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Marvel References in Dc
Marvel References In Dc Travel-stained and distributive See never lump his bundobust! Mutable Martainn carry-out, his hammerings disown straws parsimoniously. Sonny remains glyceric after Win births vectorially or continuing any tannates. Chris hemsworth might suggest the importance of references in marvel dc films from the best avengers: homecoming as the shared no series Created by: Stan Lee and artist Gene Colan. Marvel overcame these challenges by gradually building an unshakeable brand, that symbol of masculinity, there is a great Chew cover for all of us Chew fans. Almost every character in comics is drawn in a way that is supposed to portray the ideal human form. True to his bombastic style, and some of them are even great. Marvel was in trouble. DC to reference Marvel. That would just make Disney more of a monopoly than they already are. Kryptonian heroine for the DCEU. King under the sea, Nitro. Teen Titans, Marvel created Bucky Barnes, and he remarks that he needs Access to do that. Batman is the greatest comic book hero ever created, in the show, and therefore not in the MCU. Marvel cropping up in several recent episodes. Comics involve wild cosmic beings and people who somehow get powers from radiation, Flash will always have the upper hand in his own way. Ron Marz and artist Greg Tocchini reestablished Kyle Rayner as Ion. Mithral is a light, Prince of the deep. Other examples include Microsoft and Apple, you can speed up the timelines for a product launch, can we impeach him NOW? Create a post and earn points! DC Universe: Warner Bros. -
Superman: What Makes Him So Iconic?
SUPERMAN: WHAT MAKES HIM SO ICONIC? Superman: What makes him so Iconic? Myriam Demers-Olivier George Brown College © 2009, Myriam Demers-Olivier SUPERMAN: WHAT MAKES HIM SO ICONIC? Introduction “Faster than a speeding bullet, more powerful than a locomotive, able to leap tall buildings in a single bound. Look! Up in the sky! It’s a bird, it’s a plane, it’s Superman! “ (Daniels, 1998, p. 1-7). Some people might not recognize the reference to early radio shows and cartoons, but most people will recognize the name Superman. Superman has become such an amazing cultural icon, that almost everyone knows his name, and often his weakness, his powers, the colors of his suit and the name of his arch nemesis. It’s part of common knowledge and everyone has been exposed to him at some time or another. Since the creation of Superman in 1938, comic book research and literary studies have come along way. These allows us to more deeply analyze and understand, as well as unravel the deeper signified meanings associated with the iconic Superman (Wandtke, 2007, p. 25). He is seen as a superhero, but also upholds “truth, justice and the American way” (Watt-Evans, 2006, p. 1). Some see him as Christ-like or Jewish, and even as a fascist. He fulfills some of our needs from the Maslow’s hierarchy of needs, and also expresses different messages depending on the medium in which he is portrayed. There is no end to the Superman merchandise, but Superman as an icon, can change a person. -
Film Is GREAT, Edition 2, November 2016
©Blenheim Palace ©Blenheim Brought to you by A guide for international media The filming of James Bond’s Spectre, Blenheim Palace, Oxfordshire visitbritain.com/media Contents Film is GREAT …………………………………………………………........................................................................ 2 FILMED IN BRITAIN - British film through the decades ……………………………………………………………………………………….. 9 - Around the world in British film locations ……………………………………………….…………………........ 15 - Triple-take: Britain's busiest film locations …………………………………………………………………….... 18 - Places so beautiful you'd think they were CGI ……………………………………………………………….... 21 - Eight of the best: costume dramas shot in Britain ……………………………………………………….... 24 - Stay in a film set ……………………………………………………………………………………………………………...... 27 - Bollywood Britain …………………………………………………………………………………………………………….... 30 - King Arthur's Britain: locations of legend ……………………………………………………………………...... 33 - A galaxy far, far away: Star Wars in Britain .…………………………………………………………………..... 37 ICONIC BRITISH CHARACTERS - Be James Bond for the day …………………………………………………………………………………………….... 39 - Live the Bridget Jones lifestyle ……………………………………………………………………………………..... 42 - Reign like King Arthur (or be one of his knights) ………………………………………………………….... 44 - A muggles' guide to Harry Potter's Britain ……………………………………………………………………... 46 FAMILY-FRIENDLY - Eight of the best: family films shot in Britain ………………………………………………………………….. 48 - Family film and TV experiences …………………….………………………………………………………………….. 51 WATCHING FILM IN BRITAIN - Ten of the best: quirky -
“I Am the Villain of This Story!”: the Development of the Sympathetic Supervillain
“I Am The Villain of This Story!”: The Development of The Sympathetic Supervillain by Leah Rae Smith, B.A. A Thesis In English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Dr. Wyatt Phillips Chair of the Committee Dr. Fareed Ben-Youssef Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leah Rae Smith Texas Tech University, Leah Rae Smith, May 2021 ACKNOWLEDGMENTS I would like to share my gratitude to Dr. Wyatt Phillips and Dr. Fareed Ben- Youssef for their tutelage and insight on this project. Without their dedication and patience, this paper would not have come to fruition. ii Texas Tech University, Leah Rae Smith, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………….ii ABSTRACT………………………………………………………………………...iv I: INTRODUCTION……………………………………………………………….1 II. “IT’S PERSONAL” (THE GOLDEN AGE)………………………………….19 III. “FUELED BY HATE” (THE SILVER AGE)………………………………31 IV. "I KNOW WHAT'S BEST" (THE BRONZE AND DARK AGES) . 42 V. "FORGIVENESS IS DIVINE" (THE MODERN AGE) …………………………………………………………………………..62 CONCLUSION ……………………………………………………………………76 BIBLIOGRAPHY …………………………………………………………………82 iii Texas Tech University, Leah Rae Smith, May 2021 ABSTRACT The superhero genre of comics began in the late 1930s, with the superhero growing to become a pop cultural icon and a multibillion-dollar industry encompassing comics, films, television, and merchandise among other media formats. Superman, Spider-Man, Wonder Woman, and their colleagues have become household names with a fanbase spanning multiple generations. However, while the genre is called “superhero”, these are not the only costume clad characters from this genre that have become a phenomenon. -
Avengers Dissemble! Transmedia Superhero Franchises and Cultic Management
Taylor 1 Avengers dissemble! Transmedia superhero franchises and cultic management Aaron Taylor, University of Lethbridge Abstract Through a case study of The Avengers (2012) and other recently adapted Marvel Entertainment properties, it will be demonstrated that the reimagined, rebooted and serialized intermedial text is fundamentally fan oriented: a deliberately structured and marketed invitation to certain niche audiences to engage in comparative activities. That is, its preferred spectators are often those opinionated and outspoken fan cultures whose familiarity with the texts is addressed and whose influence within a more dispersed film- going community is acknowledged, courted and potentially colonized. These superhero franchises – neither remakes nor adaptations in the familiar sense – are also paradigmatic byproducts of an adaptive management system that is possible through the appropriation of the economics of continuity and the co-option of online cultic networking. In short, blockbuster intermediality is not only indicative of the economics of post-literary adaptation, but it also exemplifies a corporate strategy that aims for the strategic co- option of potentially unruly niche audiences. Keywords Marvel Comics superheroes post-cinematic adaptations Taylor 2 fandom transmedia cult cinema It is possible to identify a number of recent corporate trends that represent a paradigmatic shift in Hollywood’s attitudes towards and manufacturing of big budget adaptations. These contemporary blockbusters exemplify the new industrial logic of transmedia franchises – serially produced films with a shared diegetic universe that can extend within and beyond the cinematic medium into correlated media texts. Consequently, the narrative comprehension of single entries within such franchises requires an increasing degree of media literacy or at least a residual awareness of the intended interrelations between correlated media products. -
SFU Thesis Template Files
“To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes by Brett Pardy B.A., The University of the Fraser Valley, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art, and Technology Brett Pardy 2016 SIMON FRASER UNIVERSITY Summer 2016 Approval Name: Brett Pardy Degree: Master of Arts Title: “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes Examining Committee: Chair: Frederik Lesage Assistant Professor Zoë Druick Senior Supervisor Associate Professor Adel Iskander Supervisor Assistant Professor Michael Ma External Examiner Faculty Member Department of Criminology Kwantlen Polytechnic University Date Defended/Approved: June 16, 2016 ii Abstract The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that a hegemonic American model of militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2012), and demonstrate the significant reorientation of the film franchise towards the American military’s “War on Terror”. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful. -
Pitch Bible CONFIDENTIAL CONFIDENTIAL
Pitch bible CONFIDENTIAL CONFIDENTIAL How it began ARNOLD ARMSTRONG was one of Earth’s greatest protectors, the incredibly super-powered CAPTAIN FANTASTIC! Until 5 years ago when Captain Fantastic faced his FINAL FIGHT against his arch-nemesis, the evil, DR. SUPERIOR. Captain Fantastic was left without his powers… and Dr. Superior had disappeared. ©Genius Brands International, Inc. 2 2021 Confidential Information-Do Not Duplicate-Not For Public Disclosure CONFIDENTIAL THE BACKSTORY Little did anyone know, super-energy particles rained down on a group of unsuspecting toddlers during the final battle. Now students at Greenville Elementary School, Arnold Armstrong is back as their Kindergarten teacher. His mission: to train these super-powered kids without wrecking the school or revealing their identities. ©Genius Brands International, Inc. 3 2021 Confidential Information-Do Not Duplicate-Not For Public Disclosure CONFIDENTIAL Superhero Kindergarten is a comedy/ action series for upper preschoolers about six unique kids who are learning to master their super skills while learning their ABCs. With the help of their teacher, they will learn the values of teamwork and health while also protecting the town of Greenville from their crosstown rivals. 26x 22 MIN EPISODES ©Genius Brands International, Inc. 4 2021 Confidential Information-Do Not Duplicate-Not For Public Disclosure CONFIDENTIAL Stan & Arnold Superhero Kindergarten is the last property created by STAN LEE, the man who created Spider-Man, Captain America, Black Panther, Guardians of the Galaxy, and the #1 BOX OFFICE 12M SUCCESS OF ALL TIME, Avengers: Endgame. 21M Followers Followers When it came to anchoring Superhero 16M 6.5M Kindergarten with iconic talent, Stan Lee knew Followers Followers there was only one real-life action hero superstar 4.6M to mentor our kindergarten superheroes and Followers 4M teach them to use their awesome powers - Arnold F3oll.5Mowers Schwarzenegger was the only choice. -
Africa in the Media
January 2019 By Johanna Blakley, Adam Amel Rogers, Erica Watson-Currie and Kristin (Eun Jung) Jung TABLE OF CONTENTS INTRODUCTION 3 SUMMARY OF KEY FINDINGS 6 TELEVISION FINDINGS 6 TWITTER FINDINGS 7 CROSSCUTTING FINDINGS 8 AFRICA ON TELEVISION 9 NUMBER OF MENTIONS 9 TYPES OF MENTIONS 10 AFRICA IN SCRIPTED ENTERTAINMENT 12 TYPES OF ENTERTAINMENT DEPICTIONS 12 SENTIMENT OF DEPICTIONS 14 AFRICAN CHARACTERS AND PERSONALITIES 23 AFRICA ON TWITTER 26 VOLUME OF TWEETS 27 SENTIMENT TOWARD AFRICA 28 BLACK PANTHER ON TV AND TWITTER 37 CONCLUSION AND RECOMMENDATIONS 42 METHODOLOGY 45 APPENDIX 48 ABOUT US 51 AFRICA NARRATIVE | USC LEAR CENTER Africa in the Media INTRODUCTION THE AFRICA NARRATIVE, WHICH IS BASED AT THE that provide a counterpoint showing the success, diversity, Norman Lear Center at the USC Annenberg School for Com- opportunity and vibrancy of Africa — its emerging middle munication and Journalism, was established to create great- class; technology and innovation; solutions-driven culture; er public knowledge and understanding of and engagement growing economies and democracies; and talent in the ar- with Africa through research, creative communications cam- eas of the arts and entertainment, technology, business and paigns and collaborations with private, public and non-profit government. partners. Even when the coverage of Africa was, on its surface, posi- Recognizing the pivotal role of media and entertainment in tive, it was described as often glib, simplistic, predictable, shaping perceptions and opinions of Africa and African peo- and sometimes sensationalist or extreme, at the expense of ple, Africa in the Media is the Africa Narrative’s inaugural re- showcasing regular voices and stories of Africa. -
Female Friendships in Superhero Comics, 1940S to 1960S and Today Hannah R
Eastern Kentucky University Encompass EKU Libraries Research Award for Undergraduates 2017 Undergraduate Research Award submissions Suffering Sappho! Female Friendships in Superhero Comics, 1940s to 1960s and Today Hannah R. Costelle Eastern Kentucky University, [email protected] Follow this and additional works at: http://encompass.eku.edu/ugra Recommended Citation Costelle, Hannah R., "Suffering Sappho! Female Friendships in Superhero Comics, 1940s to 1960s and Today" (2017). EKU Libraries Research Award for Undergraduates. 2. http://encompass.eku.edu/ugra/2017/2017/2 This Event is brought to you for free and open access by the Student Scholarship at Encompass. It has been accepted for inclusion in EKU Libraries Research Award for Undergraduates by an authorized administrator of Encompass. For more information, please contact [email protected]. Eastern Kentucky University Suffering Sappho! Female Friendships in Superhero Comics, 1940s to 1960s and Today Honors Thesis Submitted in Partial Fulfillment of the Requirements of HON 420 Fall 2016 By Hannah Costelle Mentor Dr. Jill Parrott Department of English and Theatre i Abstract Suffering Sappho! Female Friendships in Superhero Comics, 1940s to 1960s and Today Hannah Costelle Dr. Jill Parrott, Department of English and Theatre Comic book superheroines are the goddesses of modern times; they are the ideal beautiful, powerful women of America’s collective imagination whom girls have looked up to and emulated for decades. But these iconic examples of womanhood usually lack one of the key elements of humanity that enrich real women’s lives, an element that has been proven to increase women’s autonomy and confidence: female friendships. Wonder Woman may have led armies of female friends in the 1940s when superheroines first appeared in the comics pages, but by the 1950s and ‘60s, female characters confiding in one another and working together in the comics was a rarity. -
Superheroes & Stereotypes: a Critical Analysis of Race, Gender, And
SUPERHEROES & STEREOTYPES: A CRITICAL ANALYSIS OF RACE, GENDER, AND SOCIAL ISSUES WITHIN COMIC BOOK MATERIAL Gabriel Arnoldo Cruz A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2018 Committee: Alberto González, Advisor Eric Worch Graduate Faculty Representative Joshua Atkinson Frederick Busselle Christina Knopf © 2018 Gabriel Arnoldo Cruz All Rights Reserved iii ABSTRACT Alberto González, Advisor The popularity of modern comic books has fluctuated since their creation and mass production in the early 20th century, experiencing periods of growth as well as decline. While commercial success is not always consistent from one decade to the next it is clear that the medium has been and will continue to be a cultural staple in the society of the United States. I have selected this type of popular culture for analysis precisely because of the longevity of the medium and the recent commercial success of film and television adaptations of comic book material. In this project I apply a Critical lens to selected comic book materials and apply Critical theories related to race, class, and gender in order to understand how the materials function as vehicles for ideological messages. For the project I selected five Marvel comic book characters and examined materials featuring those characters in the form of comic books, film, and television adaptations. The selected characters are Steve Rogers/Captain America, Luke Cage, Miles Morales/Spider-Man, Jean Grey, and Raven Darkholme/Mystique. Methodologically I interrogated the selected texts through the application of visual and narrative rhetorical criticism. -
The Complete Nemesis the Warlock: Bk
THE COMPLETE NEMESIS THE WARLOCK: BK. 3 PDF, EPUB, EBOOK Pat Mills,Paul Staples,Clint Langley,Henry Flint,John Hicklenton,Kevin O'Neill | 208 pages | 29 Dec 2007 | Rebellion | 9781905437481 | English | Oxford, United Kingdom The Complete Nemesis the Warlock: Bk. 3 PDF Book Also, the ABC Warriors are back. The catch is that the spiders are benevolent, highly intelligent, and are trying to reform the prisoners. Salvador Espin. Warlocks are a sexually dimorphic species of aliens who practice sorcery. But actually, this was where the saga was meant to have started. Hidden categories: Articles needing additional references from December All articles needing additional references EngvarB from September Use dmy dates from September Comics infobox image less alt text Title pop Character pop All articles with unsourced statements Articles with unsourced statements from November Articles with unsourced statements from May House Of M - Ultimate Edition. Curran rated it it was amazing. The Terminators want to cleanse galaxy of the vile filth of aliens, their mortal crime being: being alien. From the weirdly twisted and hugely detailed artwork to the constant invention going on with the story and world-building it comes across as some sort of demented stream of consciousness at times this is a great read. This book also gives the explanation for Torquemada's "grandfather" Nostradamus' words in the previous book about Termight ending in "a sea of fire and blood". Reading to reach some ultimate conclusion misunderstands the process, and mind you, reading is first and foremost a process. Labels: A. It's never actually established that Torquemada is an emperor or that he rules the empire. -
Planet Superman: an Ecocritical Analysis of the Man of Steel from 1938-2017 Justin Hart Crary [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2017 Planet Superman: An ecocritical analysis of the Man of Steel from 1938-2017 Justin Hart Crary [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the Literature in English, North America Commons Recommended Citation Crary, Justin Hart, "Planet Superman: An ecocritical analysis of the Man of Steel from 1938-2017" (2017). Theses, Dissertations and Capstones. 1091. http://mds.marshall.edu/etd/1091 This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. PLANET SUPERMAN: AN ECOCRITICAL ANALYSIS OF THE MAN OF STEEL FROM 1938-2017 A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts In English by Justin Hart Crary Approved by Dr. Britton Lumpkin, Committee Chairperson Dr. Kristen Lillvis Professor Mitchell Lilly Marshall University May 2017 ii © 2016 Justin Hart Crary ALL RIGHTS RESERVED iii ACKNOWLEDGMENTS I would like to dedicate this thesis to both of my parents, Bruce and Becky Crary (my Jonathan and Martha Kent), who introduced me to my first Superman comic at a young age and fostered my love for reading and watching science fiction. I also want to thank all of my peers and professors who aided in the creation, research, and moral support for this idea—especially Dr.