A Pathfinder for Comic Books and Graphic Novels 2 Hugh H
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Metadata for Semantic and Social Applications
etadata is a key aspect of our evolving infrastructure for information management, social computing, and scientific collaboration. DC-2008M will focus on metadata challenges, solutions, and innovation in initiatives and activities underlying semantic and social applications. Metadata is part of the fabric of social computing, which includes the use of wikis, blogs, and tagging for collaboration and participation. Metadata also underlies the development of semantic applications, and the Semantic Web — the representation and integration of multimedia knowledge structures on the basis of semantic models. These two trends flow together in applications such as Wikipedia, where authors collectively create structured information that can be extracted and used to enhance access to and use of information sources. Recent discussion has focused on how existing bibliographic standards can be expressed as Semantic Metadata for Web vocabularies to facilitate the ingration of library and cultural heritage data with other types of data. Harnessing the efforts of content providers and end-users to link, tag, edit, and describe their Semantic and information in interoperable ways (”participatory metadata”) is a key step towards providing knowledge environments that are scalable, self-correcting, and evolvable. Social Applications DC-2008 will explore conceptual and practical issues in the development and deployment of semantic and social applications to meet the needs of specific communities of practice. Edited by Jane Greenberg and Wolfgang Klas DC-2008 -
The Joys of Ddos
The Joys of DDoS Barrett Lyon Prolexic Technologies Jay Adelson Digg Network Terrorist Motivations • Extortionists: Many Based in Asia / Eastern Europe _ Most common motivation for DDoS attacks; ransom sites for thousands, and sometimes hundreds of thousands, of dollars _ Once operator agrees to pays, the attacker simply redirects the DDoS at another site (usually in the same industry sector) • Competitive Sabotage _ Rival businesses employ attackers to eliminate competition _ Harm to brand • Hackers Pride _ To gain notoriety, often target high-profile sites _ Censorship • Network Warfare _ Recent attacks to the National Security Agency in the United States show that the Internet can be used to attack government interests. 2 © Prolexic Technologies, 2006 Recap: Extortion • Anonymous EMAIL systems • Rude, use poor English • Attempt to establish communication with president/principals of the Company 3 © Prolexic Technologies, 2006 Recap: Extortion 4 © Prolexic Technologies, 2006 Competitive Sabotage •DVD Sales during Christmas •Rx Sales due to Ad-Words competition •Shutting down payment processing: HYIP / Stormpay.com 5 © Prolexic Technologies, 2006 The attack: Mixed GET/SYN Flood to port 80 6 © Prolexic Technologies, 2006 The attack: PPS rates 7 © Prolexic Technologies, 2006 Hackers Pride •Digg.com: Bad guy (Fred Ghosn of Canada) vs. Kevin Rose 8 © Prolexic Technologies, 2006 Digg and IRC <A> digg.com / revision3.com. <A> tonight. <A> :<. <B> we wull see. <A> fucking kevin rose. <A> i miss. <A> my old bots. <A> from like. <A> 2 years. <A> i had. <A> 1.8 million. <A> :<. <A> my biggest. <A> channel. <A> was. <A> 980k. 9 © Prolexic Technologies, 2006 Digg and IRC Why isn't his attack succeeding? He claims: <A> now i got shit. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
Why No Wonder Woman?
Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends. -
Metod Иностранный Язык ПЗ 38.02.04 2019
МИНИCTEPCTBO НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РОССИЙСКОЙ ФЕДЕРАЦИИ Федеральное государственное автономное образовательное учреждение высшего образования «СЕВЕРО-КАВКАЗСКИЙ ФЕДЕРАЛЬНЫЙ УНИВЕРСИТЕТ» Институт сервиса, туризма и дизайна (филиал) СКФУ в г. Пятигорске Колледж Института сервиса, туризма и дизайна (филиал) СКФУ в г. Пятигорске Иностранный язык МЕТОДИЧЕСКИЕ УКАЗАНИЯ ДЛЯ ПРАКТИЧЕСКИХ ЗАНЯТИЙ Специальность СПО 38.02.04 Коммерция (по отраслям) Квалификация: Менеджер по продажам Пятигорск 2019 Методические указания для практических занятий по дисциплине «Иностранный язык» составлены в соответствии с требованиями ФГОС СПО, предназначены для студентов, обучающихся по специальности: 38.02.04 Коммерция (по отраслям) Рассмотрено на заседании ПЦК колледжа ИСТиД (филиал) СКФУ в г. Пятигорске Протокол № 9 от «08» апреля 2019г. 2 Пояснительная записка Программа учебной дисциплины по иностранному языку является частью основной профессиональной образовательной программы в соответствии с ФГОС по специальности 38.02.04 Коммерция (по отраслям) Дисциплина входит в общий гуманитарный и социально – экономический цикл профессиональной подготовки. В результате освоения учебной дисциплины обучающийся должен уметь: говорение – вести диалог (диалог–расспрос, диалог–обмен мнениями/суждениями, диалог–побуждение к действию, этикетный диалог и их комбинации) в ситуациях официального и неофициального общения в бытовой, социокультурной и учебно-трудовой сферах, используя аргументацию, эмоционально-оценочные средства; – рассказывать, рассуждать в связи с изученной -
NEDOR HEROES! $ NEDOR HEROES! In8 Th.E9 U5SA
Roy Tho mas ’Sta nd ard Comi cs Fan zine OKAY,, AXIS—HERE COME THE GOLDEN AGE NEDOR HEROES! $ NEDOR HEROES! In8 th.e9 U5SA No.111 July 2012 . y e l o F e n a h S 2 1 0 2 © t r A 0 7 1 82658 27763 5 Vol. 3, No. 111 / July 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) Ronn Foss, Biljo White, Mike Friedrich Proofreaders Rob Smentek, William J. Dowlding Cover Artist Shane Foley (after Frank Robbins & John Romita) Cover Colorist Tom Ziuko With Special Thanks to: Deane Aikins Liz Galeria Bob Mitsch Contents Heidi Amash Jeff Gelb Drury Moroz Ger Apeldoorn Janet Gilbert Brian K. Morris Writer/Editorial: Setting The Standard . 2 Mark Austin Joe Goggin Hoy Murphy Jean Bails Golden Age Comic Nedor-a-Day (website) Nedor Comic Index . 3 Matt D. Baker Book Stories (website) Michelle Nolan illustrated! John Baldwin M.C. Goodwin Frank Nuessel Michelle Nolan re-presents the 1968 salute to The Black Terror & co.— John Barrett Grand Comics Wayne Pearce “None Of Us Were Working For The Ages” . 49 Barry Bauman Database Charles Pelto Howard Bayliss Michael Gronsky John G. Pierce Continuing Jim Amash’s in-depth interview with comic art great Leonard Starr. Rod Beck Larry Guidry Bud Plant Mr. Monster’s Comic Crypt! Twice-Told DC Covers! . 57 John Benson Jennifer Hamerlinck Gene Reed Larry Bigman Claude Held Charles Reinsel Michael T. -
When the Abyss Looks Back: Treatments of Human Trafficking in Superhero Comic Books
When the Abyss Looks Back: Treatments of Human Trafficking in Superhero Comic Books BOND BENTON AND DANIELA PETERKA-BENTON Superheroes and Social Advocacy Superhero comic book characters have historically demonstrated a developed social awareness on national and international problems. Given that the audience for superhero characters is often composed of young people, this engagement has served as a vehicle for raising understanding of issues and as a tool for encouraging activism on the part of readers (McAllister, “Comic Books and AIDS”; Thibeault). As Palmer-Mehta and Hay succinctly state: (They) have addressed a number of pressing social and political issues in narratives through the years, including alcohol and drug abuse, racism, environmental devastation, gun control, and poverty. In the process, they have provided a rich tapestry of American cultural attitudes and philosophies that reflect varying approaches to issues that continue to haunt, confound, and rile the American public (390). The relationship of the superhero to topics of ongoing public concern appears to have been present even in the earliest days of the form. In Action Comics #1, Superman attacks a man abusing his partner stating “…tough is putting mildly the treatment you’re going to get! You’re not fighting a woman now!” (Siegel and Shuster 5). On the cover of Captain America Comics #1, the Captain is shown punching Adolf Hitler over a year before the Pearl Harbor attack at a time when non-intervention was a commonly held public sentiment (Jewett and Lawrence). In 1947, the popular Superman Radio Show produced the “Clan of the Fiery Cross.” Superman’s successful defeat of the KKK was heard by over five million The Popular Culture Studies Journal, Vol. -
Two Per Cent of What?: Constructing a Corpus of Typical American Comic Books Bart Beaty, Nick Sousanis, and Benjamin Woo This Is
Two Per Cent of What?: Constructing a Corpus of Typical American Comic Books Bart Beaty, Nick Sousanis, and Benjamin Woo This is an uncorrected pre-print version of this paper. Please consult the final version for all citations: Beaty, Bart, Nick Sousanis, and Benjamin Woo. “Two Per Cent of What?: Constructing a Corpus of Typical American Comics Books.” In Wildfeuer, Janina, Alexander Dunst, Jochen Laubrock (Eds.). Empirical Comics Research: Digital, Multimodal, and Cognitive Methods (27-42). Routledge, 2018. 1 “One of the most significant effects of the transformations undergone by the different genres is the transformation of their transformation-time. The model of permanent revolution which was valid for poetry tends to extend to the novel and even the theatre […], so that these two genres are also structured by the fundamental opposition between the sub-field of “mass production” and the endlessly changing sub-field of restricted production. It follows that the opposition between the genres tends to decline, as there develops within each of them an “autonomous” sub- field, springing from the opposition between a field of restricted production and a field of mass production.” - Pierre Bourdieu, “The Field of Cultural Production” 1. Introduction Although it is asserted more strongly that it is demonstrated in his writing, Pierre Bourdieu’s notion of a “transformation of transformation-time” fruitfully points to an understanding of cultural change that seems both commonsensical and highly elusive. In the field of comic books, it is almost intuitively logical to suggest that there are stylistic, narrative, and generic conventions that are more closely tied to historical periodization than to the particularities of individual creators, titles, or publishers. -
Mark Hibbett in Search of Doom. Tracking a Wandering Character
[Table of Contents] Mark Hibbett In Search of Doom. Tracking a Wandering Character Through Data Abstract This paper will describe the process of generating a corpus of comics for an examination of the transmedial development of the character Doctor Doom during the period known as ›The Marvel Age‹. It will briefly define what ›The Marvel Age‹ means in these terms, and describe the rationale for choosing which items should be included in the corpus. It will then go into some detail about the use of online comics databases, notably The Grand Comics Data- base, and describe the many difficulties inherent in the use of a dataset that has been collaboratively generated over a long period of time without clear editorial guidance, and suggest data-cleaning methods by which these issues can be mitigated. Finally, it will discuss how this corpus will be used in future to analyse the progress of Doctor Doom’s characterisation through this period. 1. Introduction Ever since he was created in The Fantastic Four #5 (1962) Doctor Doom has been a recurring character in every aspect of Marvel’s transmedia universes. He has been the main villain in all four live action Fantastic Four films, including the unreleased Roger Corman movie (1994), featured in almost every Marvel cartoon series from The Marvel Superheroes (1966) to the current Avengers Assemble (2013), and has appeared in video games, trading cards, toy ranges, and even hip-hop tracks. In the core Marvel comics universe he has appeared in over a hundred separate series, but until the recent Infamous Iron Man series IMAGE | Issue 29 | Special Issue Recontextualizing Characters | 01/2019 81 Mark Hibbett: In Search of Doom (2016), he has only ever headlined one, short-lived, ongoing series of his own, set in the ›Marvel 2099‹ universe (2013). -
PANAHI-.Pdf (1.237Mb)
© Copyright by Hesam Panahi, 2010 USER-GENERATED CONTENT AND REVOLUTIONS: TOWARDS A THEORIZATION OF WEB 2.0 A Dissertation Presented to The Faculty of the C.T. Bauer College of Business University of Houston In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By Hesam Panahi December, 2010 Introduction ............................................................................................................ 1 Dissertationʼs Research Objective ..................................................................... 2 Dissertationʼs Research Methodology ................................................................ 3 References ......................................................................................................... 5 Paper One: A Critical Study of Social Computing and Web 2.0: The Case of Digg ............................................................................................................................... 6 Introduction ........................................................................................................ 7 Theoretical Background ..................................................................................... 9 Critical Studies of IS ....................................................................................... 9 A Critical Framework for Studying Social Computing ................................... 10 Research Methods ........................................................................................... 15 Why an Interpretive Approach ..................................................................... -
VICTOR FOX? STARRING: EISNER • IGER BAKER • FINE • SIMON • KIRBY TUSKA • HANKS • BLUM Et Al
Roy Tho mas ’ Foxy $ Comics Fan zine 7.95 No.101 In the USA May 2011 WHO’S AFRAID OF VICTOR FOX? STARRING: EISNER • IGER BAKER • FINE • SIMON • KIRBY TUSKA • HANKS • BLUM et al. EXTRA!! 05 THE GOLDEN AGE OF 1 82658 27763 5 JACK MENDELLSOHN [Phantom Lady & Blue Beetle TM & ©2011 DC Comics; other art ©2011 Dave Williams.] Vol. 3, No. 101 / May 2011 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll OW WITH Jerry G. Bails (founder) N Ronn Foss, Biljo White 16 PAGES Mike Friedrich LOR! Proofreader OF CO Rob Smentek Cover Artist David Williams Cover Colorist Contents Tom Ziuko Writer/Editorial – A Fanzine Is As A Fanzine Does . 2 With Special Thanks to: Rob Allen Allan Holtz/ The Education Of Victor Fox . 3 Heidi Amash “Stripper’s Guide” Richard Kyle’s acclaimed 1962 look at Fox Comics—and some reasons why it’s still relevant! Bob Andelman Sean Howe Henry Andrews Bob Hughes Superman Vs. The Wonder Man 1939 . 27 Ken Quattro presents—and analyzes—the testimony in the first super-hero comics trial ever. Ger Apeldoorn Greg Huneryager Jim Beard Paul Karasik “Cartooning Was Ultimately My Goal” . 59 Robert Beerbohm Denis Kitchen Jim Amash commences a candid conversation with Golden Age writer/artist Jack Mendelsohn. John Benson Richard Kyle Dominic Bongo Susan Liberator Mr. Monster’s Comic Crypt! The Mystery Of Bill Bossert & Ulla Edgar Loftin The Missing Letterer . 69 Neigenfind-Bossert Jim Ludwig Michael T. -
Welcome to Twit.Tv! If You've Stumbled Upon This Page and Are Wondering What It's All About, Read On
Huh? Welcome to TWiT.tv! If you've stumbled upon this page and are wondering what it's all about, read on. The TWiT.tv Story It all started in 1998 with a small cable network called ZDTV, a channel dedicated to covering computers, the Internet, and personal technology. The people behind this site all worked on that network as hosts, reporters, or producers. In 2004, ZDTV, then called TechTV, was sold and dismantled. Former TechTV hosts, Leo Laporte, Patrick Norton, Kevin Rose, and John C. Dvorak, and producers Robert Heron, David Prager, and Roger Chang went on to other jobs, but we stayed in touch, with each other, and with fans of the late TechTV. Those fans told us again and again how important TechTV had been in their lives, and how much they missed the channel. We missed working with each other, too. On a rainy evening in January, 2005 a few of of us got together for dinner after spending the day covering MacWorld Expo in San Francisco. Leo, who was working as a radio host, happened to have a microphone and recorder. He turned it on and recorded 20 minutes of idle chatter about the Expo and the tech world in general. He posted that recording on his web site. Within a few days tens of thousands of people had downloaded the recording. TechTV fans began clamoring for more. A few months later,TWiT was born. We originally called the show The Revenge of The Screen Savers because that was the name of the defunct TV show many of us had worked on, but the cable channel that had bought TechTV complained, so we changed the name to this WEEK in TECH, or TWiT, for short.