon the land on which they live. In order to demonstrate how the landscape of the UW Arboretum has mirrored this changing association with nature through time, we have conducted an environmental history which focuses on four vignettes representing major changes in this relationship. Through research of primary data sources such as historical newsletters, observation, and plat map analysis our research shows that the Arboretum is a palimpsest of landforms and meaning resulting from these changing relationships. Introduction Environmental History is the study of the changing relationship between human beings and the natural world. We believe that the UW arboretum is a landscape that, through time, has been reflective of this changing relationship. Our purpose is to demonstrate how the landscape of the UW Arboretum has changed through time and how these changes reflect a cycle of changing, complex relationships between society and nature. We utilize multiple primary resources in our analysis such as plat maps, CCC newsletters, photographs, observations and personal reflections from our own field journals. We will demonstrate how the UW Arboretum is representative of this changing relationship in a number of ways. It is a reminder of early connections to the land represented by numerous burial mounds. The mounds also symbolize, through the multitude of possible interpretations of their purpose, people’s ever-changing interpretations of our relationship with nature in general. -
Constructing Community and Cosmos: a Bioarchaeological Analysis of Wisconsin Effigy Mound Mortuary Practices and Mound Construction
CONSTRUCTING COMMUNITY AND COSMOS: A BIOARCHAEOLOGICAL ANALYSIS OF WISCONSIN EFFIGY MOUND MORTUARY PRACTICES AND MOUND CONSTRUCTION By Wendy Lee Lackey-Cornelison A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILSOPHY Anthropology 2012 ABSTRACT CONSTRUCTING COMMUNITY AND COSMOS: A BIOARCHAEOLOGICAL ANALYSIS OF WISCONSIN EFFIGY MOUND MORTUARY PRACTICES AND MOUND CONSTRUCTION By Wendy Lee Lackey-Cornelison This dissertation presents an analysis of the mounds, human skeletal remains, grave goods, and ritual paraphernalia interred within mounds traditionally categorized as belonging to the Wisconsin Effigy Mound Tradition. The term ‘Effigy Mound Tradition’ commonly refers to a widespread mound building and ritual phenomenon that spanned the Upper Midwest during the Late Woodland (A.D. 600-A.D. 1150). Specifically, this study explores how features of mound construction and burial may have operated in the social structure of communities participating in this panregional ceremonial movement. The study uses previously excavated skeletal material, published archaeological reports, unpublished field notes, and photographs housed at the Milwaukee Public Museum to examine the social connotations of various mound forms and mortuary ritual among Wisconsin Effigy Mound communities. The archaeological and skeletal datasets consisted of data collected from seven mound sites with an aggregate sample of 197 mounds and a minimum number of individuals of 329. The mortuary analysis in this study explores whether the patterning of human remains interred within mounds were part of a system involved with the 1) creation of collective/ corporate identity, 2) denoting individual distinction and/or social inequality, or 3) a combination of both processes occurring simultaneously within Effigy Mound communities. -
Theology of Supernatural
religions Article Theology of Supernatural Pavel Nosachev School of Philosophy and Cultural Studies, HSE University, 101000 Moscow, Russia; [email protected] Received: 15 October 2020; Accepted: 1 December 2020; Published: 4 December 2020 Abstract: The main research issues of the article are the determination of the genesis of theology created in Supernatural and the understanding of ways in which this show transforms a traditional Christian theological narrative. The methodological framework of the article, on the one hand, is the theory of the occulture (C. Partridge), and on the other, the narrative theory proposed in U. Eco’s semiotic model. C. Partridge successfully described modern religious popular culture as a coexistence of abstract Eastern good (the idea of the transcendent Absolute, self-spirituality) and Western personified evil. The ideal confirmation of this thesis is Supernatural, since it was the bricolage game with images of Christian evil that became the cornerstone of its popularity. In the 15 seasons of its existence, Supernatural, conceived as a story of two evil-hunting brothers wrapped in a collection of urban legends, has turned into a global panorama of world demonology while touching on the nature of evil, the world order, theodicy, the image of God, etc. In fact, this show creates a new demonology, angelology, and eschatology. The article states that the narrative topics of Supernatural are based on two themes, i.e., the theology of the spiritual war of the third wave of charismatic Protestantism and the occult outlooks derived from Emmanuel Swedenborg’s system. The main topic of this article is the role of monotheistic mythology in Supernatural. -
Supernatural' Fandom As a Religion
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2019 The Winchester Gospel: The 'Supernatural' Fandom as a Religion Hannah Grobisen Claremont McKenna College Follow this and additional works at: https://scholarship.claremont.edu/cmc_theses Part of the Film and Media Studies Commons Recommended Citation Grobisen, Hannah, "The Winchester Gospel: The 'Supernatural' Fandom as a Religion" (2019). CMC Senior Theses. 2010. https://scholarship.claremont.edu/cmc_theses/2010 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Claremont McKenna College The Winchester Gospel The Supernatural Fandom as a Religion submitted to Professor Elizabeth Affuso and Professor Thomas Connelly by Hannah Grobisen for Senior Thesis Fall 2018 December 10, 2018 Table of Contents Dad’s on a Hunting Trip and He Hasn’t Been Home in a Few Days: My Introduction to Supernatural and the SPN Family………………………………………………………1 Saving People, Hunting Things. The Family Business: Messages, Values and Character Relationships that Foster a Community……………………………………………........9 There is No Singing in Supernatural: Fanfic, Fan Art and Fan Interpretation….......... 20 Gay Love Can Pierce Through the Veil of Death: The Importance of Slash Fiction….25 There’s Nothing More Dangerous than Some A-hole Who Thinks He’s on a Holy Mission: Toxic Misrepresentations of Fandom……………………………………......34 This is the End of All Things: Final Thoughts………………………………………...38 Works Cited……………………………………………………………………………39 Important Characters List……………………………………………………………...41 Popular Ships…………………………………………………………………………..44 1 Dad’s on a Hunting Trip and He Hasn’t Been Home in a Few Days: My Introduction to Supernatural and the SPN Family Supernatural (WB/CW Network, 2005-) is the longest running continuous science fiction television show in America. -
The Folk Beliefs in Vampire-Like Supernatural Beings in the Ottoman
An Early Modern Horror Story: The Folk Beliefs in Vampire-like Supernatural Beings in the Ottoman Empire and the Consequent Responses in the Sixteenth and Seventeenth Centuries by Salim Fikret Kırgi Submitted to Central European University History Department In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: Associate Prof. Tijana Krstić Second Reader: Prof. György E. Szönyi Budapest, Hungary 2017 CEU eTD Collection Statement of Copyright “Copyright in the text of this thesis rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author.” CEU eTD Collection i Abstract The thesis explores the emergence and development of vampire awareness in the Ottoman Empire in the sixteenth and seventeenth centuries by focusing on the interactions between religious communities, regional dynamics, and dominant discourses in the period. It re-evaluates the scattered sources on Ottoman approaches to the ‘folkloric vampire’ by taking the phenomenon as an early modern regional belief widespread in the Balkans, Central Europe and the Black Sea regions. In doing so, it aims to illuminate fundamental points, such as the definition of the folkloric revenant in the eyes of the Ottoman authorities in relation to their probable inspiration—Orthodox Christian beliefs and practices—as well as some reference points in the Islamic tradition. -
The Greyfriar by Clay & Susan Griffith
THE DOMINION DISPATCH VOL. 1 ISS. 3 PAGE 2 wELCOME BACK! Welcome to Issue 3 of the Dominion Dispatch! It's been a very busy winter so far, with Steampunk Canada making appearances at a number of conventions and events, and planning for the Canadian National Steampunk Exhibition picking up a healthy head of steam. This issue sees a continuation in the trend towards more and more book reviews, which is helped by free review copies from Pyr/Prometheus Books. Pyr, you have our deepest thanks. We are also always looking for reviews of other media, such as music and movies, so please don't hesitate to send them in! Has your group recently had an event of some sort? Send us your photos! Let's show the rest of the world how Canada does “Steampunk” from the west coast to the east. All submissions can be sent to [email protected] cheers, Adam Smith Dominion Dispatch editor-in-chief P.S. Apologies if it appears that this issue of the Dispatch was assembled in a linear fashion... it was. I'm still wrestling with an open source word processor rather than a real desktop publishing program, and it doesn't always behave! So sadly, the double column format was sacrificed for expediency. With luck it will be back next issue. HAND-HEWN NEWS FROM THE NORTH THE DOMINION DISPATCH VOL. 1 ISS. 3 PAGE 3 submission guidelines The Dominion Dispatch is the official newsletter for Steampunk Canada (http://www.steampunkcanada.ca/). We are interested in publishing articles of interest to our Canadian Steampunk audience, and we'll read everything sent to us! However, there are some important considerations to keep in mind: •While we would consider a large multi-page submission or serialization, it would have to be of exceptional quality. -
The First Vampire Films in America
ARTICLE DOI: 10.1057/s41599-017-0043-y OPEN The first vampire films in America Gary D. Rhodes1 ABSTRACT Horror film scholarship has generally suggested that the supernatural vampire either did not appear onscreen during the early cinema period, or that it appeared only once, in Georges Méliès’ Le manoir du diable/The Devil’s Castle (1896). By making rigorous use of archival materials, this essay tests those assumptions and determines them to be incorrect, while at the same time acknowledging the ambiguity of vampires and early cinema, both being 1234567890 prone to misreadings and misunderstandings. Between 1895 and 1915, moving pictures underwent major evolutions that transformed their narrative codes of intelligibility. During the same years, the subject of vampirism also experienced great change, with the supernatural characters of folklore largely dislocated by the non-supernatural “vamps” of popular culture. In an effort to reconcile the onscreen ambiguities, this paper adopts a New Film History methodology to examine four early films distributed in America, showing how characters in two of them—Le manoir du diable and La légende du fantôme/Legend of a Ghost (Pathé Frères, 1908) have in different eras been mistakenly read as supernatural vampires, as well as how a third—The Vampire, a little-known chapter of the serial The Exploits of Elaine (Pathé, 1915)— invoked supernatural vampirism, but only as a metaphor. The paper concludes by analyzing Loïe Fuller (Pathé Frères, 1905), the only film of the era that seems to have depicted a supernatural vampire. Revising the early history of vampires onscreen brings renewed focus to the intrinsic similarities between the supernatural creatures and the cinema.