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Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 4-2-2016 “Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Criminal Law Commons, Criminology Commons, Family, Life Course, and Society Commons, Public Affairs, Public Policy and Public Administration Commons, and the Social Control, Law, Crime, and Deviance Commons Bosch, Brandon, "“Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films" (2016). Sociology Department, Faculty Publications. 287. http://digitalcommons.unl.edu/sociologyfacpub/287 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 17, ISSUE 1, PAGES 37–54 (2016) Criminology, Criminal Justice Law, & Society E-ISSN 2332-886X Available online at https://scholasticahq.com/criminology-criminal-justice-law-society/ “Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln A B S T R A C T A N D A R T I C L E I N F O R M A T I O N Drawing on research on authoritarianism, this study analyzes the relationship between levels of threat in society and representations of crime, law, and order in mass media, with a particular emphasis on the superhero genre. -
Hulk Smash! September, 2020, Vol
Journal of Criminal Justice and Popular Culture Hulk Smash! September, 2020, Vol. 20 (Issue 1): pp. 28 - 42 Clevenger and Acquaviva Copyright © 2020 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN: 1070-8286 Hulk Smash! Violence in The Incredible Hulk Comics Shelly Clevenger Sam Houston State University & Brittany L. Acquaviva Sam Houston State University 28 Journal of Criminal Justice and Popular Culture Hulk Smash! September, 2020, Vol. 20 (Issue 1): pp. 28 - 42 Clevenger and Acquaviva Abstract “Hulk smash!” is one of the most iconic phrases uttered in the pages of comic books. The Incredible Hulk is one of comics’ most violent characters as the Hulk smashes first and asks questions later. The popularity of the comic book genre has exploded within past decades and the interest in comics has increased. But exactly how violent is The Incredible Hulk and what does that mean for readers? This research examines the occurrence of violence in the Incredible Hulk comics through a thematic content analysis of 248 issues. Specifically, such themes as violence against men and women, unpunished violence, formal punishments of violence, interventions to stop violence and the justification provided for violence were assessed. The goal of the research was to determine the amount and level of violence within the comic and in what context it occurred. Results indicate that there is a large amount of violence occurring within the pages of the Incredible Hulk, but that this violence is often justified and committed by the Hulk to protect himself and others. A discussion is provided regarding the potential impact this may have on a reader and their view of violence, crime and justice. -
Sleeper Omnibus Free Download
SLEEPER OMNIBUS FREE DOWNLOAD Sean Phillips,Ed Brubaker | 720 pages | 01 May 2013 | DC Comics | 9781401238032 | English | United States Sleeper: Omnibus Sort order. In China, sleeper buses are a common means of long-distance transportation. In my opinion Can I buy Ed Brubaker a house near my place,so that I can pick his brain for book ideas? Sleeper buses are specially designed for a comfortable bus Sleeper Omnibus experience and like trains have berths instead of seats. I also reviewed the Sleeper Omnibus volume of Sleeper. Mar 20, Maurice rated it it was Sleeper Omnibus. Maximize your profit by keeping it moving with our entertainer buses. As Season One ends, John Lynch miraculously awakes from his coma. Oh, and did I forget to mention the super powers? We've provided a wide range of ground transportation services to individuals, groups and group leaders for more than 30 years. Is it bad that I kind of wish Tao would wipe my mind so that I could read this again for the first time? Sep 18, Christopher rated it it was Sleeper Omnibus. Every character is Sleeper Omnibus out. Then after some research into wanting to buy the second trade, I found that it was all available as one big-arsed Omnibus! Heck, had anyone one asked me if mixing the two had ever been done. I'll probably write a post on Graphic Novel Universe going into more detail, but the sf Sleeper Omnibus seem to take away from some essential element Sleeper Omnibus the noir. Sleeper Coaches and Sleeper Bus Rentals. -
Batwoman and Catwoman: Treatment of Women in DC Comics
Wright State University CORE Scholar Browse all Theses and Dissertations Theses and Dissertations 2013 Batwoman and Catwoman: Treatment of Women in DC Comics Kristen Coppess Race Wright State University Follow this and additional works at: https://corescholar.libraries.wright.edu/etd_all Part of the English Language and Literature Commons Repository Citation Race, Kristen Coppess, "Batwoman and Catwoman: Treatment of Women in DC Comics" (2013). Browse all Theses and Dissertations. 793. https://corescholar.libraries.wright.edu/etd_all/793 This Thesis is brought to you for free and open access by the Theses and Dissertations at CORE Scholar. It has been accepted for inclusion in Browse all Theses and Dissertations by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. BATWOMAN AND CATWOMAN: TREATMENT OF WOMEN IN DC COMICS A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts By KRISTEN COPPESS RACE B.A., Wright State University, 2004 M.Ed., Xavier University, 2007 2013 Wright State University WRIGHT STATE UNIVERSITY GRADUATE SCHOOL Date: June 4, 2013 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Kristen Coppess Race ENTITLED Batwoman and Catwoman: Treatment of Women in DC Comics . BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts. _____________________________ Kelli Zaytoun, Ph.D. Thesis Director _____________________________ Carol Loranger, Ph.D. Chair, Department of English Language and Literature Committee on Final Examination _____________________________ Kelli Zaytoun, Ph.D. _____________________________ Carol Mejia-LaPerle, Ph.D. _____________________________ Crystal Lake, Ph.D. _____________________________ R. William Ayres, Ph.D. -
Catwoman (White Queen)
KNI_05_p01 CS6.indd 1 10/09/2020 10:41 IN THIS ISSUE YOUR PIECE Meet your white queen – Gotham City’s 3 ultimate femme fatale Selina Kyle, better known as Catwoman. PROFILE From the slums of Gotham City’s East 4 End, Catwoman has become one of the world’s most famous thieves. GOTHAM GUIDE A examination of Gotham’s East End, a 10 grim area of crime and poverty – and the home of Selina Kyle. RANK & FILE Why Catwoman is the white queen and 12 how some of her moves are refl ected in those of the powerful chess piece. RULES & MOVES An essential guide to the white queen 15 and some specifi c gambits using the piece. Editor: Alan Cowsill Thanks to: Art Editor: Gary Gilbert Writers: Devin K. Grayson, Ed Brubaker, Frank Writer: James Hill Miller, Jeph Loeb, Will Pfeifer, Judd Winick, Consultant: Richard Jackson Darwyn Cooke, Andersen Grabrych. Figurine Sculptor: Imagika Sculpting Pencillers: Jim Balent, Michael Avon Oeming, Studio Ltd David Mazzucchelli, Cameron Stewart, Jim Lee, Pete Woods, Guillem March, Darwyn US CUSTOMER SERVICES Cooke, Brad rader, Rick Burchett. Call: +1 800 261 6898 Inkers: John Stanisci, Mike Manley, Scott Email: [email protected] Williams, Mike Allred, Rick Burchett, Cameron Stewart, Alavaro Lopez. UK CUSTOMER SERVICES Call: +44 (0) 191 490 6421 Email: [email protected] Batman created by Bob Kane with Bill Finger Copyright © 2020 DC Comics. CATWOMAN and all related characters and elements © and TM DC Comics. (s20) EAGL26789 Collectable Figurines. Not designed or intended for play by children. Do not dispose of fi gurine in the domestic waste. -
Drug Narratives in Comic Books
“They say it’ll kill me…but they won’t say when!” Drug Narratives in Comic Books By Mark C. J. Stoddart University of British Columbia The mass media play an important role in constructing images of drug trafficking and use that circulate through society. For this project, discourse analysis was used to examine 52 comic books and graphic novels. Comic books reproduce a dominant discourse of negative drug use which focuses on hard drugs such as heroin and cocaine. These drug narratives set up a dichotomy between victimized drug users and predatory drug dealers. Drug users are depicted as victims who may be saved rather than criminalized. By contrast, drug dealers are constructed as villains who are subjected to the ritualized violence of comic book heroes. The construction of drug users and drug dealers is also marked by gendered, racialized, and class-based patterns of representation. Keywords : drugs; comic books; discourse analysis; cultural criminology INTRODUCTION For most of us, the mass media have provided a window on the social world beyond the confines of our daily lives. It is through the media that many of us have learned about spheres of social power and deviance with which we may have rarely come into direct contact. In the case of illicit drugs, many people’s understanding of drug users and drug trafficking has been shaped by both the factual accounts of news media, as well as the fictional accounts of film or television. For example, for those who are not members of the subcultural world of drug use, heroin use has been made imaginable through the Vancouver Sun’s coverage of Vancouver’s Downtown Eastside (Bohn, 2000; Kines, 1997; Sarti, 1992), or through films such as Trainspotting (Macdonald & Boyle, 1996) or The Basketball Diaries (Heller & Kalvert, 1995). -
Portrayals of Midnighter and Apollo Wildstrom and Dc Comics
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2020 Regression and progression: portrayals of midnighter and apollo wildstrom and dc comics. Adam J. Yeich University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Arts and Humanities Commons Recommended Citation Yeich, Adam J., "Regression and progression: portrayals of midnighter and apollo wildstrom and dc comics." (2020). Electronic Theses and Dissertations. Paper 3462. Retrieved from https://ir.library.louisville.edu/etd/3462 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. REGRESSION AND PROGRESSION: PORTRAYALS OF MIDNIGHTER AND APOLLO FROM WILDSTORM AND DC COMICS by Adam J. Yeich B.A., Kent State University at Stark, 2015 M.F.A., Kent State University, 2018 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts In English Department of English University of Louisville Louisville, Kentucky May 2020 REGRESSION AND PROGRESSION: PORTRAYALS OF MIDNIGHTER AND APOLLO FROM WILDSTORM AND DC COMICS By Adam J. Yeich B.A., Kent State University at Stark, 2015 M.F.A., Kent State University, 2018 A Thesis Approved on April 1, 2020 by the following Thesis Committee _________________________ Dr. -
Texas Disapproved Publication
TEXAS DEPT. OF CRIMINAL JUSTICE DISAPPROVED PUBLICATIONS - January - December 2018 Date Publication Title Author(s) Year of Publication ISBN Issue Disapproved Pages Rejection Reason 1/2/2018 Criminal: Coward Ed Brubaker 2016 9781632151704 72 SEI 1/2/2018 Badlands Steven Grant 1993 9781878574534 22, 41, 53 SEI 1/2/2018 Strike Magazine Autumn 2017 N19 41, 43 SEI 1/2/2018 303 Squadron Arkady Fielder 2010 9781607720041 Approved N/A 1/3/2018 Popular Mechanics 14-Feb V194 N11 79 BRK WPN 1/3/2018 International Tattoo Art Sep-96 2, 41 SEI 1/3/2018 International Tattoo Art Jul-96 24,42 SEI 1/3/2018 International Tattoo Art Jan-97 26, 49 SEI 1/3/2018 Image+ 11/2017, 1/2018 V2 N3 27, 30 SEI 1/3/2018 International Tattoo Art May-96 3,4 SEI 1/3/2018 Take What You Can…Give Nothing Back Martin LaCasse 2010 9780982404720 8, 48, 146 SEI 1/3/2018 W Magazine 14-Dec V46, N10 96, 97 SEI 1/3/2018 Wendy's Got the Heat Wendy Williams 2003 74370214 Approved N/A 1/5/2018 Oral Sex for Everybody Tina Robbins 2014 9781629144764 100, 101 SEI 1/10/2018 Marshal Law Pat Mills 2014 9781401251406 11, 14 SEI 1/11/2018 Hand Lettering and Contemporary Calligraphy Lisa Engelbrecht 2018 9780785835257 138 SEI 1/11/2018 US Marine Close Combat Fighting Handbook Jack Hoban 2010 9781616081072 1-1, 1-2, 1-6, 2-2, 2-3, 2-4, 2-6 OFF/DEF fighting tech 1/12/2018 Master of the Game Sidney Sheldon 1982 9781478948421 354 Rape 1/12/2018 Neon Genesis Evangelion 4,5,6 Yoshiyuki Sadamoto 2013 9781421553054 401 SEI 1/12/2018 A Guide to Improvised Weaponry Terry Schappert 2015 9781440584725 16-Nov Self Defese Techniques 1/12/2018 Hacking Electronics 2nd Edition Simon Monk 2017 9781560012200 14, 86-92 how to hack computers and override electrical circuits 1/12/2018 Great American Adventure Judge Dale 1933 none Approved N/A 1/12/2018 It Can Happen in a Minute S.M. -
Depictions of Criminality in Superhero Cartoons
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 2012 Rotten, Vile, and Depraved! Depictions of Criminality in Superhero Cartoons Lisa A. Kort-Butler University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/sociologyfacpub Part of the Criminology Commons, and the Social Control, Law, Crime, and Deviance Commons Kort-Butler, Lisa A., "Rotten, Vile, and Depraved! Depictions of Criminality in Superhero Cartoons" (2012). Sociology Department, Faculty Publications. 188. https://digitalcommons.unl.edu/sociologyfacpub/188 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Deviant Behavior 33 (2012), pp. 566–581; doi: 10.1080/01639625.2011.636718 Copyright © 2012 Taylor & Francis Group. Used by permission. Submitted February 18, 2011; accepted July 30, 2011. Support for this research was provided by the Haas Faculty Award, Department of Sociology, University of Nebraska–Lincoln. The author thanks Kayla Pritchard for her assistance on this project. Rotten, Vile, and Depraved! Depictions of Criminality in Superhero Cartoons Lisa A. Kort-Butler University of Nebraska–Lincoln, Lincoln, Nebraska, USA Correspondence: Lisa A. Kort-Butler, Department of Sociology, 711 Oldfather Hall, P.O. Box 880324, Lincoln, NE 68588-0324, USA; email [email protected] Abstract The literature argues that media depictions of crime present messages that conform to and promote the dominant ideology about the causes of crime and the nature of crimi- nality. -
American Superhero Comics: Fractal Narrative and the New Deal a Dissertation Presented to the Faculty of the College of Arts
American Superhero Comics: Fractal Narrative and The New Deal A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Lawrence W. Beemer June 2011 © 2011 Lawrence W. Beemer. All Rights Reserved. 2 This dissertation titled American Superhero Comics: Fractal Narrative and The New Deal by LAWRENCE W. BEEMER has been approved for the English Department of Ohio University and the College of Arts and Sciences by ______________________________ Robert Miklitsch Professor of English ______________________________ Benjamin M. Ogles Dean, College of Arts and Sciences 3 ABSTRACT BEEMER, LAWRENCE W., Ph.D., June 2011, English American Superhero Comics: Fractal Narrative and The New Deal (204 pp.) Director of Dissertation: Robert Miklitsch Coining the term "fractal narrative," this dissertation examines the complex storytelling structure that is particular to contemporary American superhero comics. Whereas other mediums most often require narrative to function as self-contained and linear, individual superhero comics exist within a vast and intricate continuity that is composed of an indeterminate number of intersecting threads. Identical to fractals, the complex geometry of the narrative structure found in superhero comics when taken as a whole is constructed by the perpetual iteration of a single motif that was established at the genre's point of origin in Action Comics #1. The first appearance of Superman institutes all of the features and rhetorical elements that define the genre, but it also encodes it with the specific ideology of The New Deal era. In order to examine this fractal narrative structure, this dissertation traces historical developments over the last seven decades and offers a close reading Marvel Comics' 2006 cross-over event, Civil War. -
(5 Issues!) Criminal Macabre Cell Block 666 #1
H ULT X-MEN V. 18 TPB collects #89-93, $14 H WWH WARBOUND TPB collects #1-5, $13 H THOR V. 1 TPB H CRIMINAL V. 3 TPB collects #1-6, $15 collects #1-4, $12 H X-MEN END SPECIES TPB H MMW GA CAP V.2 HC collects 1SHOT & 1-18, $20 BPRD The Warning Dead #1 (5 issues!) collects #5-8, $60 H WOLVERINE DEATH OF TPB H The team rushes to track down the mysterious gentleman who’s been appearing MMW DEFENDERS V. 1 HC collects #56-61, $15 in Liz’s visions, as a slew of old enemies -- from frog creatures, to the Black Flame, to collects SM34,35,MF1-3,DF1-6, $55 H NOVA V.2 TPB the last remnants of Hyperborea -- menace the Bureau from all sides in a catastrophic H ANNIHILATIONCONQUESTV.2HC collects #8-12 & ANN 1, $17 escalation to Armageddon. Written by Mike Mignola and John Arcudi and drawn by Guy collects Wraith,Nova4-7,AC1-6, $40 H SILVER SURFER REQUIEM TPB Davis, this series immediately follows the events of B.P.R.D.: The Killing Ground. H POWER PACK HC collects #1-4, $15 collects VARIOUS, $25 Criminal Macabre Cell Block 666 #1 (4 issues) H THE ORDER V. 2 TPB H Steve Niles (W), Nick Stakal (A), Cal’s being set up by the cops and a vengeful D.A. to ULT IRON MAN 2 HC collects #6-10, $13 collects #1-5 $20 H take the fall for a pile of bad news. There’s no way he’s getting out of this one without COUNTER X V. -
Making Gay Sense of the X-Men William Earnest
11-Brummett-45412.qxd 10/16/2007 3:01 PM Page 215 11 Making Gay Sense of the X-Men William Earnest idway through X2: X-Men United, young Bobby Drake and his fellow M mutants pay a surprise visit to his conservative, upper middle-class family. The scene depicts a rite of passage for many teenagers living in the mutant-fearing America of the film, announcing to your family that you’re one of “those” people—special, different, mutated. Because mutation is a pressing social issue in the X-Men’s world, the disclosure of one’s “mutancy” is not to be taken lightly. After all, it’s a condition that is misunderstood and feared by the general population. Mutants who go public risk everything from being rejected by family to political and social marginalization to physical violence. This scene will seem familiar to many audience members, particularly those who have been in such “guess-what?” meetings before. These moments happen all the time in our world and play out much like the Drake family’s drama. Our pressing social issue isn’t mutation, of course, but sexual difference. The rhetori- cal setting, however—the situation, the characters, and so on—is the same in the film as it is for us; it’s the rhetorical equivalent of a gay, lesbian, or bisexual teenager’s “coming out” ritual.1 Like most rhetorical genres, the coming out ritual tends to follow certain conventions, to look and to sound a certain way, and this one goes by the book (Hart 121–22).