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Resistant Vulnerability in the Marvel Cinematic Universe's Captain America
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-15-2019 1:00 PM Resistant Vulnerability in The Marvel Cinematic Universe's Captain America Kristen Allison The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kristen Allison 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Allison, Kristen, "Resistant Vulnerability in The Marvel Cinematic Universe's Captain America" (2019). Electronic Thesis and Dissertation Repository. 6086. https://ir.lib.uwo.ca/etd/6086 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Established in 2008 with the release of Iron Man, the Marvel Cinematic Universe has become a ubiquitous transmedia sensation. Its uniquely interwoven narrative provides auspicious grounds for scholarly consideration. The franchise conscientiously presents larger-than-life superheroes as complex and incredibly emotional individuals who form profound interpersonal relationships with one another. This thesis explores Sarah Hagelin’s concept of resistant vulnerability, which she defines as a “shared human experience,” as it manifests in the substantial relationships that Steve Rogers (Captain America) cultivates throughout the Captain America narrative (11). This project focuses on Steve’s relationships with the following characters: Agent Peggy Carter, Natasha Romanoff (Black Widow), and Bucky Barnes (The Winter Soldier). -
Female Representation in the Marvel Cinematic Universe
Volume 10 Issue 2 (2021) AP Research Superheroines and Sexism: Female Representation in the Marvel Cinematic Universe Folukemi Olufidipe1, Ms. Yunex Echezabal1 1Doral Academy Charter High School, Miami, FL, USA DOI: https://doi.org/10.47611/jsrhs.v10i2.1430 ABSTRACT The Marvel Cinematic Universe (MCU) is the highest-grossing film franchise of all time and since the premiere of Iron Man in 2008, it has risen to fame as a source of science-fiction entertainment. Sexism in the film industry often goes brushed aside but the widespread success of Marvel Studios calls attention to their treatment of gender roles. This paper explores the progression of six female superheroes in the MCU and what effect feminist movements have had on their roles as well as upcoming productions in the franchise. This paper used an interdisciplinary, mixed- methods design that studied movie scripts and screen time graphs. 14 MCU movies were analyzed through a feminist film theory lens and whenever a female character of interest was chosen, notes were taken on aspects including, but not limited to, dialogue, costume design, and character relationships. My findings showed that females in the MCU are heavily sexualized by directors, costume designers, and even their male co-stars. As powerful as some of these women were found to be, it was concluded that Marvel lacks in female inclusivity. Marvel’s upcoming productions, many of which are female-focused, still marginalize the roles of their superheroines which is a concern for the future of the film industry. Marvel is just one franchise but this study shows how their treatment of female characters uphold patriarchal structures and perpetuate harmful stereotypes that need to be corrected in the film industry as a whole. -
Complete Marvel Chronology Download Torrent
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4.2 on the Political Economy of the Contemporary (Superhero) Blockbuster Series
4.2 On the Political Economy of the Contemporary (Superhero) Blockbuster Series BY FELIX BRINKER A decade and a half into cinema’s second century, Hollywood’s top-of-the- line products—the special effects-heavy, PG-13 (or less) rated, big-budget blockbuster movies that dominate the summer and holiday seasons— attest to the renewed centrality of serialization practices in contemporary film production. At the time of writing, all entries of 2014’s top ten of the highest-grossing films for the American domestic market are serial in one way or another: four are superhero movies (Guardians of the Galaxy, Captain America: The Winter Soldier, X-Men: Days of Future Past, The Amazing Spider-Man 2: Rise of Electro), three are entries in ongoing film series (Transformers: Age of Extinction, Dawn of the Planet of the Apes, 22 Jump Street), one is a franchise reboot (Godzilla), one a live- action “reimagining” of an animated movie (Maleficent), and one a movie spin-off of an existing entertainment franchise (The Lego Movie) (“2014 Domestic”). Sequels, prequels, adaptations, and reboots of established film series seem to enjoy an oft-lamented but indisputable popularity, if box-office grosses are any indication.[1] While original content has not disappeared from theaters, the major studios’ release rosters are Felix Brinker nowadays built around a handful of increasingly expensive, immensely profitable “tentpole” movies that repeat and vary the elements of a preceding source text in order to tell them again, but differently (Balio 25-33; Eco, “Innovation” 167; Kelleter, “Einführung” 27). Furthermore, as part of transmedial entertainment franchises that expand beyond cinema, the films listed above are indicative of contemporary cinema’s repositioning vis-à-vis other media, and they function in conjunction with a variety of related serial texts from other medial contexts rather than on their own—by connecting to superhero comic books, live-action and animated television programming, or digital games, for example. -
Marvel Pop! List Popvinyls.Com
Marvel Pop! List PopVinyls.com Updated April 2, 2017 01 Thor 23 IM3 Iron Man 02 Loki 24 IM3 War Machine 03 Spider-man 25 IM3 Iron Patriot 03 B&W Spider-man (Fugitive) 25 Metallic IM3 Iron Patriot (HT) 03 Metallic Spider-man (SDCC ’11) 26 IM3 Deep Space Suit 03 Red/Black Spider-man (HT) 27 Phoenix (ECCC 13) 04 Iron Man 28 Logan 04 Blue Stealth Iron Man (R.I.CC 14) 29 Unmasked Deadpool (PX) 05 Wolverine 29 Unmasked XForce Deadpool (PX) 05 B&W Wolverine (Fugitive) 30 White Phoenix (Conquest Comics) 05 Classic Brown Wolverine (Zapp) 30 GITD White Phoenix (Conquest Comics) 05 XForce Wolverine (HT) 31 Red Hulk 06 Captain America 31 Metallic Red Hulk (SDCC 13) 06 B&W Captain America (Gemini) 32 Tony Stark (SDCC 13) 06 Metallic Captain America (SDCC ’11) 33 James Rhodes (SDCC 13) 06 Unmasked Captain America (Comikaze) 34 Peter Parker (Comikaze) 06 Metallic Unmasked Capt. America (PC) 35 Dark World Thor 07 Red Skull 35 B&W Dark World Thor (Gemini) 08 The Hulk 36 Dark World Loki 09 The Thing (Blue Eyes) 36 B&W Dark World Loki (Fugitive) 09 The Thing (Black Eyes) 36 Helmeted Loki 09 B&W Thing (Gemini) 36 B&W Helmeted Loki (HT) 09 Metallic The Thing (SDCC 11) 36 Frost Giant Loki (Fugitive/SDCC 14) 10 Captain America <Avengers> 36 GITD Frost Giant Loki (FT/SDCC 14) 11 Iron Man <Avengers> 37 Dark Elf 12 Thor <Avengers> 38 Helmeted Thor (HT) 13 The Hulk <Avengers> 39 Compound Hulk (Toy Anxiety) 14 Nick Fury <Avengers> 39 Metallic Compound Hulk (Toy Anxiety) 15 Amazing Spider-man 40 Unmasked Wolverine (Toytasktik) 15 GITD Spider-man (Gemini) 40 GITD Unmasked Wolverine (Toytastik) 15 GITD Spider-man (Japan Exc) 41 CA2 Captain America 15 Metallic Spider-man (SDCC 12) 41 CA2 B&W Captain America (BN) 16 Gold Helmet Loki (SDCC 12) 41 CA2 GITD Captain America (HT) 17 Dr. -
Avengers Explored
2020 Avengers Explored IRON MAN AND CAPTAIN AMERICA: A STUDY IN TRANSMEDIA, ADDITIVE COMPREHENSION AND ADDITIVE MYSTERY OLIVIER SNEPVANGERS Contents Introduction ............................................................................................................................................. 2 1. Theory: Transmedia and Narratology… Assemble! ............................................................................. 5 1.1 Transmedia .................................................................................................................................... 5 1.2 Narratology .................................................................................................................................. 10 1.3 Method ........................................................................................................................................ 19 2. Analysis: Captain America and Iron Man: A tale of two superheroes ............................................... 20 2.1 Captain America: Fragile body, Strong mind ............................................................................... 20 2.2 Iron Man: Fragile ego, Strong suit ............................................................................................... 29 2.3 Steve and Tony: Fragile friendship, Stronger together ............................................................... 37 2.3.1 The narratological nature of the relationship ...................................................................... 37 2.3.2 Exploring and expanding on Stony -
2018 Nycc 2018
NYCC 2018 NYCC 2018 THURSDAY SCHEDULE THURSDAY SCHEDULE EVENTS 2018 The Hammerstein Ballroom Main Stage Presented by Cosplay Central Stage - TIME at the Manhattan Center Verizon Room 1A02 Room 1A06 Room 1A10 Room 1A18 Room 1A21 Room 1A24 Room 1B03 Room 1C03 River Pavilion, 4th Fl TIME 10:00AM 10:00AM 11:00 AM 11:00 AM Junta-position the Politics Geek & Sundry: Welcome The Building Blocks of Harry Potter and the The Official Aspen Comics 11:15 AM of Modern Speculative to the Wednesday Club, 11:15 AM Quality Characters Cursed Child 15-Year Anniversary Panel Fiction Science Channel Presents New York! 11:30 AM 11:00 AM - 12:00 PM 11:00 AM - 12:00 PM 11:00 AM - 12:00 PM 11:30 AM Jon Glaser Still Loves Gear 11:00 AM - 12:00 PM Mythical Beasts: Real or 11:00 AM - 12:00 PM 11:45 AM 11:15 AM - 12:15 PM Imagined? 11:45 AM 11:15 AM - 12:15 PM 12:00 PM Representing Comic Book 12:00 PM Creator Clients In 2018: A 12:15 PM The Kubert School Guide to Contractual and 12:15 PM Women in [Everything]: SuperheroIRL! Join the MARVEL: Making Comics Presents: The Business of IP Issues 12:30 PM Intersectional Feminism 12:30 PM Real-Life Justice League the Marvel Way Art - Education, Comics, *Requires CLE Registration Official Viz Media Panel Webtoon Presents Across Genres 12:45 PM 12:15 PM - 1:15 PM “Caster,” Featuring Entertainment is LGBTQ 12:15 PM - 1:15 PM and Graphic Design 11:00 AM - 2:00 PM 12:45 PM LEGO® DC Super-Villains: 12:15 PM - 1:30 PM 12:15 PM - 1:15 PM 1:00 PM Common 12:30 PM - 1:30 PM 12:15 PM - 1:15 PM 1:00 PM Meet the Talent Behind the 12:30 -
Rated T+ $3.99Us Direct Edition Marvel.Com 5
US T+ 0 1 1 1 1 $3.99 RATED RATED MARVEL.COM DIRECT EDITION 7 5 9 6 0 6 0 8 3 6 6 4 GUIDEBOOK TO THE MARVEL CINEMATIC UNIVERSE Collecting information from Marvel’s Agents of S.H.I.E.L.D. Season 2 (2014-2015). HEAD WRITER/COORDINATOR: MIKE O’SULLIVAN COORDINATION: DARON JENSEN WRITERS: TROY BENJAMIN, ANTHONY COTILLETTA, DARON JENSEN, ROB LONDON, CHRIS McCARVER, JACOB ROUGEMONT, AND STUART VANDAL ARTISTS: M. D. BRIGHT, RICH BUCKLER, JOHN BUSCEMA, GIUSEPPE CAMUNCOLI, STEFANO CASELLI, JIM CHEUNG, GENE COLAN, GABRIELE DELL’OTTO, MIKE DEODATO JR., RON FRENZ, JACK KIRBY, JAE LEE, ALITHA MARTINEZ, PACO MEDINA, KEITH POLLARD, IN PROGRESSAND ALESSANDRO VITTI COVER ARTIST: MARCOS MARTIN BOOK DESIGN: JAY BOWEN EDITOR: SARAH BRUNSTAD FOR MARVEL LIVE ACTION TELEVISION VP PRODUCTION & SPECIAL PROJECTS: JEFF YOUNGQUIST HEAD OF MARVEL TELEVISION: JEPH LOEB MANAGER, SPECIAL PROJECTS: BRIAN OVERTON SVP, PRODUCTION: JIM CHORY ASSOCIATE MANAGING EDITOR: KATERI WOODY SVP, ORIGINAL PROGRAMMING: KARIM ZREIK EDITOR, SPECIAL PROJECTS: MARK D. BEAZLEY VP, DEVELOPMENT: MEGAN THOMAS BRADNER SENIOR EDITOR, SPECIAL PROJECTS: JENNIFER GRÜNWALD DIRECTOR, ORIGINAL PROGRAMMING: EMMA FLEISCHER SVP PRINT, SALES & MARKETING: DAVID GABRIEL MANAGER, ORIGINAL PROGRAMMING: WENDY WILLMING EDITOR IN CHIEF: AXEL ALONSO COORDINATOR, ORIGINAL PROGRAMMING: MARYMARGARET KUNZE CHIEF CREATIVE OFFICER: JOE QUESADA SVP MARKETING, MARVEL TELEVISION: MIKE PASCIULLO PUBLISHER: DAN BUCKLEY SR MANAGER, GLOBAL TELEVISION PUBLICITY: ANNIE GEFFROY EXECUTIVE PRODUCER: ALAN FINE SPECIAL THANKS TO SHAWN “KEEBLER” BYERS, JEFF CHRISTIANSEN, AND KAMBER SHERROD; DAVID ALTHOFF, JACQUE PORTE, AND AVIA PEREZ AT MARVEL WORLDWIDE; AND CAROL ASTORGA, SHANNON JOHNSON, AND PAMELA HELLER AT ABC STUDIOS. -
Marvels Agent Carter: Declassified Slipcase Season One Free Ebook
FREEMARVELS AGENT CARTER: DECLASSIFIED SLIPCASE SEASON ONE EBOOK Sarah Rodriguez | 224 pages | 09 Jul 2015 | Marvel Comics | 9780785197188 | English | New York, United States Agent Carter: Season One Declassified Season 1 of the hit TV series is nicely documented in this beautiful book which comes in its own slipcase. With episode guides, character profiles, interviews with all of the key players in front of and behind the camera on this fantastic TV show all come together to let you know what it takes to produce 22 episodes of the first major Marvel Cinematic Universe TV show. Buy Marvel's Agent Carter: Season One Declassified Slipcase (Angent Carter) Slp by Marvel Comics (ISBN: ) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders. slipcase by troy benjamin 07 29 amazonde ba 1 4 cher marvels agent carter season one declassified is a very nice book that fans of the show will want to read this declassified book follows a format and design similar to the book created for the agents of shield television series it includes a lot. Marvels Agent Carter Season One Declassified Slipcase HC It's ; the war is over, but Peggy Carter has new battles to fight as the men return home. The love of her life - Steve Rogers - is gone, and Peggy is pinned with administrative work at her new job in the covert SSR (Strategic Scientific Reserve). She finds solace in secret missions from Howard Stark - but the missions are more dangerous than she knows. Hayley Atwell reprises her role as. marvels agents of shield season one declassified slipcase Aug 19, Posted By Ian Fleming Media TEXT ID e18 Online PDF Ebook Epub Library hardcover is marvels agents of shield abgekurzt auch agents of shield ist eine us amerikanische fernsehserie die teil des marvel cinematic universe ist sie wurde von den. -
EXECUTIVE SUMMARY Decapitation
EXECUTIVE SUMMARY Decapitation. Dismemberment. Serial killers. Graphic gore. Hey, Kids! COMICS!! Since the release of The Dark Knight film series and the 22 movies in the Marvel Cinematic Universe, comic-book characters have become wildly popular in other forms of entertainment, particularly television. But broadcast TV’s representations of comic-book characters are no longer the bright, colorful, and optimistic figures of the past. Children are innately attracted to comic-book characters; but in today’s comic book-based programs, children are being exposed to graphic violence, profanity, dark and intense themes, and other inappropriate content. In this research report, the PTC examined comic book-themed prime-time programming on the maJor broadcast networks during November, February, and May “sweeps” periods from November 2012 through May 2019. Programs examined were Fox’s Gotham; CW’s Arrow, Black Lightning, The Flash, Supergirl, DC’s Legends oF Tomorrow, and Riverdale; and ABC’s Marvel’s Agents oF S.H.I.E.L.D., Marvel’s Agent Carter, and Marvel’s Inhumans. Research data suggest that broadcast television programs based on these comic-book characters, created and intended for children, are increasingly inappropriate and/or unsafe for young viewers. In its research, the PTC found the following during the study period: • In comic book-themed programming with particular appeal to children, young viewers were exposed to over 6,000 incidents of violence, over 500 deaths, and almost 2,000 profanities. • The most violent program was CW’s Arrow. Young viewers witnessed 1,241 acts of violence, including 310 deaths, 280 instances of gun violence, and 26 scenes of people being tortured. -
CHAPTER IV DATA ANALYSIS & INTEPRETATION in This Chapter
CHAPTER IV DATA ANALYSIS & INTEPRETATION In this chapter, the writer tries to answer the questions in problem formulation. The first subchapter discusses the gender stereotypes experienced by Peggy Carter and the second subchapter analyzes Peggy Carter‟s actions representing Girl Power. The data are taken from Marvel Agent Carter season1 movie. Below are the important scenes captured that show Peggy Carter‟s gender stereotype experiences and her actions that represent Girl Power within the movie. 4.1 Peggy Carter’s Gender Stereotype Experiences Wienclaw (2011) states that gender stereotypes happen in society because the stereotypes are biologically determined. Wienclaw also says that researches with regard to American women show that women do not enjoy the same opportunity in attaining high status positions as do American man (p. 135). In Marvel Agent Carter, Peggy experiences gender stereotypes in the work place because her colleagues underestimate her ability. The discussions of the scenes and dialogues when Peggy Carter is discriminated in her work as a result of gender stereotypes are presented below. 4.1.1 Peggy is treated as an inferior in her office work Captain America: the First Avenger is a superhero movie released in 2011. It is a movie where Peggy Carter is first introduced. Peggy is very well known for her capability to lead and fight. Moreover, she is a female leader who leads many men to join in World War II. She is also 15 famous as an independent woman. In contrast, on Marvel Agent Carter, a continuation movie of Captain America: the First Avenger Peggy Carter is treated differently. -
Comic Book Takeover: the Ubiquitous Influence of the Medium in Hollywood
Comic Book Takeover: The Ubiquitous Influence of the Medium in Hollywood The Marvel Transmedia Universe and Quality/Cult Andrew Lynch, University of Melbourne Since the release of Jon Favreau’s Iron Man in 2008, Marvel Comics and their filmmaking wing Marvel Studios have undertaken what can be considered one of the largest efforts in cinematic world building yet. The Marvel Cinematic Universe (MCU) has grown from a handful of actors reprising their roles in cameos in post-credit sequences to suggest some level of interconnectedness between Marvel films properties, to enormous multi- character crossover events such as Joss Whedon’s The Avengers in 2012 and its upcoming sequels. Since The Avengers, which was considered the conclusion of “phase one” of Marvel’s ever expanding plans for pop-cultural domination, Marvel has moved full steam ahead with sequels for its established heroes, as well as putting into production films which will introduce more of the Marvel Comics lineup of superheroes (at least whose rights are not still in the hands of Sony Pictures or other companies). In addition the MCU has also expanded to include television programs, prompting me to refer to it for the purpose of this paper as the Marvel Transmedia Universe (MTU). In maintaining the canonical interconnectedness of this media universe, strict narrative and stylistic guidelines must be adhered to, so that while separate directors, writers and producers will craft each new film release, in-world consistency must be maintained. This has lead critics to accuse Marvel of a sort of aesthetic whitewashing of its properties. While each new film has some creative flavor of its (often “edgy”) respective director, the tone, content and style remains homogenous with the rest of the MCU’s output.