Kaneki Ken's Character Arc: a Hero's Journey Analysis
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New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-15-2015 Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Ricci, James Anthony, "Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6021 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art by James A. Ricci A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Margit Grieb, Ph.D. Hunt Hawkins, Ph.D. Victor Peppard, Ph.D. Date of Approval: November 13, 2015 Keywords: New Media, Narratology, Manovich, Bakhtin, Cinema Copyright © 2015, James A. Ricci DEDICATION This dissertation is dedicated to my wife, Ashlea Renée Ricci. Without her unending support, love, and optimism I would have gotten lost during the journey. ACKNOWLEDGMENTS I owe many individuals much gratitude for their support and advice throughout the pursuit of my degree. -
Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
Tokyo Ghoul Jumpchain V1.0 by Tokyoanon Welcome to Tokyo but As You May Have Guessed, There’S Some Differences to the One You’Re Familiar With
Tokyo Ghoul Jumpchain v1.0 By TokyoAnon Welcome to Tokyo but as you may have guessed, there’s some differences to the one you’re familiar with. As you may have guessed, the main difference is the existence of Ghouls, a subspecies of humanity with a high count of Rc cells. These cells have the appearance of a curled up fetus, sometimes called “liquid muscle”, they flow like blood and can become as solid as teeth. The crucial part is that they’re what ghouls need to keep on living and these cells are only found in humans and other ghouls. The problem being is that humans are much tastier than a ghoul. Though there are prevalent rumours of ghouls gaining great power through cannibalizing each other Now to make it … worse, the tongue of a ghoul is much different than that of a human so every human food except black coffee will taste awful. It’ll even give them food poisoning too and weaken them should they try to digest it. With the only other choice being to starve, ghouls naturally prey on humanity, living among them and eating at least one human a month. Perhaps more, if the ghoul is insatiable or cruel. However, humanity is not without its claws. The Commission of Counter Ghoul, claimed to be founded 100 years ago to exterminate a powerful One-Eyed ghoul, serves as humanity’s sword and shield against ghouls. They’re headed by the venerable Washuu family whose members have hunted ghouls for well over a century, though with a heavy hand caring only for results not lives. -
Exploring the Procedural Rhetoric of a Black Lives Matter-Themed Newsgame
Special Issue: Gamifying News Convergence: The International Journal of Research into Endless mode: New Media Technologies 1–13 ª The Author(s) 2020 Exploring the procedural Article reuse guidelines: sagepub.com/journals-permissions rhetoric of a Black Lives DOI: 10.1177/1354856520918072 Matter-themed newsgame journals.sagepub.com/home/con Allissa V Richardson University of Southern California, USA Abstract A week after the back-to-back police shootings of Philando Castile and Alton Sterling in early July 2016, a game developer, who goes by the screen name Yvvy, sat in front of her console mulling over the headlines. She designed a newsgame that featured civilian–police interactions that were plucked from that reportage. She entitled it Easy Level Life. The newsgame is fashioned in what developers call ‘endless mode’, where players are challenged to last as long as possible against a continuing threat, with limited resources or player-character lives. This case study explores the procedural rhetoric of Easy Level Life to investigate how it condemns police brutality through play. Using Teun van Dijk’s concept of ‘news as discourse’ as the framework, I found that this newsgame followed the narrative structure of a traditional newspaper editorial very closely. I explain how the situation–evaluation–conclusion discursive model best describes how Easy Level Life conveys its political ideologies. I conclude by suggesting that this discursive model should perhaps become a benchmarking tool for future newsgame developers who aim to strengthen their arguments for social justice. Keywords Black Lives Matter, discourse analysis, journalism, newsgames, procedural rhetoric, race, social justice Introduction It was a simple request. -
Character Arcs—What About ‗Em?
Photo by Riccardo Romano Contents Character arcs—what about ‗em? .................................................................... 3 Starting and ending the character arc .............................................................. 3 Finding the character arc .................................................................................. 4 Shaping character arcs—the middle ................................................................ 6 Micro character arcs in scenes ......................................................................... 7 Micro character arcs in sequels ....................................................................... 8 Are character arcs necessary? .......................................................................... 9 Character arcs and gender .............................................................................. 10 Everything you ever wanted to know about character arcs .......................... 11 Why characters should arc ............................................................................. 11 Finding your character arc ............................................................................. 12 Developing the character arc ......................................................................... 13 Testing out your character arc beginning ....................................................... 14 The middle of the character arc ...................................................................... 14 Ending the character arc ............................................................................... -
Book of Immortals: Disciple: Volume 1 (An Antagonist's Story, Alternative Reality, Antihero Fantasy) Online
YoFxL [Pdf free] Book of Immortals: Disciple: Volume 1 (An antagonist's story, alternative reality, antihero fantasy) Online [YoFxL.ebook] Book of Immortals: Disciple: Volume 1 (An antagonist's story, alternative reality, antihero fantasy) Pdf Free Kassandra Lynn ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #88104 in eBooks 2014-08-23 2014-08-23File Name: B00MZYS8ZS | File size: 44.Mb Kassandra Lynn : Book of Immortals: Disciple: Volume 1 (An antagonist's story, alternative reality, antihero fantasy) before purchasing it in order to gage whether or not it would be worth my time, and all praised Book of Immortals: Disciple: Volume 1 (An antagonist's story, alternative reality, antihero fantasy): 0 of 0 people found the following review helpful. WowBy Jasmine RobersonI absolutely loved this story! It threw me through quite a few loops at first and it really brought me home and touched my heart and soul. I love this book! And I love how it's not about the main protagonist, the protagonist of this story is actually a side character which made it even more interesting cause then you get someone else's story and root for them instead of the actual lucky protagonist who seemed to be more of a spy than anything. Told my friends about this book too. I'm going to buy the next one and start it asap!0 of 0 people found the following review helpful. Love the storyline and the character developmentBy NicLawUnlike many of the other reviewers here, I did not receive a free copy of this book in exchange for writing an honest review. -
A Genealogy of Antihero∗
A GENEALOGY OF ANTIHERO∗ Murat KADİROĞLU∗∗ Abstract “Antihero”, as a literary term, entered literature in the nineteenth century with Dostoevsky, and its usage flourished in the second half of the twentieth century. However, the antihero protagonists or characters have been on stage since the early Greek drama and their stories are often told in the works of the twentieth century literature. The notion of “hero” sets the base for “antihero”. In every century, there are heroes peculiar to their time; meanwhile, antiheroes continue to live as well, though not as abundant as heroes in number. The gap between them in terms of their personality, moral code and value judgements is very obvious in their early presentation; however, the closer we come to our age, the vaguer this difference becomes. In contemporary literature, antiheroes have begun to outnumber heroes as a result of historical, political and sociological facts such as wars, and literary pieces have tended to present themes of failure, inaction, uncertainty and despair rather than heroism and valour. This study argues that Second World War has the crucial impact on the development of the notion of modern antihero. As a consequence of the war, “hero” as the symbol of valour, adventure, change and action in the legends and epic poems has been transformed into “antihero” of failure and despair, especially in realist, absurdist and existentialist works written during/after the Second World War. Keywords: Antihero, Hero, Heroism, Protagonist, Romantic Hero, Second World War, Post-war Öz Anti-kahramanın Soykütüğü Edebi bir terim olarak “anti-kahraman” ya da “karşı-kahraman”, on dokuzuncu yüzyılda Dostoyevski ile edebiyata girmiştir ve kullanımı yirminci yüzyılın ikinci yarısında doruğa ulaşmıştır. -
Plot? What Is Structure?
Novel Structure What is plot? What is structure? • Plot is a series of interconnected events in which every occurrence has a specific purpose. A plot is all about establishing connections, suggesting causes, and and how they relate to each other. • Structure (also known as narrative structure), is the overall design or layout of your story. Narrative Structure is about both these things: Story Plot • The content of a story • The form used to tell the story • Raw materials of dramatic action • How the story is told and in what as they might be described in order chronological order • About how, and at what stages, • About trying to determine the key the key conflicts are set up and conflicts, main characters, setting resolved and events • “How” and “when” • “Who,” “what,” and “where” Story Answers These Questions 1. Where is the story set? 2. What event starts the story? 3. Who are the main characters? 4. What conflict(s) do they face? What is at stake? 5. What happens to the characters as they face this conflict? 6. What is the outcome of this conflict? 7. What is the ultimate impact on the characters? Plot Answers These Questions 8. How and when is the major conflict in the story set up? 9. How and when are the main characters introduced? 10.How is the story moved along so that the characters must face the central conflict? 11.How and when is the major conflict set up to propel them to its conclusion? 12.How and when does the story resolve most of the major conflicts set up at the outset? Basic Linear Story: Beginning, Middle & End Ancient (335 B.C.)Greek philosopher and scientist, Aristotle said that every story has a beginning, a middle, and an end. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
The Narrative Structure Booklet
ACT 1 The opening of a narrative typically establishes characters, setting, themes and engages the audience. It features a catalyst that sends the character on their journey. By the end of the Act 1, the main character reaches a turning point where they commit to the action. o Establishing genre and tone. The opening of a narrative plays an important role in establishing genre and tone. When filmmakers establish genre, they enter into a contract with the audience. If a narrative doesn’t deliver on the promise of genre, the audience will be dissatisfied and disappointed. In a horror film, for example, expects suspense, a few scares and a hefty dose of gore. Anyone who has ever seen a film that is too formulaic or cliched will understand how tedious slavishly following genre conventions can be. o Establishing character. All stories are about a character trying to achieve a goal. Narratives always establish characters – their traits, motivation and goals – within the first act. To become involved in a story, the audience needs to know who the characters are and what they want. Establishing character also means establishing their flaws. Characters always change. Screenwriters often refer to this change as a ‘character arc’. As noted in Writing Movies: “Another mark of protagnoists is their ability change. In pursuing their goals, protagonists meet obstacles that force them to adjust and adapt and, in turn, they grow or transform in some way. This progression is called an arc.” o Establishing setting. The first act of a narrative also establishes the setting. The setting is where the narrative unfolds. -
Graphic No Vels & Comics
GRAPHIC NOVELS & COMICS SPRING 2020 TITLE Description FRONT COVER X-Men, Vol. 1 The X-Men find themselves in a whole new world of possibility…and things have never been better! Mastermind Jonathan Hickman and superstar artist Leinil Francis Yu reveal the saga of Cyclops and his hand-picked squad of mutant powerhouses. Collects #1-6. 9781302919818 | $17.99 PB Marvel Fallen Angels, Vol. 1 Psylocke finds herself in the new world of Mutantkind, unsure of her place in it. But when a face from her past returns only to be killed, she seeks vengeance. Collects Fallen Angels (2019) #1-6. 9781302919900 | $17.99 PB Marvel Wolverine: The Daughter of Wolverine Wolverine stars in a story that stretches across the decades beginning in the 1940s. Who is the young woman he’s fated to meet over and over again? Collects material from Marvel Comics Presents (2019) #1-9. 9781302918361 | $15.99 PB Marvel 4 Graphic Novels & Comics X-Force, Vol. 1 X-Force is the CIA of the mutant world—half intelligence branch, half special ops. In a perfect world, there would be no need for an X-Force. We’re not there…yet. Collects #1-6. 9781302919887 | $17.99 PB Marvel New Mutants, Vol. 1 The classic New Mutants (Sunspot, Wolfsbane, Mirage, Karma, Magik, and Cypher) join a few new friends (Chamber, Mondo) to seek out their missing member and go on a mission alongside the Starjammers! Collects #1-6. 9781302919924 | $17.99 PB Marvel Excalibur, Vol. 1 It’s a new era for mutantkind as a new Captain Britain holds the amulet, fighting for her Kingdom of Avalon with her Excalibur at her side—Rogue, Gambit, Rictor, Jubilee…and Apocalypse. -
Female Anti-Heroes in Contemporary Literature, Film, and Television Sara A
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2016 Female Anti-Heroes in Contemporary Literature, Film, and Television Sara A. Amato Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Amato, Sara A., "Female Anti-Heroes in Contemporary Literature, Film, and Television" (2016). Masters Theses. 2481. https://thekeep.eiu.edu/theses/2481 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Graduate School� f.AsTE�ILLINOIS UNIVERSITY" Thesis Maintenance and Reproduction Certificate FOR: Graduate Candidates Completing Theses in Partial Fulfillment of the Degree Graduate Faculty Advisors Directing the Theses RE: Preservation, Reproduction, andDistribution of Thesis Research Preserving, reproducing, and distributing thesis research is an important part of Booth Library's responsibility to provide access to scholarship. In order to further this goal, Booth Library makes all graduate theses completed as part of a degree program at Eastern Illinois University available for personal study, research, and other not-for-profit educational purposes. Under 17 U.S.C. § 108, the library may reproduce and distribute a copy without infringing on copyright; however, professional courtesy dictates that permission be requested from the author before doing so. Your signatures affirm the following: • The graduate candidate is the author of this thesis. • The graduate candidate retains the copyright and intellectual property rights associated with the original research, creative activity, and intellectual or artistic content of the thesis.