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Scott Snyder
PROCTOR SCOTT SNYDER: GOTHAM City’s new arCHITECT OVER THE PAST SEVENTY FOUR YEARS OR SO, MANY WRITERS HAVE TACKLED THE EVER-EXPANDING MYTHOS OF THE BATMAN, AND ADDED THEIR OWN IDIOSYNCRATIC PERSPECTIVE ON A POPULAR CULTURAL PHENOMENON. TEXT WILLIAM PROCTOR 22 FROM ARCHITECTS OF THE best part of a century, it becomes (co-written with James Tynion IV), BAT, BOB KANE AND BILL more and more arduous for writers have received rave reviews across FINGER, TO CREATIONS to come up with new ingredients the comic book landscape. His most THAT HAVE SINCE BECOME to add to the Chiropteran broth; recent storyline, Death of the Fami- IT SEEMS SEMINAL CLASSICS SUCH yet once in a while, somebody stirs ly, which weaves through several THAT WHATE VER AS FRANK MILLER’S THE the pot and throws in a few choice of the Bat books and features the DARK KnigHT REtuRns flavours of their own, enriching the return of the Joker for the first time SNYDER TOUCHES, AND YEAR ONE; ALAN MO- tapestry, salting the recipe. Scott since Tony Daniels’ Detective Co- TURNS ORE’s THE KILLing JOKE; Snyder is the latest in a long line of mics #1 re-launch over a year ago, JEPH LOEB’S THE Long HAL- Bat chefs to enter the kitchen and is viewed by many as a classic run, TO GOLD. LOWEEN AND GRANT MOR- chuck in a dash of spice and inven- one which may, in time, be heralded RISON’S POST-MILLENNIAL tion to a tried and tested procedure. as a seminal work by an auteur. -
Dark Knight's War on Terrorism
The Dark Knight's War on Terrorism John Ip* I. INTRODUCTION Terrorism and counterterrorism have long been staple subjects of Hollywood films. This trend has only become more pronounced since the attacks of September 11, 2001, and the resulting increase in public concern and interest about these subjects.! In a short period of time, Hollywood action films and thrillers have come to reflect the cultural zeitgeist of the war on terrorism. 2 This essay discusses one of those films, Christopher Nolan's The Dark Knight,3 as an allegorical story about post-9/11 counterterrorism. Being an allegory, the film is considerably subtler than legendary comic book creator Frank Miller's proposed story about Batman defending Gotham City from terrorist attacks by al Qaeda.4 Nevertheless, the parallels between the film's depiction of counterterrorism and the war on terrorism are unmistakable. While a blockbuster film is not the most obvious starting point for a discussion about the war on terrorism, it is nonetheless instructive to see what The Dark Knight, a piece of popular culture, has to say about law and justice in the context of post-9/11 terrorism and counterterrorism.5 Indeed, as scholars of law and popular culture such as Lawrence Friedman have argued, popular culture has something to tell us about society's norms: "In society, there are general ideas about right and wrong, about good and bad; these are templates out of which legal norms are cut, and they are also ingredients from which song- and script-writers craft their themes and plots."6 Faculty of Law, University of Auckland. -
The Dark Knight Rises, Batman Has Once Again Saved Gotham City from Ruin, but at The—Ostensible—Cost of His Own Life
A Deep, Deep Sleep Confronting America’s destructive Ambivalence toward home-Grown Violence By Tom Kutsch t the end of the film The Dark Knight Rises, Batman has once again saved Gotham City from ruin, but at the—ostensible—cost of his own life. “I see A a beautiful city,” Police Commissioner Jim Gordon notes somberly at the funeral of Bruce Wayne, the superhero’s alter ego. “A brilliant people… rising from this abyss. I see the lives for which I lay down my life… It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.” The eloquence is not Gordon’s own of course, but rather that of Charles Dickens. In A Tale of Two Cities, the lines are spoken by the character Sydney Carton—like Wayne, an orphan intent on saving his city from destruction—on the eve of his own execution. It’s a hopeful denouement to Christopher Nolan’s reboot of the Batman franchise, which started in 2005 with Batman Begins, continued with The Dark Knight in 2008, and concluded this summer with The Dark Knight Rises. Yet, Gordon’s eulogy comes tinged with weariness toward violence and the heavy price Gotham has levied to stave off its own destruction. Nolan’s trilogy injects realism into the superhero narrative; a sense that, even though the rock ‘em, sock ‘em action is quite over the top, many of the film’s sce- narios seem plausible. Indeed, The Dark Knight Rises is a parable that explores the fear and anxiety abroad in the land, and in turn explores fundamental social questions confronting Americans. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
Race & Ethnicity in America
RACE & ETHNICITY IN AMERICA TURNING A BLIND EYE TO INJUSTICE Cover Photos Top: Farm workers labor in difficult conditions. -Photo courtesy of the Farmworker Association of Florida (www.floridafarmworkers.org) Middle: A march to the state capitol by Mississippi students calling for juvenile justice reform. -Photo courtesy of ACLU of Mississippi Bottom: Officers guard prisoners on a freeway overpass in the days after Hurricane Katrina. -Photo courtesy of Reuters/Jason Reed Race & Ethnicity in America: Turning a Blind Eye to Injustice Published December 2007 OFFICERS AND DIRECTORS Nadine Strossen, President Anthony D. Romero, Executive Director Richard Zacks, Treasurer ACLU NATIONAL OFFICE 125 Broad Street, 18th Fl. New York, NY 10004-2400 (212) 549-2500 www.aclu.org TABLE OF CONTENTS INTRODUCTION 13 EXECUTIVE SUMMARY 15 RECOMMENDATIONS TO THE UNITED STATES 25 THE FAILURE OF THE UNITED STATES TO COMPLY WITH THE INTERNATIONAL CONVENTION ON THE ELIMINATION OF ALL FORMS OF RACIAL DISCRIMINATION 31 ARTICLE 1 DEFINITION OF RACIAL DISCRIMINATION 31 U.S. REDEFINES CERD’S “DISPARATE IMPACT” STANDARD 31 U.S. LAW PROVIDES LIMITED USE OF DOMESTIC DISPARATE IMPACT STANDARD 31 RESERVATIONS, DECLARATIONS & UNDERSTANDINGS 32 ARTICLE 2 ELIMINATE DISCRIMINATION & PROMOTE RACIAL UNDERSTANDING 33 ELIMINATE ALL FORMS OF RACIAL DISCRIMINATION & PROMOTE UNDERSTANDING (ARTICLE 2(1)) 33 U.S. MUST ENSURE PUBLIC AUTHORITIES AND INSTITUTIONS DO NOT DISCRIMINATE 33 U.S. MUST TAKE MEASURES NOT TO SPONSOR, DEFEND, OR SUPPORT RACIAL DISCRIMINATION 34 Enforcement of Employment Rights 34 Enforcement of Housing and Lending Rights 36 Hurricane Katrina 38 Enforcement of Education Rights 39 Enforcement of Anti-Discrimination Laws in U.S. Territories 40 Enforcement of Anti-Discrimination Laws by the States 41 U.S. -
An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications Summer 2018 Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series Ian Boucher Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the American Popular Culture Commons, Criminology and Criminal Justice Commons, Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Television Commons Recommended Citation Boucher, Ian. "Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series." Popular Culture Review 29, no. 2 (2018). https://popularculturereview.wordpress.com/29_2_2018/ianboucher/ This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. Popular Culture Review Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975- 1979 Television Series By Ian Boucher “Every successful show has a multitude of fights, and that the shows are successful sometimes are because of those fights. And sometimes shows aren’t successful because those fights aren’t carried on long or hard enough.” -Douglas S. Cramer “And any civilization that does not recognize the female is doomed to destruction. Women are the wave of the future—and sisterhood is…stronger than anything.” -Wonder Woman, The New Original Wonder Woman (7 Nov. 1975) Abstract Live-action superhero films currently play a significant role at the box office, which means they also play a significant role in culture’s understandings about justice. -
Great Gift Ideas! Paid Too Much! A2 | FRIDAY, DECEMBER 14, 2018 the SUMTER ITEM
CLARENDON SUN: Luncheon brings cheer to families Dec. 20 A7 LOCAL Hear Handel’s ‘Messiah’ on SERVING SOUTH CAROLINA SINCE OCTOBER 15, 1894 Sunday A2 FRIDAY, DECEMBER 14, 2018 75 CENTS Program teaches adults skills to remove barriers to job offers BY KAYLA ROBINS rate in the state’s vibrant economy — [email protected] 2.2 million South Carolinians are now working — may mean those who are A low unemployment rate in South not working have faced barriers at the Carolina also comes with the ramifica- interview desk in tighter times. tion that employers often find it diffi- A graduation ceremony at Central cult to fill current vacancies or hire Carolina Technical College’s Ad- KAYLA ROBINS / THE SUMTER ITEM new people who are ready to work in vanced Manufacturing Technology Graduates of the Back to Work program show off their diplomas with state Rep. Kevin expanding opportunities. Weeks, D-Sumter, fourth from the left, and Chris McKinney, executive director of Santee- Sumter’s 3.9 percent unemployment SEE WORK, PAGE A11 Lynches Regional Council of Governments. Florence man ‘Headed in the is in court for 2015 killing right direction’ in Lynchburg BY ADRIENNE SARVIS [email protected] A Florence native accused of killing a supposed friend in 2015 is having his time in court without a jury after requesting a bench trial at Sumter County Judicial Center, according to county authorities. George Jacob Shine, 34, faces a murder charge and a charge of possession of a weapon during a violent crime after 70-year-old Joseph Frey was found dead with two gunshot wounds at a residence off Narrow Paved Road on Nov. -
The Orphanista Manifesto: Orphan Films and the Politics of Reproduction
Visual Anthropology REVIEW ESSAYS The Orphanista Manifesto: Orphan Films and the Politics of Reproduction EMILY COHEN New York University ABSTRACT In this essay, I review the works of filmmakers Bill Morrison and Gregorio Rocha and contextualize their work within agrowing apocalyptic cultural movement of film preservationists who identify as “orphanistas.” As orphanistas they struggle to reshape and reproduce cultural memory and heritage through reviving “orphans”—films abandoned by their makers. Moving images mimic cognitive memory, yet, depending on reproduc- tive technologies, copies of moving images may organize mass publics and influence cultural imaginaries. Traditionally consid- ered conservative, preservation in the midst of destruction is not FIGURE 1. The aftermath of the fire at the Cinemath´ eque` only a creative but also an avant-garde act of breathing new life Franc¸aise on August 3, 1980. Image from Nitrate Won’t Wait (1992) by Anthony Slide. into storytelling and the reproduction of cultural memory. In this essay, I discuss how the surrealist works of Morrison and Rocha radically confront dominant cultural imaginings of race and na- imminent demise, an old decaying silent film provokes an tion, and I argue that film preservation has the potential of being emotional landscape of urgency. socially transformative. An interview with Gregorio Rocha follows. Today, people who struggle to preserve and make avail- [Keywords: film archives, cultural memory, reproduction, race, able forgotten films that are decaying in archives, garages, nation] and basements call these dying films “orphans.” As an or- phanage, the film archive is transformed into a place of Prior to 1949, all motion pictures were made of nitro- forgotten, abandoned images and texts. -
THE DARK KNIGHT RISES by Jonathan Nolan and Christopher Nolan
THE DARK KNIGHT RISES by Jonathan Nolan and Christopher Nolan Story by Christopher Nolan & David S. Goyer Based upon characters appearing in comic books published by DC Comics Batman created by Bob Kane Transferred to PDF from: "The Dark Knight Trilogy - The Complete Screenplays" Published July 2012 by Faber & Faber Ltd. (UK) In memory of the victims of the July 20, 2012 tragedy in Aurora, CO. FOR EDUCATIONAL PURPOSES ONLY THEDARKKNIGHTRISES BLACK SCREEN. GORDON (V.O) Harvey Dent was needed. He was everything Gotham has been crying out for. He was...a hero. Not the hero we deserved - the hero we needed. Nothing less than a knight, shining... The sound of cracking. Splintering. A shape appears, in ice. The shape of a BAT. The ice disintegrates... EXT. GOTHAM STREET - DAY Gordon stands before a massive picture of Harvey Dent. GORDON But I knew Harvey Dent. I was...his friend. And it will be a very long time before someone inspires us the way he did. Gordon, choked with emotion, gathers the papers of his eulogy. I believed in Harvey Dent. And we FADE TO BLACK. CUT TO: Racing along a cratered dirt road, and we are - INT. LAND CRUISER JOSTLING OVER UNEVEN TERRAIN - DAY Three Hooded Men guarded by East European Militia. A third Militia drives. Next to him is a nervous, bespectacled man. EXT. AIRSTRIP, EASTERN EUROPE - DAY An airstrip overlooking a grey city rocked by artillery fire. A bland CIA Operative, flanked by Special Forces Men, stands in front of a commuter plane. CIA Man watches the Land Cruiser pull up, hard. -
Gotham Episode Guide Episodes 001–100
Gotham Episode Guide Episodes 001–100 Last episode aired Thursday April 25, 2019 www.fox.com c c 2019 www.tv.com c 2019 www.fox.com The summaries and recaps of all the Gotham episodes were downloaded from http://www.tv.com and http://www. fox.com and processed through a perl program to transform them in a LATEX file, for pretty printing. So, do not blame me for errors in the text ! This booklet was LATEXed on May 2, 2019 by footstep11 with create_eps_guide v0.61 Contents Season 1 1 1 Pilot ...............................................3 2 Selina Kyle . .7 3 The Balloonman . 11 4 Arkham . 15 5 Viper............................................... 19 6 Spirit of the Goat . 23 7 Penguin’s Umbrella . 27 8 The Mask . 31 9 Harvey Dent . 35 10 LoveCraft . 39 11 Rogues’ Gallery . 43 12 What the Little Bird Told Him . 47 13 Welcome Back, Jim Gordon . 51 14 The Fearsome Dr. Crane . 55 15 The Scarecrow . 59 16 The Blind Fortune Teller . 63 17 Red Hood . 67 18 Everyone Has a Cobblepot . 71 19 Beasts of Prey . 75 20 Under the Knife . 79 21 The Anvil or the Hammer . 83 22 All Happy Families Are Alike . 87 Season 2 91 1 Rise of the Villains: Damned If You Do... 93 2 Rise of the Villains: Knock, Knock . 97 3 Rise of the Villains: The Last Laugh . 101 4 Rise of the Villains: Strike Force . 105 5 Rise of the Villains: Scarification . 109 6 Rise of the Villains: By Fire . 113 7 Rise of the Villains: Mommy’s Little Monster . -
Michelle Obama's Rhetoric Concerning the Let's Move!
SUGAR, SALT, AND FAT: MICHELLE OBAMA’S RHETORIC CONCERNING THE LET’S MOVE! INITIATIVE, BINARY OPPOSITION, WEIGHT OBSESSION, AND THE OBESITY PARADOX Jenny A. Armentrout A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2011 Committee: Ellen Gorsevski, Advisor Lee Nickoson, Graduate Faculty Representative Radhika Gajjala Lara Lengel ii ABSTRACT Ellen W. Gorsevski, Advisor The goal of this project was to conduct a textual analysis on the social and political implications of First Lady Michelle Obama’s rhetorical artifacts from 2009 to 2011 regarding her childhood obesity campaign and widely-supported initiative entitled Let's Move! The analysis examined the remarks made by Michelle Obama regarding childhood obesity at five separate speaking engagements. The research focused on the rhetorical and social construction of weight, while emphasizing the immediate need for policy-change and a human rights focus in relation to weight discourses. The major objective of this work was to investigate discursive and symbolic themes of empowerment, peace-building, violence, dehumanization, globalization, sustainability, consumption, consumerism, and performativity while drawing on critical rhetorical studies and health communication scholarship to challenge the status quo of binary opposition, weight obsession, and the obesity paradox in lieu of contemporary US weight discourses. iii This is dedicated to Katje, Sarah, and Rachael- For always listening to my incessant rambling, singing, and ridiculous jokes, for putting up with all of my whining, for practically holding my hand and dragging me through the hardest times, for telling me: “I don’t want to hear ‘I can’t’ come out of your mouth!” and for being my trusted, lifelong biological/proverbial sisters/bfffs. -
Batman Script by Sam Hamm
BATMAN Screenplay by Sam Hamm Based on the Character Created by Bob Kane FIRST DRAFT October 20, 1986 FADE IN: EXT. CITYSCAPE - NIGHT The place is Gotham City. The time, 1987 -- once removed. The city of Tomorrow: stark angles, creeping shadows, dense, crowded, airless, a random tangle of steel and concrete, self-generating, almost subterranean in its aspect... as if hell had erupted through the sidewalks and kept on growing. A dangling fat moon shines overhead, ready to burst. EXT. CATHEDRAL - NIGHT Amid the chrome and glass sits a dark and ornate Gothic anomaly: old City Cathedral, once grand, now abandoned -- long since boarded up and scheduled for demolition. On the rooftop far above us, STONE GARGOYLES gaze down from their shadowy, windswept perches, keeping monstrous watch over the distant streets below, sightless guardians of the Gotham night. One of them is moving. EXT. GOTHAM SQUARE - NIGHT The pulsing heart of downtown Gotham, a neon nightmare of big-city corruption, almost surreal in its oppressiveness. Hookers wave to drug dealers. Street hustlers slap high- fives with three-card monte dealers. They all seem to know each other... with one conspicuous exception: A TOURIST FAMILY, Mom, Dad, and little Jimmy, staring straight ahead as they march in perfect lockstep down the main drag. They've just come out of a bit show two blocks over; the respectable theatre crowd has thinned out, and now -- Playbills in hand -- they find themselves adrift in the predatory traffic of Gotham's meanest street. MOM For God's sake, Harold, can we please just get a taxi?? DAD I'm trying to get a -- (shouting) TAXI!! Three cabs streak pass and disappear.