Media Website Contact List

Total Page：16

File Type：pdf, Size：1020Kb

MEDIA WEBSITE CONTACT LIST version: 8/2016 Outlet Name First Name Last Name Title Email Address Website Address Bleeding Cool Richard Johnston Editor-in-Chief [email protected] http://www.bleedingcool.com/ Comics Alliance Andrew Wheeler Editor in Chief [email protected] http://comicsalliance.com/ Comics Alliance Kevin Gaussoin Editor in Chief [email protected] http://comicsalliance.com/ Comic Book Resources Albert Ching Managing Editor [email protected] http://www.comicbookresources.com/ Comic Vine Tony Guerrero Editor-in-Chief [email protected] http://www.comicbookresources.com/ ComicBook.com James Viscardi Editor in Chief [email protected] http://comicbook.com/ Forces of Geek Erin Maxwell Reporter [email protected] http://www.forcesofgeek.com/ IGN Entertainment Joshua Yehl Comics Editor [email protected] http://www.ign.com/ ICV2 Milton Griepp Editor in Chief [email protected] http://icv2.com/ Newsarama Chris Arrant Editor-in-Chief [email protected] http://www.newsarama.com/ The Beat Heidi MacDonald Editor in Chief [email protected] http://www.comicsbeat.com/ Comicosity Matt Santori-Griffith Senior Editor [email protected] http://www.comicosity.com/ The Mary Sue Maddy Myers Editor [email protected] http://www.themarysue.com/ The Mary Sue Dan Van Winkle Editor [email protected] http://www.themarysue.com/ Multiversity Comics Brian Salvatore Editor-in-Chief [email protected] http://multiversitycomics.com/ Comic Crusaders [email protected] www.comiccrusaders.com/ Graphic Policy Brett Schenker Founder / Blogger in Chief [email protected] https://graphicpolicy.com/ THIS LIST OF CONTACTS IS DESIGNED TO BE A RESOURCE FOR PUBLISHERS TO HELP PROMOTE THEIR PROJECTS TO THE PUBLIC. THIS LIST IS ACCURATE AS OF THE DATE POSTED ABOVE AND DOES NOT REPRESENT ALL MEDIA SITES THAT MAY BE AVAILABLE..

Copy Link

Recommended publications

Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing.
[Show full text]
Caderno De Resumos
CADERNO DE RESUMOS ESCOLA DE COMUNICAÇÕES E ARTES UNIVERSIDADE DE SÃO PAULO 21 A 23 DE AGOSTO DE 2019 1 CADERNO DE RESUMOS ESCOLA DE COMUNICAÇÕES E ARTES UNIVERSIDADE DE SÃO PAULO 21 A 23 DE AGOSTO DE 2019 Realização Observatório de Histórias em Quadrinhos da Escola de Comunicações e Artes da Universidade de São Paulo 2 6as Jornadas Internacionais de Histórias em Quadrinhos – Caderno de Resumos Realização Observatório de Histórias em Quadrinhos da ECA-USP Comissão Organizadora Nobu Chinen (UFRJ) Paulo Ramos (UNIFESP) Roberto Elísio dos Santos (Observatório de Histórias em Quadrinhos / ECA-USP) Waldomiro Vergueiro (ECA-USP) Comissão Executiva Beatriz Sequeira (ECA-USP) Celbi Pegoraro (ECA-USP) Ediliane Boff (FIAM) Nobu Chinen (UFRJ) Edição Celbi Pegoraro Ediliane de Oliveira Boff Nobu Chinen Paulo Ramos Roberto Elísio dos Santos Waldomiro Vergueiro Ilustração da capa Will Apoio Comix Departamento de Informação e Cultura da ECA-USP Departamento de Letras da Universidade Federal de São Paulo Editora Peirópolis Escola de Comunicações e Artes da Universidade de São Paulo Programa de Pós-Graduação em Comunicação da ECA-USP 6as Jornadas Internacionais de Histórias em Quadrinhos – Caderno de Resumos. 21 a 23 de agosto de 2019, São Paulo. Organizado por Nobu Chinen, Paulo Ramos, Roberto Elísio dos Santos e Waldomiro Vergueiro. São Paulo: Observatório de Histórias em Quadrinhos da Escola de Comunicações e Artes da Universidade de São Paulo, 2019. ISSN 2237-0323 1 . Histórias em Quadrinhos. 2. Jornadas Internacionais de Histórias em Quadrinhos. 3 SUMÁRIO Apresentação 5 Programação Geral 6 Resumos / Eixos Temáticos Quadrinhos, Educação e Cultura 11 Quadrinhos, História e Sociedade 93 Quadrinhos, Linguagem e Gêneros Textuais/Discursivos 163 Quadrinhos, Literatura e Arte 210 Quadrinhos, Comunicação e Mercado 245 Quadrinhos, Novas Mídias e Tecnologias 255 4 APRESENTAÇÃO Temos a satisfação de apresentar os resumos aprovados para apresentação nas 5as Jornadas Internacionais de Histórias em Quadrinhos.
[Show full text]
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.
[Show full text]
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J.
[Show full text]
Costume Culture: Visual Rhetoric, Iconography, and Tokenism In
COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to the Office of Graduate Studies Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to: Advisor: Christopher Gonzalez Committee: Tabetha Adkins Donna Dunbar-Odom Mike Odom Head of Department: M. Hunter Hayes Dean of the College: Salvatore Attardo Interim Dean of Graduate Studies: Mary Beth Sampson iii Copyright © 2017 Michael G. Baker iv ABSTRACT COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS Michael G. Baker, PhD Texas A&M University-Commerce, 2017 Advisor: Christopher Gonzalez, PhD Superhero comic books provide a unique perspective on marginalized characters not only as objects of literary study, but also as opportunities for rhetorical analysis. There are representations of race, gender, sexuality, and identity in the costuming of superheroes that impact how the audience perceives the characters. Because of the association between iconography and identity, the superhero costume becomes linked with the superhero persona (for example the Superman “S” logo is a stand-in for the character). However, when iconography is affected by issues of tokenism, the rhetorical message associated with the symbol becomes more difficult to decode. Since comic books are sales-oriented and have a plethora of tie-in merchandise, the iconography in these symbols has commodified implications for those who choose to interact with them. When consumers costume themselves with the visual rhetoric associated with comic superheroes, the wearers engage in a rhetorical discussion where they perpetuate whatever message the audience places on that image.
[Show full text]
A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Duncan, Ralph Randolph II, "Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form." (1990). LSU Historical Dissertations and Theses. 4910. https://digitalcommons.lsu.edu/gradschool_disstheses/4910 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The qualityof this reproduction is dependent upon the quality of the copysubmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
[Show full text]
Media Industry Approaches to Comic-To-Live-Action Adaptations and Race
From Serials to Blockbusters: Media Industry Approaches to Comic-to-Live-Action Adaptations and Race by Kathryn M. Frank A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Lisa A. Nakamura Associate Professor Aswin Punathambekar © Kathryn M. Frank 2015 “I don't remember when exactly I read my first comic book, but I do remember exactly how liberated and subversive I felt as a result.” ― Edward W. Said, Palestine For Mom and Dad, who taught me to be my own hero ii Acknowledgements There are so many people without whom this project would never have been possible. First and foremost, my parents, Paul and MaryAnn Frank, who never blinked when I told them I wanted to move half way across the country to read comic books for a living. Their unending support has taken many forms, from late-night pep talks and airport pick-ups to rides to Comic-Con at 3 am and listening to a comics nerd blather on for hours about why Man of Steel was so terrible. I could never hope to repay the patience, love, and trust they have given me throughout the years, but hopefully fewer midnight conversations about my dissertation will be a good start. Amanda Lotz has shown unwavering interest and support for me and for my work since before we were formally advisor and advisee, and her insight, feedback, and attention to detail kept me invested in my own work, even in times when my resolve to continue writing was flagging.
[Show full text]
Jnt£Rnationa1 Journal of Comic Art
JNT£RNATIONA1 JOURNAL OF COMIC ART Vol. 14, No. 1 Spring2012 112 113 Graphic Tales of Cancer catharsis, testimonies, and education. Michael Rhode and JTH Connor1 Cartoons, Comics, Funnies, Comic Books "Cancer is not a single disease," said Robert A. Weinberg, a cancer While names work against it, and demagogues have railed against it, biologist at the Whitehead Institute and the Massachusetts Institute comic art has not necessarily been for children. 8 And cancer is not the only of Technology. "It's really dozens, arguably hundreds of diseases."' illness seen in comic art-- characters have died of AIDS in the "Doonesbury" comic strip and the Incredible Hulk comic book, and survived AIDS in Peeter's autobiographical Blue Pills; "Doonesbury"'s football-star-turned-coach B.D. Few people in North America are unaware of or unaffected by the popular suffered a traumatic amputation of his leg in Iraq; "Crankshaft" coped with and professional publicity related to the incidences of the various forms of Alzheimer's disease; Frenchman David B. cartooned a graphic novel on his cancer, the search for a "cure for cancer," the fund-raising runs and other brother's epilepsy; Haidee Merritt drew gag cartoons about her diabetes; similar campaigns in support of research into its causes and treatment, or the "Ziggy"'s Tom Wilson wrote a prose book on his depression, and Keiko To be pink-looped ribbon that is immediately identifiable as the "logo" for breast won awards for her 14-volume fictional manga about autism. 9 Editorial cancer awareness. Study of the history of cancer through professional medical cartoonists have long addressed the link between tobacco use and cancer, 10 and surgical literature is an obvious and traditional portal to understanding as did Garry Trudeau who has long opposed smoking as seen in his Mr.
[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]
Foregrounding Narrative Production in Serial Fiction Publishing
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2017 To Start, Continue, and Conclude: Foregrounding Narrative Production in Serial Fiction Publishing Gabriel E. Romaguera University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Romaguera, Gabriel E., "To Start, Continue, and Conclude: Foregrounding Narrative Production in Serial Fiction Publishing" (2017). Open Access Dissertations. Paper 619. https://digitalcommons.uri.edu/oa_diss/619 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. TO START, CONTINUE, AND CONCLUDE: FOREGROUNDING NARRATIVE PRODUCTION IN SERIAL FICTION PUBLISHING BY GABRIEL E. ROMAGUERA A DISSERTATION SUBMITTED IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2017 DOCTOR OF PHILOSOPHY DISSERTATION OF Gabriel E. Romaguera APPROVED: Dissertation Committee: Major Professor Valerie Karno Carolyn Betensky Ian Reyes Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2017 Abstract This dissertation explores the author-text-reader relationship throughout the publication of works of serial fiction in different media. Following Pierre Bourdieu’s notion of authorial autonomy within the fields of cultural production, I trace the outside influence that nonauthorial agents infuse into the narrative production of the serialized. To further delve into the economic factors and media standards that encompass serial publishing, I incorporate David Hesmondhalgh’s study of market forces, originally used to supplement Bourdieu’s analysis of fields.
[Show full text]
The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis
University of Alberta Telling Stories About Storytelling: The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis by Orion Ussner Kidder A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies ©Orion Ussner Kidder Spring 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-60022-1 Our file Notre référence ISBN: 978-0-494-60022-1 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats.
[Show full text]
Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created.
[Show full text]