BCCS Lower School News Issue #4 June 2019
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Marvel Universe by Hasbro
Brian's Toys MARVEL Buy List Hasbro/ToyBiz Name Quantity Item Buy List Line Manufacturer Year Released Wave UPC you have TOTAL Notes Number Price to sell Last Updated: April 13, 2015 Questions/Concerns/Other Full Name: Address: Delivery Address: W730 State Road 35 Phone: Fountain City, WI 54629 Tel: 608.687.7572 ext: 3 E-mail: Referred By (please fill in) Fax: 608.687.7573 Email: [email protected] Guidelines for Brian’s Toys will require a list of your items if you are interested in receiving a price quote on your collection. It is very important that we Note: Buylist prices on this sheet may change after 30 days have an accurate description of your items so that we can give you an accurate price quote. By following the below format, you will help Selling Your Collection ensure an accurate quote for your collection. As an alternative to this excel form, we have a webapp available for http://buylist.brianstoys.com/lines/Marvel/toys . STEP 1 Please note: Yellow fields are user editable. You are capable of adding contact information above and quantities/notes below. Before we can confirm your quote, we will need to know what items you have to sell. The below list is by Marvel category. Search for each of your items and enter the quantity you want to sell in column I (see red arrow). (A hint for quick searching, press Ctrl + F to bring up excel's search box) The green total column will adjust the total as you enter in your quantities. -
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). -
TSR6908.MHR3.Avenger
AVENGERS CAMPAIGN FRANCHISES Avengers Branch Teams hero/heroine and the sponsoring nation, Table A: UN Proposed Avengers Bases For years, the Avengers operated avengers membership for national heroes and New Members relatively autonomously, as did the has become the latest political power chip Australia: Sydney; Talisman I Fantastic Four and other superhuman involved in United Nations negotiations. China: Moscow; Collective Man teams. As the complexities of crime Some member nations, such as the Egypt: Cairo; Scarlet Scarab fighting expanded and the activities of the representatives of the former Soviet France: Paris; Peregrine Avengers expanded to meet them, the Republics and their Peoples' Protectorate, Germany: Berlin; Blitzkrieg, Hauptmann team's needs changed. Their ties with have lobbied for whole teams of powered Deutschland local law enforcement forces and the beings to be admitted as affiliated Great Britain: Paris; Spitfire, Micromax, United States government developed into Avengers' branch teams. Shamrock having direct access to U.S. governmental The most prominent proposal nearing a Israel: Tel Aviv; Sabra and military information networks. The vote is the General Assembly's desired Japan: Undecided; Sunfire Avengers' special compensations (such as establishment of an Avengers' branch Korea: Undecided; Auric, Silver domestic use of super-sonic aircraft like team for the purpose of policing areas Saudi Arabia: Undecided; Arabian Knight their Quintets) were contingent on working outside of the American continent. This Soviet Republics: Moscow; Peoples' with the U.S. National Security Council. proposal has been welcomed by all Protectorate (Perun, Phantasma, Red After a number of years of tumultuous member nations except the United States, Guardian, Vostok) and Crimson Dynamo relations with the U.S. -
SFU Thesis Template Files
“To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes by Brett Pardy B.A., The University of the Fraser Valley, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art, and Technology Brett Pardy 2016 SIMON FRASER UNIVERSITY Summer 2016 Approval Name: Brett Pardy Degree: Master of Arts Title: “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes Examining Committee: Chair: Frederik Lesage Assistant Professor Zoë Druick Senior Supervisor Associate Professor Adel Iskander Supervisor Assistant Professor Michael Ma External Examiner Faculty Member Department of Criminology Kwantlen Polytechnic University Date Defended/Approved: June 16, 2016 ii Abstract The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that a hegemonic American model of militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2012), and demonstrate the significant reorientation of the film franchise towards the American military’s “War on Terror”. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful. -
Año 15 Nº 134 Marzo
Fundador Francisco J. Bernal Directora M. Antonia Ontona Garcia Redactora Marta Martinez Valencia Coordinador edkibn Francisco Solano Libros Infantiles y Juveniles Ana Garralón Colaborador Rambn Salabema Libros Infantiles y Juveniles Publicidad Lourdes Rodriguez Novedades: Álbum; Primeros lectores; A partir de diez años; A partir de doce Siscripcioim y Administraci6n años; Poesía; Todos los lectores 6 Ana Castillo Secretaria Yvan Pomrnaux, un estilo entre el c6mi y el glbum. Reflexi6n acerca Ana Phga de mi experiencia. Yvan Pommaux 14 Diseao Gelo Quero Miquel y Siglo XX: Lo que leen los niiios. H'ietas, tiras CM¡y tebeos. Esther Martinez Olmo Juan Carlos Me& 20 Portada Mauro Enhialgo Libros recibidos en la Redacción de Eouwxh Y B~~~~TEcA 24 Identidad gráfica Gelo Quero Miquel Maquetacibn Recursos Esther Madnez Olmo Lectura. Arte. Vanos. Educación. BiMiotemia. Marta Martinez Valema 26 Edita TILDE, Servicios Editoriales, S.A. en Réplica a la critica de Arsenio Sánchez al libro El patrimonio b@fogdb colaboración con Asociación Educación y documental: claves para su rxnservación preventiva. y Bibliotecas Presidenta Juana Abellán Carmen6elby~s~onel 31 U Rlncipc de Vergara. 136, oficina T. portal 3,28002 Madrid -- Redaccibn-Administmibn-hbueidad Horba, Revista de Educación CI Principe de Vergara, 136, oficina 2', portal 3,28002 Madrid II Foro Siglo 21 de Literatura Infantil y Jwenil Redacción El Ratón PBrez las IV Jornadas de Acemmiento a la Literatura lnfanl 491 41 11783 en ~edibiMi~tcmiü.es Censo 2001 de la Red de Lectura PúMica de Castilla-La Mancha &~nQednbibü.rctema¡l.es Publicidad Directorio 2002 de la Guia del lnjwe S91 41 11379 La Diputación de Barcelona diuna publiicación sobre bibliobuses Comienzo de año 'revuelton en las bibliotecas de Salamanca Web del Plan Nacional de Fomento de la Ledum Fotocompasición Campaña imregalo, un libro" INFORAMA U91 5629933 Mapa biMiotecari0 de Andaluclá &lnf~temiUns Guías de ledura Imprime Seleccionando libros infantiles y juveniles OMNlA 1G. -
Movies Television Commercials Video Games
SAG * AFTRA (818) 625-1194 www.moniquedonnellyvocals.com [email protected] MOVIES The Grinch Jurassic World Beverly Hills Chihuahua Armageddon King Kong The Christmas Chronicles Tomorrowland Semi-Pro Anywhere But Here 102 Dalmatians Ready Player One Night at the Museum 3 National Treasure 2 Forgetting Sarah Marshall Percy Jackson - Lightening Thief Dead Pool 2 Epic Horton Hears a Who Instinct Evan Almighty Wonder Park After Earth Lions for Lambs Enchanted Faster Bad Times at the el Royale John Carter Fantastic 4 A Bug's Life Epic Movie The Nun Behind the Candelabra Polar Express Bandits Titan AE TAG Rio Meet the Robinsons Bubble Boy Time Changer Smurfs Rio 2 Superman Returns Castle Rock The Secret Garden Star Wars - Rogue One Happy Feet Ice Age The Core To Die For SING (piglets) Happy Feet 2 Ice Age 2 Daredevil Urban Legend Star Trek - Beyond Mars Needs Moms Ice Age 3 The Family Man Scream 3 La La Land The Lorax Ice Age 4 Galaxy Quest X Men 2 Storks Diary of a Wimpy Kid 2 Ice Age - A Mamoth Xms No Place Like Home X Men 3 Ghostbusters Alpha and Omega Robots Spiderman 2 The Sound and the Fury Zootopia My All American Amistad Spiderman 3 The Fountain Goosebumps Earth Angels in America Quest For Camelot Christmas with the Kranks Anastasia Marley and Me Mickey's Twice Upon a Christmas COMMERCIALS Nightmare Before Christmas Kmart - Pogo stick Disney "NobodyLovesKidsLikeDisney" Mattel "Mermaid Skipper" Nissan "Firefly" Kmart - Holiday points "Happy Honda Days" 2004 Mattel "Pizza Party Barbie" Nissan "Flowers" AT&T "Any Card" "Happy Honda Days" 2005 Mattel "Swim and Dive Barbie" Nissan "Dream Garage" Magic Wand Cinderella Nike "Ball Go Far" Mattel "Bead Barbie" Nissan "Wheat fields" Mariposa Barbie Shiseido Mattel "New Barbie Mustang" Nissan "Mr. -
Voices of Vaughan: a Canada 150 Anthology
Voices of Vaughan ~ a Canada 150 Anthology ~ by local writers Voices of Vaughan: A Canada 150 Anthology Vaughan Public Libraries & Vaughan Writers’ Club Vaughan, Ontario, Canada November 2017 Published in 2017 as part of Vaughan Public Libraries’ (Vaughan, Ontario) Canada 150 celebrations. “Cherry Lips” copyright © Athena Wright, 2017 “Virginia (Thunder Bay Revisited) copyright © Gregory Monteith, 2017 “Squirrel” copyright © Elana Wolff, 2017 “Buttercup Girl” copyright © Penelope Jonas, 2017 “Waltz” copyright © Cristina Rizzuto, 2017 “Refugia” copyright © Gregory Monteith, 2017 “Water Carriers” copyright © Gregory Monteith, 2017 “Mothstrocity” copyright © Tamara Hecht, 2017 “Thornhill Kitchen, First Generation, After and Still” copyright © Marilyn Kleiman, 2017 “Woodpecker Woodpecker…” copyright © Sigal Haber, 2017 “The Changeling” copyright © Nanci M. Pattenden, 2017 “Frost Quake” copyright © Debbie Ouellet, 2017 “Robin’s Hood” copyright © Darcy Miller, 2017 “Thornhill’s a’Growing” copyright © Howard Isenberg, 2017 “Please Do Not Feed the Mermaids” copyright © Lacey D. Mermaid, 2017 “Rainbow Haven Beach, NS” copyright © Dina Ripsman Eylon, 2017 “Tu B’Shvat” copyright © Elana Wolff, 2017 “The Apparition” copyright © Maria Samurin, 2017 “This Verdant Land” copyright © Honey Novick, 2017 “Diaspora (upon visiting Aberfoyle antique market)” copyright © Gregory Monteith, 2017 “The Perks” copyright © Candice MacAulay, 2017 “Transition” copyright © Kamal Parmar, 2017 “On a Bench at Gallanough Park” copyright © Dina Ripsman Eylon, 2017 “My Canada” copyright © Tony Genco, 2017 Contents Foreward * v Cherry Lips Athena Wright * 1 Virginia (Thunder Bay Revisited) Gregory Monteith * 8 Squirrel Elana Wolff * 10 Buttercup Girl Penelope Jonas * 11 Waltz Cristina Rizzuto * 16 Refugia Gregory Monteith * 17 Water Carriers Gregory Monteith * 19 Mothstrocity Tamara Hecht * 21 Thornhill Kitchen, First Generation, After and Still Marilyn Kleiman * 29 Woodpecker Woodpecker… Sigal Haber * 30 The Changeling Nanci M. -
Comic Book Film Genre
Copyright by Matthew David Young 2013 The Dissertation Committee for Matthew David Young Certifies that this is the approved version of the following dissertation: Musical Topics in the Comic Book Superhero Film Genre Committee: James Buhler, Supervisor Byron Almén David Neumeyer Eric Drott Charles Berg Musical Topics in the Comic Book Superhero Film Genre by Matthew David Young, B.A.; M.Music Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2013 Dedication To my wife, for her support, encouragement, and patience. Acknowledgements Foremost, I would like to thank Dr. Buhler for his support and guidance throughout this project. His insight has been invaluable in helping me to expand the depth and increase the quality of this work. I am also deeply grateful to my committee, Byron Almén, David Neumeyer, Eric Drott, and Charles Ramírez Berg for their inspiration and teachings which helped me to grow as an academic. I would also like to thank Sean Johnston, Cari McDonnell, and Emily Kausalik for providing the peer support network every graduate student needs to give feedback and brainstorm new directions to explore in this project. Finally, I would like to thank my wife and parents, for their support, love, encouragement, and guidance not only throughout graduate school, but throughout life. v Musical Topics in the Comic Book Superhero Film Genre Matthew David Young, Ph.D. The University of Texas at Austin, 2013 Supervisor: James Buhler The comic book superhero film has become a mainstay amongst Hollywood blockbuster films. -
Between the Panels
Between the Panels How the interactions between commerce and art shape superhero comic book film adaptations (2000-13) Tim Stafford Between The Panels: How the interactions between commerce and art shape superhero comic book film adaptations (2000-13) Tim Stafford Submitted to the University of Hertfordshire in partial fulfilment of the requirements of the degree of PhD January 2018 Acknowledgments I would like to thank my Principal Supervisor, Professor Keith Randle and my Second Supervisors, Visiting Professor Richard Miller and Dr Mariana Dodourova for their support and guidance during this project. I would also like to thank Greg Pan at Marvel for granting permission to reproduce the three selected comic book panels and Roni Lubliner at Universal for granting permission to use the still from Hulk. This thesis is dedicated in its entirety to my parents, Terry and Sheila Stafford, to Derek Watson, my best friend and guide in the world of comic books and to Hugh Jackman, who started the whole thing off. Between the Panels Contents List of figures 1 Abstract 3 Introduction 5 Research questions 8 Introduction to the conceptual framework and methodology 9 Thesis structure 12 Chapter One: Up, up and away: superheroes and their adaptations 14 Origin story: A brief history of superhero adaptations 14 The superhero film renaissance: 2000 to the present 20 Why are superhero films so popular? 26 i) The studio perspective 26 ii) The audience perspective 29 iii) The role of comic book readers 31 The theory of adaptation 34 The role of the director -
AWNMAG5.05 Cover
Table of Contents AUGUST 2000 VOL.5 NO.5 5 Editor’s Notebook Go Web Young (Wo)Man, Go Web 7 Letters: [email protected] InternetCOMIC BOOKS Animation 8 Your Move… Jacquie Kubin looks at how and why packaged gaming companies are adding on-line elements to their business plans. 12 Alter-Net-ive Worlds How would the world of animation be different if instead of being a new tool the Web was an old one? Get ready for some pretty wild “classics.” Martin “Dr. Toon” Goodman takes us theorizing… 16 The Aesthetics of Internet Animation Think Web tools are restrictive creatively? Think again! Chris Lanier, creator of Wildbrain’s Romanov, explains why, in the vein of comics, they are actually a source of freedom. 2000 20 Is There Life Beyond Flash? Flash is the leading tool for Internet animation, but there are a few other options for production and augmentation. Here industry leaders reveal their secrets from high tech 3D software to good, old-fashioned talent. 23 Getting Started On-Line So you want to get into this Internet game? Two of AtomStudios’ animators, Kwesi Ako Kennedy and James Dalby, not only tell you how, but offer tips for success. ComputerADULT ANIMATION Animation 25 Vancouver’s Mainframe Entertainment Since their first 3D CGI television show, the groundbreaking Reboot, Mainframe Entertainment has been producing quality children’s television. Don Perro goes for a tour and finds they are working on more than television now. 29 Writing for CGI:A Talk With Ian Boothby UGUST Ian Boothby, co-writer of Casper’s Haunted Christmas, gives us some insight on the pitfalls and joys of writing for CGI. -
WEAPONS LOCKER by Jerry Epperson and Jeff Grubb
MHAC-8 From the Producers of the DUNGEONS & DRAGONS™ Game 6668 OFFICIAL GAME ACCESSORY WEAPONS LOCKER By Jerry Epperson and Jeff Grubb TM All Marvel characters and the distinctive likenesses thereof The names of characters used herein are fictitious and do are trademarks of the Marvel Comics Group. MARVEL not refer to any person living or dead. Any descriptions SUPER HEROES and MARVEL SUPER VILLAINS are trade- including similarities to persons living or dead are merely marks of the Marvel Comics Group. Copyright ©1985 Marvel TSR, Inc. coincidental. DUNGEONS & DRAGONS, PRODUCTS OF Comics Group, a division of Cadence Industries Corpora- PRODUCTS OF YOUR IMAGINATION™ YOUR IMAGINATION, and the TSR logo are trademarks tion. All Rights Reserved. Printed in U.S.A. owned by TSR, Inc. Game Design ©1985 TSR, Inc. All Rights Reserved IRON MAN’S™ ARMOR DESIGN BY ANTHONY STARK BUILT BY STARK INTERNATIONAL UPPER SURFACE HIGH EFFICIENCY ACTIVATED CESIUM SOLAR ENERGY COLLECTORS MAJOR SUIT MOVEMENT AVERAGE ROUTINE COMPUTER MAGNETIC ASSEMBLY EFFECTOR BEAM PATTERN OXYGEN SUPPLY POWER PODS (STORE LARGE AMOUNTS OF ENERGY) PALM SATELLITE REPULSOR TRANSCEIVING ANTENNA MICRO-SCALE SUIT TILES FABRICATED BY GENETICALLY SATELLITE ENGINEERED METAL AFFINITY TRANSCEIVER BACTERIA WHICH ASSEMBLE COMPUTER THEMSELVES IN SPECIFIC READOUT NAVIGATION ORDERLY ARRAYS, THEN DISPLAY COMPUTER EXPIRE, LEAVING BEHIND VARIOUS METALLIC DEPOSITS WHICH FORM ALL THE METAL HATCH SHAPES AND MICRO- ELECTRONIC CIRCUITS REPULSOR PLASMA GENERATOR PLASMA TIMING COMPUTER AND POWER GENERATORS -
AT61 SOUND for IRON MAN.Pdf
FEATURE Veteran Sound Designer and Re-recording mixer, Christopher Boyes, suits up for this big-budget action flick. Text: Strother Bullins AT 48 The story of Marvel Comics’ Anthony send various versions of signature sounds for Man has this sleek, high-tech suit, Iron Monger Edward ‘Tony’ Stark is a compelling one. approval from Favreau and Picture Editor, Dan is the exact opposite. As Jon [the director] Wealthy/charismatic businessman/inventor, Lebantal. The first thing that really happened described him, ‘he’s a garbage truck,’ or ‘steam Stark is badly injured, and creates a self-saving was Industrial Light & Magic’s (ILM) screen machine’.” suit of armour that doubles as a means to protect test of the Iron Man ‘Mark I’ suit – there are With those two thoughts from the director, the world. As Iron Man, Stark is the ultimate Mark I, Mark II and Mark III suits. Supervising Boyes retreated to his studio’s library of sounds mechanical/technological innovation on his Sound Editor, Frank Eulner, did a pass on that to find a ‘steam donkey’ – a century-old winch exterior, and entirely human on the interior. for ILM. Jon saw that and fell in love with used to haul logs from gorges. This became the Frank’s work. That’s where the job landed on It was this premise that drove the sound design. basis of Iron Monger’s rougher sound. our doorstep, with Frank’s first pass at Mark I.” Up to the challenge was Skywalker Sound’s “It made incredible, weird moaning sounds of Christopher Boyes, who accepted the dual roles At that point, Boyes jumped headfirst into various different natures.