Preacher (Comics) from Wikipedia, the Free Encyclopedia

Total Page:16

File Type:pdf, Size:1020Kb

Preacher (Comics) from Wikipedia, the Free Encyclopedia Preacher (comics) From Wikipedia, the free encyclopedia Preacher is a comic book series created by writer Garth Ennis Preacher and artist Steve Dillon, published by the American comic book label Vertigo (an imprint of DC Comics), with painted covers by Glenn Fabry. The series consists of 75 issues in total - 66 regular, monthly issues, five one-shot specials and a four-issue Preacher: Saint of Killers limited series. The entire run has been collected in nine trade paperback editions. The final monthly issue, number 66, was published in October 2000. Contents 1 Characters The cast of Preacher. Cover to Preacher #56. 2 Plot Art by Glenn Fabry. 3 Themes and influences Publication information 4 Collected editions 4.1 Original trade Publisher Vertigo imprint of DC paperbacks Comics 4.2 Hardcovers/re- Schedule Monthly released trade Genre Satire, Supernatural, paperbacks 5 Adaptation attempts Action 6 AMC adaptation Publication date 1995–2000 7 Legacy Number of issues 66 (plus 5 specials and a 4- 8 References issue miniseries) 9 External links Main Jesse Custer character(s) Tulip O'Hare Characters Cassidy Saint of Killers Jesse Custer Herr Starr Tulip O'Hare God Cassidy Arseface The Saint of Killers Creative team Herr Starr Writer(s) Garth Ennis God Arseface Artist(s) Steve Dillon Glenn Fabry Plot Colorist(s) Matt Hollingsworth Pamela Rambo Preacher tells the story of Jesse Creator(s) Garth Ennis Custer, a preacher in the small Steve Dillon Texas town of Annville. Custer was accidentally possessed by the supernatural creature named Genesis in an incident which killed his entire congregation and flattened his church. Genesis, the product of the unauthorized, unnatural coupling of an angel and a demon, is an infant with no sense of individual will. However, as it is composed of both pure goodness and pure evil, it might have enough power to rival that of God Himself. In other words, Jesse Custer, bonded to Genesis, may have become the most powerful being in the whole of living existence. Custer, driven by a strong sense of right and wrong, goes on a journey across the United States attempting to (literally) find God, who abandoned Heaven the moment Genesis was born. He also begins to discover the truth about his new powers. They allow him, when he wills it, to command the obedience of those who hear and comprehend his words. He is joined by his old girlfriend Tulip O'Hare, as well as a hard-drinking Irish vampire named Cassidy. During the course of their journeys, the three encounter enemies and obstacles both sacred and profane, including: the Saint of Killers, an invincible, quick-drawing, perfect-aiming, come-lately Angel of Death answering only to "He who sits on the throne"; a disfigured suicide attempt survivor turned rock-star named Arseface; a serial-killer called the 'Reaver-Cleaver'; The Grail, a secret organization controlling the governments of the world and protecting the bloodline of Jesus; Herr Starr, ostensible Allfather of the Grail, a megalomaniac with a penchant for prostitutes, who wishes to use Custer for his own ends; several fallen angels; and Jesse's own redneck 'family' — particularly his nasty Cajun grandmother, her mighty bodyguard Jody, and the 'animal-loving' T.C. Themes and influences Preacher draws on movies, particularly Westerns, for many of its stylistic elements. For example: an apparition of John Wayne is a recurring character and serves as a sort of spiritual guide or conscience for Custer; Monument Valley and The Alamo serve as backdrops to various legs of the journey; for a time, Jesse acts as the sheriff of a small town in Texas, and must protect the inhabitants from harm; the image of the Saint of Killers, a reformed bounty hunter- turned-killer-once-more in the tradition of Clint Eastwood's Unforgiven character, William Munny, is a nod to the classic Writer Garth Ennis signing Western notion of nemesis, straight and Preacher trade paperbacks at true and terrible. Midtown Comics Downtown in The series also invokes ideas popularized by Manhattan. such books as Holy Blood, Holy Grail. As Massimo Introvigne of the Center for Studies on New Religion explains, Preacher was "among the popular comic book series which...focused interest on the subject."[1] Within Preacher the claims that there is a still-viable bloodline descending from Jesus Christ and Mary Magdalene similar to those in Holy Blood, Holy Grail are taken as true. Herr Starr reveals to Cassidy that Jesus had children, and did not die on the cross, but instead lived to middle-age, and was killed by a runaway offal cart. After his death the Grail guardians took away his offspring, who were forced to intermarry with one another in order to keep Jesus' divine power within the bloodline. For over 2000 years this intermarrying perpetuated an incestuous family tree culminating the last of the Jesus line, a mentally handicapped child, in whom the Grail guardians place their hopes. The original plot and premise of Preacher was spun out of Ennis' run on Hellblazer, which postulated what would happen if an angel and a demon mated, and the spirit of their offspring ended up in a mortal man. Like many comics spun out of DC's 1990s work, it incorporates the idea of the Jewish God (Jahve) as the main antagonist of the series, serving as the creator who has left his creation. Other related comics include Swamp Thing and Sandman (and its spinoffs, like Lucifer). Collected editions Original trade paperbacks Release # Title ISBN Collected material date Preacher: 978- March 1, 1 Gone to Preacher #1–7 1563892615 1996 Texas Preacher: Until the 978- January 1, 2 Preacher #8–17 End of the 1563893124 1997 World Preacher: 978- October 1, 3 Proud Preacher #18-26 1563893278 1997 Americans Preacher Special: Saint of Killers Preacher: 978- March 1, #1-4, Preacher Special: The Story 4 Ancient 1563894053 1998 of You-Know-Who, and Preacher History Special: The Good Old Boys Preacher #27-33 and Preacher Preacher: 978- September 5 Special: Cassidy - Blood and Dixie Fried 1563894282 1, 1998 Whiskey Preacher: 978- March 1, Preacher #34-40 and Preacher 6 War in the 1563894909 1999 Special: One Man's War Sun Preacher: 978-1- September 7 Preacher #41-50 Salvation 563895197 1, 1999 Preacher: 978- June 1, Preacher #51-58 and Preacher 8 All Hell's A- 1563896170 2000 Special: Tall in the Saddle Coming Preacher: 978- May 1, 9 Preacher #59-66 Alamo 1563897153 2001 Hardcovers/re-released trade paperbacks Release Title Format ISBN Collected material date 978- July 21, Hardcover Preacher: 1401222796 2009 Preacher #1–12 Book One 978- June 18, TPB 1401240455 2013 978- February Hardcover Preacher: 1401225797 16, 2010 Book Preacher #13–26 978- October Two TPB 1401242558 1, 2013 978- December Preacher #27–33, Preacher Preacher: Hardcover 1401230166 21, 2010 Special: Saint of Killers #1–4, Book 978- January and Preacher Special: Three TPB 1401245016 28, 2014 Cassidy – Blood and Whiskey 978- June 14, Preacher #34–40, Preacher Hardcover 1401230937 2011 Special: The Story of You- Preacher: Know-Who, Preacher Special: Book 978- June 24, The Good Old Boys and Four TPB 1401230944 2014 Preacher Special: One Man's War 978- November Hardcover Preacher: 1401232504 29, 2011 Book Preacher #41–54 978- August Five TPB 1401250744 19, 2014 978- January Hardcover Preacher #55–66 and Preacher: 1401234157 17, 2012 Preacher Special: Tall in the Book Six 978- November TPB Saddle 1401252793 4, 2014 Adaptation attempts Garth Ennis, feeling Preacher would translate perfectly as a film, sold the film rights to Electric Entertainment. Rachel Talalay was hired to direct, with Ennis writing the script. Rupert Harvey and Tom Astor were set as producers. By May 1998, Ennis completed three drafts of the script, based largely on the Gone to Texas story arc.[2] The filmmakers found it difficult financing Preacher because investors found the idea religiously controversial. Ennis approached Kevin Smith and Scott Mosier to help finance the film under their View Askew Productions banner. Ennis, Smith and Mosier pitched Preacher to Bob Weinstein at Miramax Films.[3] Weinstein was confused by the characterization of Jesse Custer. Miramax also did not want to share the box office gross with Electric Entertainment, ultimately dropping the pitch. By May 2000, Smith and Mosier were still attached to produce with Talalay directing, but Smith did not know the status of Preacher, feeling it would languish in development hell.[3] By then, Storm Entertainment, a UK-based production company known for their work on independent films, joined the production with Electric Entertainment.[2] In September 2001, the two companies announced Preacher had been greenlighted to commence pre- production, with filming to begin in November and Talaly still directing Ennis' script.[4] The production and start dates were pushed back because of financial issues[5] of the $25 million projected budget.[6] James Marsden was cast in the lead role as Jesse Custer sometime in 2002. He explained, "It was something I never knew anything about, but once I got my hands on the comic books, I was blown away by it."[5] In a March 2004 interview, Marsden said the filmmakers were hoping for filming to start the following August.[7] With the full-length film adaptation eventually abandoned with budgetary concerns,[5] HBO announced in November 2006 that they commissioned Mark Steven Johnson and Howard Deutch to produce a television pilot. Johnson was to write with Deutch directing.[8] Impressed with Johnson's pilot script, HBO had him write the series bible for the first season.[9] Johnson originally planned "to turn each comic book issue into a single episode" on a shot- for-shot basis.
Recommended publications
  • NOT ASHAMED a Pastor, a Boy Scout, and a Scientist Were the Only
    NOT ASHAMED A pastor, a boy scout, and a scientist were the only passengers on a small plane. The pilot came back to the cabin and explained that the plane was going down but there were only three parachutes and four people. The pilot then added, "I should have one of the parachutes because I have a wife and three small children." So he took one and jumped. The scientist jumped up almost immediately and said, "I should have one of the parachutes because I am the smartest man in the world and everyone needs me." So he took one and jumped. The pastor turned to the Boy Scout and with a sad smile said, as I am sure that all of you would, "You are young and I have lived a rich life, so you take the remaining parachute, and I’ll go down with the plane." Then the Boy Scout said, "Relax, pastor, the world’s smartest man just jumped out of the plane with my backpack!" One man’s boast can be another man’s salvation. Paul had many reasons to boast but he chose to boast in the Gospel. Rom 1:16 I am not ashamed of the gospel, because it is the power of God for the salvation of everyone who believes: first for the Jew, then for the Gentile. 17 For in the gospel a righteousness from God is revealed, a righteousness that is by faith from first to last, just as it is written: "The righteous will live by faith." Today we are starting a new series called Romans -Unashamed, Undeserved, Unstoppable.
    [Show full text]
  • A Publication of the Salvation Army
    A Publication of The Salvation Army Word & Deed Mission Statement: The purpose of the journal is to encourage and disseminate the thinking of Salvationists and other Christian colleagues on matters broadly related to the theology and ministry of The Salvation Army The journal provides a means to understand topics central to the mission of The Salvation Army inte­ grating the Army's theology and ministry in response to Christ's command to love God and our neighbor. Salvation Army Mission Statement: The Salvation Army, an international movement, is an evangelical part of the universal Christian Church. Its message is based on the Bible. Its ministry is motivated by the love of God. Its mission is to preach the gospel of Jesus Christ and to meet human needs in His name without discrimination. Editorial Address: Manuscripts, requests for style sheets, and other correspondence should be addressed to Major Ed Forster at The Salvation Army, National Headquarters, 615 Slaters Lane, Alexandria, VA 22314. Phone: (703) 684-5500. Fax: (703) 302-8623. Email: [email protected]. Editorial Policy: Contributions related to the mission of the journal will be encouraged, and at times there will be a general call for papers related to specific subjects. The Salvation Army is not responsible for every view which may be expressed in this journal. Manuscripts should be approximately 12-15 pages, including endnotes. Please submit the following: 1) three hard copies of the manuscript with the author's name (with rank and appointment if an officer) on the cover page only. This ensures objec­ tivity during the evaluation process.
    [Show full text]
  • John Constantine Hellblazer: Last Man Standing Volume 11 Ebook
    JOHN CONSTANTINE HELLBLAZER: LAST MAN STANDING VOLUME 11 PDF, EPUB, EBOOK Sean Phillips,Paul Jenkins | 336 pages | 25 Aug 2015 | DC Comics | 9781401255299 | English | United States John Constantine Hellblazer: Last Man Standing Volume 11 PDF Book Learn how to enable JavaScript on your browser. The final, longer issue has John break the fourth wall. The penultimate major run of Delano's tenure was " The Family Man ", [17] which differed from the main body of the series thus far in that Constantine's nemesis is not supernatural beyond an opening metafictional encounter with a fictional fence , but a former policeman turned serial killer. Anyway have a few panels of John getting kissed by King Arthur because It also had a strong religious theme, with John's dealings with the First of the Fallen , and some storylines, such as the relationship between an angel, Tali, and a succubus demon, Ellie, would go on to be used again as a major plot device in Preacher , one of his most popular works. Paperback —. Archived from the original on January 3, Here at Walmart. In Dougall, Alastair ed. Hanuted cemetary next to houses and pissed off ghosts affect people; most of it doesn't really matter. Merlin is looking for the Grail, and thinks John is the man to find it for him. Not sure about the less magicky focus but hey, at least it is entertaining. Sean Phillips Illustrations ,. John Constantine Hellblazer Volume Regeneration []. Hellblazer issue Son of Man. In fact, the entire thing feels as if it is all for a lame joke.
    [Show full text]
  • Small-Screen Courtrooms a Hit with Lawyers - Buffalo - Buffalo Business First
    9/18/2018 Small-screen courtrooms a hit with lawyers - Buffalo - Buffalo Business First MENU Account FOR THE EXCLUSIVE USE OF [email protected] From the Buffalo Business First: https://www.bizjournals.com/buffalo/news/2018/09/17/small-screen-courtrooms-a-hit-with-lawyers.html Small-screen courtrooms a hit with lawyers Sep 17, 2018, 6:00am EDT For many, TV shows are an escape from reality. For attorneys, that’s no different – even when they’re watching lawyers on TV. “Better Call Saul” is the latest in a long line of TV shows about the legal profession. A prequel to AMC’s “Breaking Bad,” the show stars Bob Odenkirk as a crooked-at-times attorney named Jimmy McGill. “He’s a likable guy and you like his character,” said Patrick Fitzsimmons, senior associate at Hodgson Russ LLP in Buffalo. “It’s a great show. I think it’s the one BEN LEUNER/AMC show compared to the others where it’s not about a big firm.” “Better Call Saul” puts a new spin on legal drama as the slippery Jimmy McGill (played by Bob Odenkirk) Also a fan is Michael Benz, an associate at HoganWillig who recently returned to builds his practice. his native Buffalo after working in the Philadelphia public defender’s office and in his own practice as a criminal defense attorney. “(Odenkirk’s character is) the classic defense attorney who will do anything to make a buck or help his client,” Benz said, adding that he often binge-watches shows with his wife, Carla, an attorney in the federal public defender’s office in Buffalo.
    [Show full text]
  • Super Satan: Milton’S Devil in Contemporary Comics
    Super Satan: Milton’s Devil in Contemporary Comics By Shereen Siwpersad A Thesis Submitted to Leiden University, Leiden, the Netherlands in Partial Fulfillment of the Requirements for the Degree of MA English Literary Studies July, 2014, Leiden, the Netherlands First Reader: Dr. J.F.D. van Dijkhuizen Second Reader: Dr. E.J. van Leeuwen Date: 1 July 2014 Table of Contents Introduction …………………………………………………………………………... 1 - 5 1. Milton’s Satan as the modern superhero in comics ……………………………….. 6 1.1 The conventions of mission, powers and identity ………………………... 6 1.2 The history of the modern superhero ……………………………………... 7 1.3 Religion and the Miltonic Satan in comics ……………………………….. 8 1.4 Mission, powers and identity in Steve Orlando’s Paradise Lost …………. 8 - 12 1.5 Authority, defiance and the Miltonic Satan in comics …………………… 12 - 15 1.6 The human Satan in comics ……………………………………………… 15 - 17 2. Ambiguous representations of Milton’s Satan in Steve Orlando’s Paradise Lost ... 18 2.1 Visual representations of the heroic Satan ……………………………….. 18 - 20 2.2 Symbolic colors and black gutters ……………………………………….. 20 - 23 2.3 Orlando’s representation of the meteor simile …………………………… 23 2.4 Ambiguous linguistic representations of Satan …………………………... 24 - 25 2.5 Ambiguity and discrepancy between linguistic and visual codes ………... 25 - 26 3. Lucifer Morningstar: Obedience, authority and nihilism …………………………. 27 3.1 Lucifer’s rejection of authority ………………………..…………………. 27 - 32 3.2 The absence of a theodicy ………………………………………………... 32 - 35 3.3 Carey’s flawed and amoral God ………………………………………….. 35 - 36 3.4 The implications of existential and metaphysical nihilism ……………….. 36 - 41 Conclusion ……………………………………………………………………………. 42 - 46 Appendix ……………………………………………………………………………… 47 Figure 1.1 ……………………………………………………………………… 47 Figure 1.2 ……………………………………………………………………… 48 Figure 1.3 ……………………………………………………………………… 48 Figure 1.4 ……………………………………………………………………….
    [Show full text]
  • Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC.
    [Show full text]
  • BREAKING BAD by Vince Gilligan
    BREAKING BAD by Vince Gilligan 5/27/05 AMC Sony Pictures Television TEASER EXT. COW PASTURE - DAY Deep blue sky overhead. Fat, scuddy clouds. Below them, black and white cows graze the rolling hills. This could be one of those California "It's The Cheese" commercials. Except those commercials don't normally focus on cow shit. We do. TILT DOWN to a fat, round PATTY drying olive drab in the sun. Flies buzz. Peaceful and quiet. until ••• ZOOOM! WHEELS plow right through the shit with a SPLAT. NEW ANGLE - AN RV Is speeding smack-dab through the pasture, no road in sight. A bit out of place, to say the least. It's an old 70's era Winnebago with chalky white paint and Bondo spots. A bumper sticker for the Good Sam Club is stuck to the back. The Winnebago galumphs across the landscape, scattering cows. It catches a wheel and sprays a rooster tail of red dirt. INT. WINNEBAGO - DAY Inside, the DRIVER's knuckles cling white to the wheel. He's got the pedal flat. Scared, breathing fast. His eyes bug wide behind the faceplate of his gas mask. Oh, by the way, he's wearing a GAS MASK. That, and white jockey UNDERPANTS. Nothing else. Buckled in the seat beside him lolls a clothed PASSENGER, also wearing a gas mask. Blood streaks down from his ear, blotting his T-shirt. He's passed out cold. Behind them, the interior is a wreck. Beakers and buckets and flasks -- some kind of ad-hoc CHEMICAL LAB -- spill their noxious contents with every bump we hit.
    [Show full text]
  • Skeptical Prologue Some Works of Art Leave a Lasting Impression Precisely Because They Don't Seem to Be in Control of Their
    Skeptical Prologue Some works of art leave a lasting impression precisely because they don't seem to be in control of their own themes. Questions are raised, ideas are alluded to, that the artist may not know how to develop or bring into focus. But that's OK, because maybe we don't know what to do with them either. Some ideas are just too hard to integrate into the dominant projects of our lives. Some ideas, by their very nature, will always take us by surprise. Such a work of art—full of surprising, imperfectly integrated allusions—is Source Code , a mainstream Hollywood studio production released in 2011. Most critics passed it by with tepid approval, taking it for little more than a well-made thriller with a science fiction premise and a romantic subplot, notable mainly for the fact that its director, Duncan Jones, is the son of David Bowie. A few reviewers, however, caught a deeper resonance in the film—the tell-tale signs of an artist at work—even if they didn't quite know what to make of it. 1 One of the film's champions, Andrew O'Hehir of Salon , tried to put his finger on this special quality in his initial review. He was struck by a repeated scene in the film, a wide shot of geese taking off from a waterway. It's an anomalous image in a film that takes place mainly within constrained interior spaces: a commuter train, a suite of government offices, and a rugged one-man capsule like something left over from the Mercury Program.
    [Show full text]
  • A Pilot Qualitative Case Study of Agricultural and Natural Resources Scientists' Twitter Usage for Engaging Public Audiences
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers in Natural Resources Natural Resources, School of 2019 A Pilot Qualitative Case Study of Agricultural and Natural Resources Scientists’ Twitter Usage for Engaging Public Audiences Jaime Loizzo Catherine Jones Abby Steffen Follow this and additional works at: https://digitalcommons.unl.edu/natrespapers Part of the Natural Resources and Conservation Commons, Natural Resources Management and Policy Commons, and the Other Environmental Sciences Commons This Article is brought to you for free and open access by the Natural Resources, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers in Natural Resources by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Journal of Applied Communications Volume 103 Issue 4 Article 6 11-2019 A Pilot Qualitative Case Study of Agricultural and Natural Resources Scientists’ Twitter Usage for Engaging Public Audiences Jamie Loizzo University of Florida Catherine Jones University of Nebraska-Lincoln Abby Steffen University of Nebraska-Lincoln Follow this and additional works at: https://newprairiepress.org/jac Part of the Communication Technology and New Media Commons, Mass Communication Commons, Other Communication Commons, Science and Technology Studies Commons, Social Influence and Political Communication Commons, and the Social Media Commons Recommended Citation Loizzo, Jamie; Jones, Catherine; and Steffen, Abby () "A Pilot Qualitative Case Study of Agricultural and Natural Resources Scientists’ Twitter Usage for Engaging Public Audiences," Journal of Applied Communications: Vol. 103: Iss. 4. https://doi.org/10.4148/1051-0834.2276 This Research is brought to you for free and open access by New Prairie Press.
    [Show full text]
  • Mcwilliams Ku 0099D 16650
    ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers.
    [Show full text]
  • Iraq Between Maliki and the Islamic State July 9, 2014
    Iraq Between Maliki and the Islamic State July 9, 2014 POMEPS Briefings 24 Contents Seeking to explain the rise of sectarianism in the Middle East . 4 By Toby Dodge The Middle East quasi-state system . 10 By Ariel I. Ahram How can the U .S . help Maliki when Maliki’s the problem? . 12 By Marc Lynch Why the Iraqi army collapsed (and what can be done about it) . 13 By Keren Fraiman, Austin Long, Columbia University, and Caitlin Talmadge Getting rid of Maliki won’t solve Iraq’s crisis . 15 By Fanar Haddad How Arab backers of the Syrian rebels see Iraq . 17 By Marc Lynch Want to defeat ISIS in Iraq? More electricity would help . 19 By Andrew Shaver and Gabriel Tenorio Will ISIS Cohere or Collapse? . 22 By Paul Staniland Maliki has only himself to blame for Iraq’s crisis . 23 By Zaid Al-Ali Was Obama wrong to withdraw troops from Iraq? . 26 By Jason Brownlee Can ISIS overcome the insurgency resource curse? . 29 By Ariel I. Ahram The Calculated Caliphate . 31 By Thomas Hegghammer The logic of violence in the Islamic State’s war . 34 By Stathis N. Kalyva The Project on Middle East Political Science The Project on Middle East Political Science (POMEPS) is a collaborative network that aims to increase the impact of political scientists specializing in the study of the Middle East in the public sphere and in the academic community . POMEPS, directed by Marc Lynch, is based at the Institute for Middle East Studies at the George Washington University and is supported by the Carnegie Corporation and the Henry Luce Foundation .
    [Show full text]
  • Vigilantes, Incorporated: an Ideological Economy of the Superhero Blockbuster
    VIGILANTES, INCORPORATED: AN IDEOLOGICAL ECONOMY OF THE SUPERHERO BLOCKBUSTER BY EZRA CLAVERIE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor José B. Capino, Chair Associate Professor Jim Hansen Associate Professor Lilya Kaganovsky Associate Professor Robert A. Rushing Professor Frank Grady,Department of English, University of Missouri, Saint Louis ii ABSTRACT Since 2000, the comic-book superhero blockbuster has become Hollywood’s most salient genre. “Heroes, Incorporated: A Political Economy of the Superhero Blockbuster” examines these seemingly reactionary fantasies of American power, analyzing their role in transmedia storytelling for a conglomerated and world-spanning entertainment industry. This dissertation argues that for all their apparent investment in the status quo and the hegemony of white men, superhero blockbusters actually reveal the disruptive and inhuman logic of capital, which drives both technological and cultural change. Although focused on the superhero film from 2000 to 2015, this project also considers the print and electronic media across which conglomerates extend their franchises. It thereby contributes to the materialist study of popular culture and transmedia adaptation, showing how 21st century Hollywood adapts old media for new platforms, technologies, and audiences. The first chapter traces the ideology of these films to their commercial roots, arguing that screen superheroes function as allegories of intellectual property. The hero’s “brand” identity signifies stability, even as the character’s corporate owners continually revise him (rarely her).
    [Show full text]