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Copyright 2013 Shawn Patrick Gilmore
Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way. -
Hellboy in the Chapel of Moloch #1 (1 Shot) Blade of the Immortal Vol. 20 (OGN) Savage #1 (4 Issues) Soulfire Shadow Magic #0 (
H M ADVS AVENGERS V.7 DIGEST collects #24-27, $9 H ULT FF V. 11 TPB H SECRET WARS OMNIBUS collects #54-57, $13 collects #1-12 & MORE, $100 H ULT X-MEN V. 19 TPB H MMW ATLAS ERA JIM V.1 HC collects #94-97, $13 collects #1-10, $60 H MARVEL ZOMBIES TPB Hellboy in the Chapel of Moloch #1 (1 shot) H MMW X-MEN V. 7 HC collects #1-5, $16 Mike Mignola (W/A) and Dave Stewart © On the heels of the second Hellboy feature collects #67-80 LOTS MORE, $55 H MIGHTY AVENGERS V. 2 TPB film, legendary artist and Hellboy creator Mike Mignola returns to the drawing table H CIVIL WAR HC collects #7-11, $25 for this standalone adventure of the world’s greatest paranormal detective! Hellboy collects #1-7 & MORE $40 H investigates an ancient chapel in Eastern Europe where an artist compelled by some- SPIDEY BND V. 1 TPB thing more sinister than any muse has sequestered himself to complete his “life’s work.” H HALO UPRISING HC collects #546-551 & MORE, $20 collects #1-4 & SPOTLIGHT, $25 H X-MEN MESSIAH COMP TPB Blade of The Immortal vol. 20 (OGN) H HULK VOL 1 RED HULK HC collects #1-13 &MORE, $30 By Hiroaki Samura. The continuing tales of Manji and Rin. This picks up after the final collects #1-6 & WOLVIE #50, $25 H ANN CONQUEST BK 1 TPB issue #131. This is the only place to get new stories! Several old teams are reunited, a H IMM IRON FIST V.3 HC collects A LOT, $25 mind-blowing battle quickly starts and races us through most of this astonishing volume, and collects #7,15,16 & MORE, $25 H YOUNG AVENGERS PRESENTS TPB an old villain finally sees some pointed retribution at the hands of one of his prisoners! Let H INC HERCULES SI HC collects #1-6, $17 the breakout battle in the "Demon Lair" begin! collects #116-120, $20 H DAREDEVIL CRUEL & UNUSUAL TP H MI ILLIAD HC collects #106-110, $15 Spawn #185 (still on-going) collects #1-8, $25 H AMERCIAN DREAM TPB story TODD McFARLANE & BRIAN HOLGUIN art WHILCE PORTACIO & TODD H MS. -
Zombies, Global Biopolitics, and the Reproduction of Structural Violence
humanities Article Vulnerable Life: Zombies, Global Biopolitics, and the Reproduction of Structural Violence Steven Pokornowski Division of Communications and Languages, Rio Hondo College, 3600 Workman Mill Rd., Whittier, CA 90601, USA; [email protected]; Tel.: +1-568-908-3429 Academic Editor: Myra Mendible Received: 1 June 2016; Accepted: 17 August 2016; Published: 25 August 2016 Abstract: This essay offers an intervention in biopolitical theory—using the term “vulnerable life” to recalibrate discussions of how life is valued and violence is justified in the contemporary bioinsecurity regime. It reads the discursive structures that dehumanize and pathologize figures in U.S. zombie narratives against the discursive structures present in contemporary legal narratives and media reports on the killing of black Americans. Through this unsettling paralleling of structures, the essay suggests how the current ubiquity of zombies and the profusion of racial tension in the U.S. are related. In the process, the essay emphasizes the highly racialized nature of the zombie itself—which has never been the empty signifier it is often read as—and drives home just how dangerous the proliferation of postracial and posthuman discourses can be if they serve to elide historical limitations about the highly political determinations of just who is quite human. Keywords: biopolitics; race; zombies; postracial; posthuman; #BlackLivesMatter; violence 1. Introduction: The Mattering of Lives, Life that Matters, and the Justification of Violence The zombie’s recent cultural ubiquity parallels, and is in some measure symptomatic of, an increasingly visible racial tension in the U.S. That is not to say that such deaths as those of Trayvon Martin, Michael Brown, and Sandra Bland, to name just a few of those recently in need of memorialization, are a new phenomenon; nor is it to say that the structural disenfranchisement and systemic inequity that created the tense policing situations and rampant economic and political inequality in Ferguson, or Baltimore, or Chicago are new, either [1,2]1. -
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. -
Fear Itself: Avengers Free
FREE FEAR ITSELF: AVENGERS PDF Brian Bendis,Mike Deodato,John Romita | 120 pages | 12 Sep 2012 | Marvel Comics | 9780785163497 | English | New York, United States Fear Itself | Event | Marvel Comic Reading Lists The Avengers were greatly outmatched by the Worthy, which grew to infect members like the Hulk and the Thing, who became Nul: Breaker of Worlds and Angrir: Breaker of Souls, respectively. However, Tony Stark decided to put his mind to work with other ideas and requested Fear Itself: Avengers audience with the All-Father himself. Ever the futurist, Tony recognized Fear Itself: Avengers to beat a group of Asgardian empowered foes he would need to create Fear Itself: Avengers team of Asgardian empowered Avengers. The events that followed saw the Avengers decked out in Uru armor and weapons in their final battle to defend the Earth. Even Thor takes up a new weapon, the Odinsword Ragnarok, in the final battle against Cul. However, in the time that Tony was gone creating these weapons, Captain America's shield had been broken. Not knowing this, Tony Fear Itself: Avengers without a gift for Cap, who seems more than happy donning the weapons of civilians in his holding of the line. While Captain America wasn't the first Avenger to lift it and had even lifted it beforethe sight of Captain America holding Mjolnir completes the idea of an Asgardian powered Avengers team. Fear Itself: Avengers moment completely shifts the tide of the battle as well, where previously the world Fear Itself: Avengers in bad shape and Odin was poised to essentially destroy it to win, the arrival of the Mighty and a Mjolnir-wielding Captain America return hope to Earth and strikes fear into their foes. -
Invaders Sample.Pdf
Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] These excerpts are intended as “writing samples” for the author of the articles presented. They are not intended for reuse or re-publication without the consent of the publisher or the copyright holder. ©2009 Robert G. Weiner. All rights reserved McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] The Invaders and the All-Star Squadron Roy Thomas Revisits the Golden Age Mark R. McDermott Introduction By the mid-1970’s, many fans of the “Golden Age” of comic books had grown up to become writers and ultimately editors for the comics publishers, sometimes setting the nar- rative histories for their favorite childhood characters themselves. Many of these fans-turned- pro produced comics series that attempted to recapture the Golden Age’s excitement, patriotic fervor and whiz-bang attitude. The most successful of these titles were produced by Roy Thomas, who fashioned a coherent history of costumed heroes during World War II, and rec- onciled the wildly inconsistent stories of the 1940’s with tightly patrolled continuity initiated with the “Silver Age” of the 1960’s. With The Invaders (1975-1979), Thomas focused on the hitherto unrevealed wartime exploits of Marvel Comics’ early mainstays Captain America, the Human Torch, and Prince Namor, the Sub-Mariner. In 1980, he moved to DC Comics and launched All-Star Squadron, which juggled the histories of the Justice Society of Amer- ica and nearly a hundred secondary characters. -
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. -
Media, Technology and the Imagination
Media, Technology and the Imagination Media, Technology and the Imagination Edited by Marie Hendry and Jennifer Page Media, Technology and the Imagination, Edited by Marie Hendry and Jennifer Page This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by Marie Hendry and Jennifer Page and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4850-6, ISBN (13): 978-1-4438-4850-3 This collection is dedicated in loving memory to Dr. Barbara J. Cicardo for her continued support as a mentor and to the conference on Literature, Language and Culture. “Bobbie C.” will be sorely missed. TABLE OF CONTENTS Acknowledgements .................................................................................... ix Introduction ................................................................................................. 1 Media, Technology and the Imagination Marie Hendry and Jennifer Page Part 1: Personal Essays on Spectating and Becoming Chapter One ................................................................................................. 7 On the Design of Mental Organisms John Doucet Chapter Two ............................................................................................. -
THE CULTURAL SIGNIFICANCE of the ZOMBIE Apocalypse
STEPHEN JOYCE EATING TIME: THE CULTURAL SIGNIFICANCE OF THE ZOMBIE ApOCALYPSE A B S T RAe T: Although many connect the popularity of zombie apocalypse narratives with terrorism, pandemics, and natu ral disasters, this paper argues that the cultural significance of the apocalypse genre lies in the rhythm of the cinematic experience. Considering the genre's two archetypal sequences, the chase and the siege, the article argues that the genre offers catharsis for the feeling of being relentlessly harried through a heightened form of the increasing time pressure in modern Western societies. One of the truisms of academic research into the recent proliferation of films, books, video games, TV shows, comics and websites devoted to the zombie apocalypse is that the widespread preoccupation with an impossible event must mean something. Surely the shambling horde of rotting undead must stand in for an actual terror? As Nick Muntean and Matthew Thomas Payne write, "the zombie's blank, dead visage provides an allegorical screen upon which audiences can project their fears and anxieties" (240), yet there remains no consensus on what modern anxiety the zombie apocalypse invokes. Different scholars have proposed capitalism, terrorism, pandemics or consumerism as the true root of our fear of, or desire for, an imaginary collapse of civilisation, but, while much of this is reflected in zombie lore, these interpretations involve transmuting the zombie into a metaphor and thus lose touch with the basic audience experience of these narratives. In order to understand why a new interpretation is necessary, this article will first survey previous critical readings before offering its own perspective on the cultural significance of the zombie apocalypse. -
Spider-Man: Into the Spider-Verse
SPIDER-MAN: INTO THE SPIDER-VERSE Screenplay by Phil Lord and Rodney Rothman Story by Phil Lord Dec. 3, 2018 SEQ. 0100 - THE ALTERNATE SPIDER-MAN “TAS” WE BEGIN ON A COMIC. The cover asks WHO IS SPIDER-MAN? SPIDER-MAN (V.O.) Alright, let’s do this one last time. My name is Peter Parker. QUICK CUTS of a BLOND PETER PARKER Pulling down his mask...a name tag that reads “Peter Parker”...various shots of Spider-Man IN ACTION. SPIDER-MAN (V.O.) I was bitten by a radioactive spider and for ten years I’ve been the one and only Spider-Man. I’m pretty sure you know the rest. UNCLE BEN tells Peter: UNCLE BEN (V.O.) With great power comes great responsibility. Uncle Ben walks into the beyond. SPIDER-MAN (V.O.) I saved a bunch of people, fell in love, saved the city, and then I saved the city again and again and again... Spiderman saves the city, kisses MJ, saves the city some more. The shots evoke ICONIC SPIDER-MAN IMAGES, but each one is subtly different, somehow altered. SPIDER-MAN (V.O.) And uh... I did this. Cut to Spider-Man dancing on the street, exactly like in the movie Spider-Man 3. SPIDER-MAN (V.O.) We don’t really talk about this. A THREE PANEL SPLIT SCREEN: shots of Spider-Man’s “products”: SPIDER-MAN (V.O.) Look, I’m a comic book, I’m a cereal, did a Christmas album. I have an excellent theme song. (MORE) 2. SPIDER-MAN (V.O.) (CONT'D) And a so-so popsicle. -
TSR6907.MHR2.Webs-Th
WEBS: The SPIDER-MAN Dossier The GRANDMASTER Log by Scott Davis Table of Contents Introduction ……………………………………………………………………………………………….. 2 GRANDMASTER Log Entries …………………………………………………………………………... 3 SPIDER-MAN ……………………………………………………………………………………………… 3 SPIDER-MAN Supporting Cast ……………………………………………………………………………. 7 SPIDER-MAN Allies ……………………………………………………………………………………… 10 SPIDER-MAN Foes ……………………………………………………………………………………….. 18 An Adventurous Week …………………………………………………………………………………… 56 Set-up ………………………………………………………………………………………………………. 56 Timelines …………………………………………………………………………………………………… 58 Future Storyline Tips ……………………………………………………………………………………….. 64 Credits: Design: Scott Davis Art Coordination: Peggy Cooper Editing: Dale A. Donovan Typography: Tracey Zamagne Cover Art: Mark Bagley & John Romita Cartography: Steven Sullivan Interior & Foldup Art: The Marvel Bullpen Design & Production: Paul Hanchette This book is protected under the copyright law of the United States of America. Any reproduction or unauthorized use of the material or artwork herein is prohibited without the express written consent of TSR, Inc. and Marvel Entertainment Group, Inc. The names of the characters used herein are fictitious and do not refer to any persons living or dead. Any descriptions including similarities to persons living or dead are merely coincidental. Random House and its affiliate companies have worldwide distribution rights in the book trade for English language products of TSR, Inc. Distributed to the book and hobby trade in the United Kingdom by TSR Ltd. Distributed to the toy and hobby trade by regional distributors. MARVEL SUPER HEROES and MARVEL UNIVERSE are trademarks of Marvel Entertainment Group, Inc. All Marvel characters, character names, and the distinctive likenesses thereof are trademarks of Marvel Entertainment Group, Inc. 1992 Marvel Entertainment Group, Inc. All Rights Reserved. The TSR logo is a trademark owned by TSR, Inc. 1992 TSR, Inc. All Rights Reserved. Printed in the U.S.A. TSR, Inc. -
Warren Ellis Frankenstein's Womb Gn (Ogn) H MMW THOR V
H UNIVERSAL WAR ONE V. 1 HC H POWERS V. 12 TPB collects #1-3, $25 collects #25-30, $20 H M ADVS HULK V. 4 DIGEST H MMW AVENGERS V. 8 HC collects #13-16, $9 collects #69-79, $55 H M ADVS SPIDEY V. 11 DIGEST H MMW atlas era STRANGE TALES v.2 HC collects #41-44, $9 collects #11-20, $55 H ANITA BLACK VH GP V. 2 TPB Warren Ellis Frankenstein's Womb Gn (ogn) H MMW THOR V. 8 HC collects #7-12, $16 by Warren Ellis & Marek Oleksicki It began a few months earlier when, en route through Ger- H collects #163-172, $55 SPIDEY BND V . 2 TPB many to Switzerland, Mary, her future husband Percy Shelley, and her stepsister Clair Clair- H SECRET WARS OMNIBUS V. 2 HC collects #552-558, $20 mont approached a strange castle. And she was never the same again - because something H collects EVERYTHING!! REALLY, $100 CABLE V. 1 TP was haunting that tower, and Mary met it there. Fear, death and alchemy - the modern age is H ULTIMATE ORIGINS HC collects #1-5, $15 created here, in lost moments in a ruined castle on a day never recorded. collects #1-5, $25 H HEDGE KNIGHT 2 S. SWORD TPB H NOVA V. 1 HC collects #1-6, $16 Eureka #1 (4 issues) collects #1-12 & ANN 1, $35 H INFINITY CRUSADE V. 1 TPB by Andrew Cosby, Brendan Hay & Diego Barreto TV's smash sci-fi hit comes to BOOM! In what H ULTIMATES 3 V.