DOCSLIB.ORG

Animal Man: Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ANIMAL MAN: VOL. 01 PDF, EPUB, EBOOK Grant Morrison | 240 pages | 01 May 2001 | DC Comics | 9781563890055 | English | New York, NY, United States Animal Man: Vol. 01 PDF Book It's not bad. Buddy Baker is an instantly likable character with a wife and two kids and the silly power to temporarily absorb the abilities of nearby animals, and the opening four-issue miniseries which was all this was supposed to be showcase the character well while also being kind of fucked up in the end. And yes, I will certainly be reading more of Morrison's run on Animal Man. The best single issue in the book. This storyline, spanning 4 issues and including a bestiality-loving Phantom ripoff with some interesting powers of his own, was my favorite story in this collection. Artists Chas Truog, Doug Hazlewood and Tom Grummett, with some Brain Bolland covers, bring the Baker family to life along with the animal menagerie that Buddy encounters in every chapter. Sign In Don't have an account? Books by Grant Morrison. I'm not quite ready to forgive Morrison for Batman Inc, but we're getting there. Is this a comic I can just like read? So, even though it's not as great as what follows with the exception of The Coyote Gospel, which is , this comic was pretty darned good from the beginning, even moreso when you consider the time period. Yes, some animals are carnivores and hunt and eat each other, but once you've borrowed the strength of a bull, can you really eat a cow again? There isn't much background to him in these stories - apparently, a space ship blew up in his face and he can pick up the special powers of the animals around him, but amplified. Plus, unlike his work on Batman, you don't need to know every villain from the last 60 years of Animal Man's history in order to understand the plotline. Feb 13, Rod Brown rated it liked it Shelves: tbts-lwybm. Sep 11, C. Hidden categories: Articles with short description Short description with empty Wikidata description Title pop. Just a moment while we sign you in to your Goodreads account. Besides, Buddy's family life is wonderfully normal and hilarious. Postmodern , Horror , Superhero. Preview — Animal Man, Vol. Science Fiction. I didn't dislike it, but it is dated reminding me of the artwork of the 80's. Related Articles. But you jump over that hurdle, and the comic book tugs on your heartstrings. While Buddy is a super he Buddy Baker, aka Animal, is a semi-retired super hero and movie stuntman. This storyline, spanning 4 issues and including a bestiality-loving Buddy Baker seems like a nice enough guy: he's kind of a loafer and a dreamer roughly my age WTF? Trivia About Animal Man, Vol. Animal Man: Vol. 01 Writer Morrison nails the humor in this series, with a few chuckles every few pages as well as some laugh out loud moments. Lists with This Book. But you jump over that hurdle, and the comic book tugs on your heartstrings. As an avid Grant Morrison fan, its important to try to read stuff from his entire body of work, not just his great stuff. Buddy struggles to provide for his family, so he wishes to gain recognition, hoping to join a prestigious group and use his powers of temporarily picking up the abilities of animals nearby. Well add this one: Kids, be very careful when reading Grant Morrison! Contents [ show ]. Read more In this book, we see him get no respect as a superhero from both his family and the general public. Want to Read saving…. I still have a long way to go, but finally I feel I am getting somewhere! Brilliant enough to own Remember those childhood warnings? A reader is never sure which Morrison they are going to get? The story here continues in Animal Man Vol. Elsewhere, in an alleyway, the Beast is attacked by a mugger, whom he kills without hesitation, before finding his way to a S. Comics about society, comics about comics? Grant Morrison's great sense of tongue-in-cheek humor. Aside from issue five this volume is awkward, clumsy and just plain rough. View all 14 comments. But the animas in the first issues of this book are even more powerless. But, whereas Buddy seeks to become a defender of the animal world and aligns himself with animal rights activism, B'wana Beast No, really, that's his name! I recommend this to anyone who enjoys a good story, interesting and unique characters and a interesting twist on the standard superhero tale. Animal Man: Vol. 01 Reviews The book feels as if Morrison was nervous, trying to impress DC, toying with the possibilities of carving his own style. Scottish Mirror Master! And he also puts on a jacket over his spandex suit - after all, he was just a little too spandexy or something to that effect, when his wife mentions it. Enlarge cover. The book begins with a pretty poorly-written slapdash horror arc about animal testing that somehow manages to gloss over gangrape but really pluck the ol' heartstrings about how cute kittens are. This was also sort of disjointed and I kept trying to figure out if there were issues that were missing. Dec 15, Gavin rated it liked it Shelves: comics. Right up there with all of the other greats I loved as a teen and in my early 20s. This makes him more appealing to me, as well as the fact I enjoyed reading this, and it gave me a bit of a surprise, when I opened it and looked at the first cover, it took me back to being 8yrs old at the corner store, and seeing it on the stands Well add this one: Kids, be very careful when reading Grant Morrison! Dates Published. Community Reviews. So, if you are like me and don't always like Grant Morrison' stuff, and you are not sure whether you should rea I'm not the biggest fan of Grant Morrison, but his Animal Man is actually great. This comi I have been an emotional wreck lately. Enraged at a fisherman's brutality, Buddy drops him into the ocean, intending for him to drown. I guess I fit the bill. Showing In one issue, Buddy helps a band of self-confessed eco-terrorists save a pod of dolphins. I think that is all I will say. It requires a re-read because I can't really formulate my thoughts although my initial impression is that it is brilliant! The book is filled with hideous monsters, creepy concepts, and tons of moments that are simply packed with suspense. Sign In Don't have an account? The obscure hero was initially given a four- issue mini-series scripted by [[Grant Mor Animal Man Vol 1 - Next Volume Review. Animal Man: Vol. 01 Read Online Perhaps finally delving into Morrison's run on the Animal Man title wasn't the best way to find simple. This book is supposed to be a turning point in superhero narratives, and I can see it so far. Even his involvement in the broader Thanagarian Invasion arc introduces the fascinating concept of art martyrs and peculiarly poignant destruction. Nov 12, Printable Tire added it. Yes, these things are exactly this black and white! Animal Man was where Grant Morrison cut his teeth on being Grant Morrison, and although the metafictional bent of the series isn't in full swing in this first volume, the seeds are definitely there, most notably in "The Coyote Gospel," which will give you a whole new perspective on Looney Tunes. I guess? Besides, Buddy's family life is wonderfully normal and hilarious. In a book about beings made from rot and bizarre animal powers, visuals are incredibly important. He finds it in a life force known as the "Red", the animal counterpart to the "Green" from Swamp Thing. The Red Mask issue is just okay. And I admit, realizing I am starting to get a proper idea of who everyone is in the DC universe is just great. It's a fun book. Coyote, if he were real. Grant Morrison's great sense of tongue-in-cheek humor. Jan 03, Michael Ronn rated it liked it. He begins practicing his powers by tapping into the physical characteristics of cats, birds, fish and spiders. Animal Man is a character that has been around for a long time. On paper, Animal Man is a hokey Silver Age character; he can absorb the abilities of any animal nearby and wears a silly costume. That said, sometimes it does not seem to work here, and sometimes Animal Man is too meta and the storylines in the first issues seemed rushed and are only made more coherent by Morrison in later issues in his run. Animal Man aka Buddy Baker was a fairly obscure character until revived by Morrison. The story about Wiley--I mean Crafty--Coyote ascending to the higher realm of more realistic comics to save his people from their constant, senseless death only to point out that Animal Man is still a comic was incredibly well crafted. Categories :. A reader is never sure which Morrison they are going to get? The issue is partly a religious allegory and partly a juxtaposition of the various layers of reality: cartoon to comic book, comic book to real life. This comic book started a bit rough. Plus, unlike his work on Batman, you don't need to know every villain from the last 60 years of Animal Man's history in order to understand the plotline.
Recommended publications
  • Autor in Aufsatztitel Journal Empfohlene

    Autor in Aufsatztitel Journal Empfohlene

    Impressum Autor_in Jason Wallin (Alberta) Aufsatztitel Evolve or Die! Enmeshment and Extinction in DC’s Animal Man Journal Closure. Kieler e-Journal für Comicforschung #7 (2020) – www.closure.uni-kiel.de Empfohlene Zitierweise Jason Wallin: Evolve or Die! Enmeshment and Extinction in DC’s Animal Man. In: Closure. Kieler e-Journal für Comicforschung #7 (2020), S. 18–42. <http://www.closure.uni-kiel.de/closure7/wallin>. 30.11.2020. Herausgeber_innen Victoria Allen, Cord-Christian Casper, Constanze Groth, Kerstin Howaldt, Julia Ingold, Ger- rit Lungershausen, Dorothee Marx, Garret Scally, Susanne Schwertfeger, Simone Vrckovski, Dennis Wegner, Rosa Wohlers Redaktion & Layout Victoria Allen, Cord-Christian Casper, Sandro Esquivel, Constanze Groth, Kerstin Howaldt, Julia Ingold, Arne Lüthje, Gerrit Lungershausen, Dorothee Marx, Garret Scally, Alina Schop- pe, Susanne Schwertfeger, Simone Vrckovski, Dennis Wegner, Rosa Wohlers Zweitgutachten »Evolve or Die!« Frederike Köpke Technische Gestaltung Sandro Esquivel, Marie-Luise Meier Kontakt Homepage: http://www.closure.uni-kiel.de – Email: [email protected] Evolve or Die! Enmeshment and Extinction in DC’s Animal Man Jason Wallin (Alberta) »We were given paradise...and we turned it into an...abattoir« – B’wana Beast (AM4.17.1)1 In the fall of 1987, British writer Grant Morrison was approached by a team of talent recruiters from DC Publishing with an unusual mission. In the wake of Alan Moore’s successful work on Swamp Thing (2012) (with Stephen Bissette, John Totleben, and Rick Veitch) and Watchmen (1986) (with Dave Gibbons), DC began looking for new writers to resuscitate an untapped back catalogue of silver-age characters. In the front matter of the Animal Man (1991) trade paperback, Grant Morrison describes his fascination with Carmine Infantino’s Animal Man, a character whose origins extend from issue #180 of Strange Adventures (1965), in which mild-mannered everyman Bernard ›Buddy‹ Baker gains the ability to harness the powers of animals after being exposed to radiation from a crashed alien spacecraft.
  • Heroes of Film, Comics and American Culture 13

    Heroes of Film, Comics and American Culture 13

    \ ( ,i Heroes of Film, Comics ! 1 and American Culture ) 1 Essays on Real and Fictional Defenders ofHome edited by LISA M. D EToRA McFarland &. Company, Inc., Publishers Jefferson, North Carolina, and London Acknowledgments Elizabeth Abele of Nassau Community College was instrumental in the early conception of this project and edited several essays. Christopher Phillips of Lafayette Col­ lege provided expert advice on editing literary sources. Mr. Garg's work was supported by a grant from Lafayette Col­ lege's Excel Scholars Program. LWRARY OF CONGRESS C\TALOGUING-IN-PUBLICATION DATA Heroes of fi lm. comics and American culture: essays on real and fi ctional defenders of home / edited by Lisa DeTora. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-3827-3 softcover : 50# alkaline paper § 1. Heroes in motion pi ctures. 2. Heroes in literature. 3. Heroes in an. 4. Popular cultute - United States - History - 20th century. 5. Motion pictures - Un ited States -H istory - 20th century. 6. Amer­ ica n literature - 20th century - History and criticism. 7. Comic books. strips . etc.- H istory and criticism. I. De Tora. Lisa. 1966- PN 1995.9H44H47 2009 700'.452 - dcn 2009012374 British Library cataloguing data are available © 2009 Lisa M. DeTora . All rights resetved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical. including photocopying or recording. or by any infomlfltion storage and retrieval system . wit/JolI! permission in writing from the publisher. Cover im age ©2009 Digital Vis ion Manufactured in the Un ited States of America McFarland & Company.
  • Vertigo and the Auteur Figure

    Vertigo and the Auteur Figure

    Ambiguous Authorities: Vertigo and the Auteur Figure ISABELLE LICARI-GUILLAUME Abstract: This article examines authorial performance in the context of DC’s Vertigo line. In the 1990s, Vertigo gained its reputation as an innovative and progressive imprint by promoting the work of British scriptwriters, who were hailed as true author figures, despite the inherently collaborative nature of the mainstream comics industry. In a manner reminiscent of “auteur theory”, writers such as Neil Gaiman, Warren Ellis or Grant Morrison developed attractive authorial personae which they consistently displayed through interviews, letter columns or social media, but also, more importantly, by inserting their avatars within the comics they scripted. Upon closer examination, however, it becomes clear that their work in fact simultaneously asserts and destabilizes writerly authority, in a manner that is consistent with Linda Hutcheon’s view of postmodernity. By multiplying author figures and playfully disseminating authority, Vertigo authors question their own authorial control over the text, asserting instead the crucial role played by the reader. Bio: Isabelle Licari-Guillaume is a Teaching and Research Assistant at the Department of English at Université Bordeaux Montaigne, France. She specializes in contemporary comics studies and has recently defended her PhD, which examined the British Invasion of American comics, its aeshetic evolution over time, and its influence on the editorial history of DC's Vertigo imprint. Her other fields of interest include translation and gender studies, on which she has written several articles. In 2015, she edited a collection of essays on the body in comics (Les Langages du corps dans la bande dessinée, l'Harmattan) and is currently editing another volume, Translators of Comics / Les Traducteurs de bande dessinée.
  • Batman and the Superhero Fairytale: Deconstructing a Revisionist Crisis

    Batman and the Superhero Fairytale: Deconstructing a Revisionist Crisis

    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2013 Batman and the superhero fairytale: deconstructing a revisionist crisis Travis John Landhuis University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2013 Travis John Landhuis Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the English Language and Literature Commons Recommended Citation Landhuis, Travis John, "Batman and the superhero fairytale: deconstructing a revisionist crisis" (2013). Dissertations and Theses @ UNI. 34. https://scholarworks.uni.edu/etd/34 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Copyright by TRAVIS JOHN LANDHUIS 2013 All Rights Reserved BATMAN AND THE SUPERHERO FAIRYTALE: DECONSTRUCTING A REVISIONIST CRISIS An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Arts Travis John Landhuis University of Northern Iowa December 2013 ABSTRACT Contemporary superhero comics carry the burden of navigating historical iterations and reiterations of canonical figures—Batman, Superman, Green Lantern et al.—producing a tension unique to a genre that thrives on the reconstruction of previously established narratives. This tension results in the complication of authorial and interpretive negotiation of basic principles of narrative and structure as readers and producers must seek to construct satisfactory identities for these icons. Similarly, the post-modern experimentation of Robert Coover—in Briar Rose and Stepmother—argues that we must no longer view contemporary fairytales as separate (cohesive) entities that may exist apart from their source narratives.
  • Previews #323 (Vol

    Previews #323 (Vol

    PREVIEWS #323 (VOL. XXV #8, AUG15) PREVIEWS PUBLICATIONS PREVIEWS #325 OCTOBER 2015 SAME GREAT PREVIEWS! NEW LOWER PRICE: $3.99! Since 1988, PREVIEWS has been your ultimate source for all of the comics and merchandise to be available from your local comic book shop… revealed up to two months in advance! Hundreds of comics and graphic novels from the best comic publishers; the coolest pop-culture merchandise on Earth; plus PREVIEWS exclusive items available nowhere else! Now more than ever, PREVIEWS is here to show the tales, toys and treasures in your future! This October issue features items scheduled to ship in December 2015 and beyond. Catalog, 8x11, 500+pg, PC SRP: $3.99 MARVEL PREVIEWS VOLUME 2 #39 Each issue of Marvel Previews is a comic book-sized, 120-page, full-color guide and preview to all of Marvel’s upcoming releases — it’s your #1 source for advanced information on Marvel Comics! This October issue features items scheduled to ship in December 2015 and beyond. FREE w/Purchase of PREVIEWS Comic-sized, 120pg, FC SRP: $1.25 PREVIEWS #325 CUSTOMER ORDER FORM — OCTOBER 2015 PREVIEWS makes it easy for you to order every item in the catalog with this separate order form booklet! This October issue features items scheduled to ship in December 2015 and beyond. Comic-sized, 62pg, PC SRP: PI COMICS SECTION PREMIER VENDORS DARK HORSE COMICS ABE SAPIEN #27 Mike Mignola (W/Cover), Scott Allie (W), Alise Gluškova (A/C), and Dave Stewart (C) Abe’s memories of his life as a man in the nineteenth century come to the surface as secret societies fight over an object that could prove the true origins of the human race! FC, 32 pages SRP: $3.50 B.P.R.D.
  • GRADUATE COURSE OFFERINGS Department of English § Florida Atlantic University

    GRADUATE COURSE OFFERINGS Department of English § Florida Atlantic University

    FALL 2021 GRADUATE COURSE OFFERINGS Department of English § Florida Atlantic University AML 6938.003 | Professor Sika Dagbovie-Mullins Contemporary African American Literature Tuesdays, 4:00–6:50 pm | CRN 21016 What, if anything, characterizes twenty-first century African American literary production? In her essay and introduction to a special issue of American Literary History, Stephanie Li identifies African American “twenty- first-century writers’ wide-ranging determination to claim their dead and envision a home for the living.” This observation contrasts with Kenneth Warren’s assertion that African American literature came to an end when Jim Crow ended. This course will focus on the diverse array of African American literary texts published since 2000, many of which confront what Saidiya Hartman calls the “afterlife of slavery” in their work. We will ask ourselves: what cultural, social, and political movements and events have shaped African American literary production in the new millennium? How does one define a black aesthetic? Texts will likely include Paul Beatty’s The Sellout (2015); Brit Bennett’s The Vanishing Half (2020); Kaitlyn Greenidge’s We Love You, Charlie Freeman (2017); Danielle Evans’ The Office of Historical Corrections (2020); Percival Everett’s Erasure (2001); Mat Johnson’s Pym (2011); T. Geronimo Johnson’s Welcome to Braggsville (2015); Kiese Laymon’s Long Division (2013); Claudia Rankine’s Citizen: An American Lyric (2014); Danez Smith’s Don’t Call Us Dead (2017); Colson Whitehead’s Underground Railroad (2016); Jesmyn Ward’s Salvage the Bones (2012). Historical Period: 1900–present AML 6938.002 | Professor Shelby Johnson Plantationocene in Early American Literature Thursdays, 7:10–10:00 pm | CRN 20329 The conquest of the New World set into motion the consumption of labor, land, and raw materials that created the conditions for our current environmental catastrophe.
  • Comic Book Citation Format

    Comic Book Citation Format

    Fordham Intellectual Property, Media and Entertainment Law Journal Volume 16 Volume XVI Number 3 Volume XVI Book 3 Article 10 2006 Comic Book Citation Format Britton Payne Fordham University School of Law Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Britton Payne, Comic Book Citation Format, 16 Fordham Intell. Prop. Media & Ent. L.J. 1017 (2006). Available at: https://ir.lawnet.fordham.edu/iplj/vol16/iss3/10 This Editorial is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. APPENDIXBRIT 5/18/2006 11:37 AM APPENDIX Comic Book Legal Citation Format Britton Payne 1 Bill Finger & Bob Kane, The Case of the Chemical Syndicate, DETECTIVE COMICS 27, at 2 (DC Comics May 1939) (first appearance of Batman), reprinted in BATMAN ARCHIVES, VOLUME ONE 7 (Dale Crain ed., DC Comics 1990). 2 Creative Contributors, Story Title, COMIC BOOK TITLE (VOLUME IF APPROPRIATE) [Issue Number], at [Page Number] (Publisher Cover Date Month and Year). At present, the Blue Book does not have a specific citation format for Comic Books. As the prime source of the multi-billion dollar superhero industry, it is appropriate that they should. This appendix details the form used by the Fordham Intellectual Property, Media & Entertainment Law Journal 1.
  • Super-Grokster: Untangling Secondary Liability, Comic Book Heroes and the DMCA, and a Filtering Solution for Infringing Digital Creations

    Super-Grokster: Untangling Secondary Liability, Comic Book Heroes and the DMCA, and a Filtering Solution for Infringing Digital Creations

    Fordham Intellectual Property, Media and Entertainment Law Journal Volume 16 Volume XVI Number 3 Volume XVI Book 3 Article 9 2006 Super-Grokster: Untangling Secondary Liability, Comic Book Heroes and the DMCA, and a Filtering Solution for Infringing Digital Creations Britton Payne Fordham University School of Law Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Britton Payne, Super-Grokster: Untangling Secondary Liability, Comic Book Heroes and the DMCA, and a Filtering Solution for Infringing Digital Creations, 16 Fordham Intell. Prop. Media & Ent. L.J. 939 (2006). Available at: https://ir.lawnet.fordham.edu/iplj/vol16/iss3/9 This Note is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. Super-Grokster: Untangling Secondary Liability, Comic Book Heroes and the DMCA, and a Filtering Solution for Infringing Digital Creations Cover Page Footnote like to thank Professor Hugh Hansen for helping me mold and refine this Note, Professor Jay Kogan for his insights into the issues, Ashok Chandra, Hazel Malcolmson and Dick Grayson for their comments and help. I would also like to thank my friends and family, especially my wife Tara Higgins. This note is available in Fordham Intellectual Property, Media and Entertainment Law Journal: https://ir.lawnet.fordham.edu/iplj/vol16/iss3/9 PAYNE 5/18/2006 11:36 AM Super-Grokster: Untangling Secondary Liability, Comic Book Heroes and the DMCA, and a Filtering Solution for Infringing Digital Creations Britton Payne* INTRODUCTION ...........................................................................
  • Volume 1, Issue 1 April 2019 Superheroes in Contemporary Media

    Volume 1, Issue 1 April 2019 Superheroes in Contemporary Media

    Volume 1, Issue 1 April 2019 Superheroes in Contemporary Media General Information Panic at the Discourse: An Interdisciplinary Journal is published by graduate students and early career researchers from the Cultural Studies Program at Queen’s University. All material is copyrighted. Written permission must be obtained from the editors before copying or reprinting figures or more than 500 words of text. Submissions for each volume are chosen by the journal’s Executive Editorial Collective and go through a review process before publication. Each author is responsible for any omissions or errors in their article. ISSN 2562-5411 (Print) ISSN 2562-542X (Online) Key title: Panic at the discourse (Print and Online) Panic at the Discourse: An Interdisciplinary Journal Attn: Morgan Oddie Cultural Studies Program, Queen’s University B176 Macintosh-Corry Hall Kingston, ON, CAN K7L 3N6 Please contact us at: [email protected] www.panicdiscourse.com © 2019 Panic at the Discourse. All rights reserved. Editorial Team: Panic at the Discourse Volume 1, Issue 1, April 2019 Executive Editorial Collective Brittainy R. Bonnis is a PhD student in Cultural Studies at Queen’s University. Her master’s degree is in Media Studies, and her graduate work examines the intersections of religion, media and culture. Particularly concerned with representations of belonging and otherness in plural societies, her current work examines the representation of religious minorities in media forms from editorials to situation comedies. Morgan Oddie is a PhD candidate in Cultural Studies at Queen’s University. Her dissertation examines the dynamics of gendered bodies, pain, and power in consensual sadomasochistic (BDSM) women’s communities.
  • Luís Fernando Dos Reis Pereira OS PERPÉTUOS E

    Luís Fernando Dos Reis Pereira OS PERPÉTUOS E

    1 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO – PUC-SP Luís Fernando dos Reis Pereira OS PERPÉTUOS E OS INCOMPLETOS: permanência e movimento nos gibis de super-heróis e na série Sandman DOUTORADO EM COMUNICAÇÃO E SEMIÓTICA São Paulo 2010 2 3 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO – PUC-SP Luís Fernando dos Reis Pereira OS PERPÉTUOS E OS INCOMPLETOS: permanência e movimento nos gibis de super-heróis e na série Sandman Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo como exigência parcial para obtenção do título de Doutor em Comunicação e Semiótica, sob a orientação do Prof. Dr. José Amálio de Branco Pinheiro. São Paulo 2010 4 5 BANCA EXAMINADORA _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ 6 7 AGRADECIMENTOS Agradeço a Amálio Pinheiro, pela orientação e confiança; aos colegas do grupo de pesquisa Comunicação e Cultura: Barroco e Mestiçagem; a Paulo Pereira e Sergio Betarello, pelas colaborações; e ao CNPq, pela bolsa de estudos concedida. 8 9 Somos feitos do mesmo material dos sonhos, e nossa pequena vida é rodeada pelo sono. William Shakespeare, A tempestade, Ato 4, Cena 1. 10 11 PEREIRA, Luís Fernando dos Reis. Os Perpétuos e os Incompletos: permanência e movimento nos gibis de super-heróis e na série Sandman. 2010. 303 f. Tese (Doutorado em Comunicação e Semiótica). Programa de pós-graduação em Comunicação e Semiótica – Pontifícia Universidade Católica de São Paulo. RESUMO.
  • Autor in Aufsatztitel Journal Empfohlene Zitierweise

    Autor in Aufsatztitel Journal Empfohlene Zitierweise

    Impressum Autor_in Martin de la Iglesia (Heidelberg) Aufsatztitel Formal Characteristics of Animal Liberation in Comics Journal Closure. Kieler e-Journal für Comicforschung #7 (2020) – www.closure.uni-kiel.de Empfohlene Zitierweise Martin de la Iglesia: Formal Characteristics of Animal Liberation in Co- mics. In: Closure. Kieler e-Journal für Comicforschung #7 (2020), S. 90–110. <http://www.closure.uni-kiel.de/closure7/iglesia>. 30.11.2020. Herausgeber_innen Victoria Allen, Cord-Christian Casper, Constanze Groth, Kerstin Howaldt, Julia Ingold, Ger- rit Lungershausen, Dorothee Marx, Garret Scally, Susanne Schwertfeger, Simone Vrckovski, Dennis Wegner, Rosa Wohlers Redaktion & Layout Victoria Allen, Cord-Christian Casper, Sandro Esquivel, Constanze Groth, Kerstin Howaldt, Julia Ingold, Arne Lüthje, Gerrit Lungershausen, Dorothee Marx, Garret Scally, Alina Schop- pe, Susanne Schwertfeger, Simone Vrckovski, Dennis Wegner, Rosa Wohlers Technische Gestaltung Sandro Esquivel, Marie-Luise Meier Kontakt Homepage: http://www.closure.uni-kiel.de – Email: [email protected] Formal Characteristics of Animal Liberation in Comics Martin de la Iglesia (Heidelberg) Introduction In a narrower sense, ›animal liberation‹ can refer to the eponymous book by Peter Singer in which he argues the case for animal rights from the perspective of moral philosophy (Villanueva, 5–19); or to the actions of the international activist group Animal Libera- tion Front or similar organisations who, motivated by animal welfare beliefs, free non- human animals (simply referred to as ›animals‹ in the following) from captivity or par- take in other »efforts to end [...] cruelty and suffering«, such as hunt sabotages (Scarce, 116–121). In this article, however, the term ›animal liberation‹ is employed in a wider sense to encompass any action which results in a previously captive animal gaining its freedom, regardless of the motivations of the liberator(s) and the specific circumstances of the captivity.
  • Imagetext: Interdisciplinary Comics Studies

    Imagetext: Interdisciplinary Comics Studies

    ImageTexT: Interdisciplinary Comics Studies Skip Navigation About Current Archive Search Links Submissions Contact ISSN: 1549-6732 Home » Vol. 10 , No. 2 » Articles » ‘must we all remain helpless?’: Superman vs. the Nuclear Threat in the Late Cold War By Rui Lopes citation · printer friendly version 1 In March 1985, a comic book hit the stands with a cover that featured the iconic hero Superman as the sole survivor of a nuclear war, surrounded by debris, under dark clouds, holding a handful of dust and shouting in despair, his words emphatically lettered (Fig. 1).[1] Fig. 1: Hannigan, Ed (p), Al Williamson (i), ‘The Day the Earth Died!’, Superman v1 #408 (May 1985), DC Comics: Cover. 2 The outcome of a military conflict between the world’s superpowers—the United States of America (US) and the Union of Soviet Socialist Republics (USSR)—was thus shown to break the spirit of the so-called Man of Steel. Superman’s cry and kneeled-down pose evoked Charlton Heston’s closing monologue in the post-apocalyptic film Planet of the Apes (1968). Colorist Anthony Tollin rendered the image more striking by pitting the vibrant primary colors of Superman’s costume and logo (as well as the word balloon with the word “ME”) against a grim background of violet radiation and gray ashes and smoke. This chromatic choice, like the half-buried doll in the foreground, highlights the contrast between playful, childlike innocence and the bleak prospects of the late Cold War. 3 In the following years, a variety of other Superman comics produced vivid imagery related to the likelihood of nuclear holocaust.