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|||GET||| Little Hits Little Hits (Marvel Now) 1St Edition
LITTLE HITS LITTLE HITS (MARVEL NOW) 1ST EDITION DOWNLOAD FREE Matt Fraction | 9780785165637 | | | | | Little Hits by Matt Fraction (2013, Trade Paperback) Published by George G. Upon receiving it I was very happy to see that it was beyond my expectations. Believe the hype. Los Angeles Times. Doctor Spectrum Defenders of Dynatron City They were all pretty fun and hilarious, but nothing exactly to gush about. Doctor Doom and the Masters of Evil Foxing to endpapers. Death of the Inhumans Marvel. The Clint and Grills thread was touching and Kate's side of things painted New Jersey in a favorable light for once. Bullet Review: This was just so much fun and so clever. I've decided that I wanted this hardcover for my library but I did not hesitate in getting this trade paperback just so I could read issue It's told thru a lot of iconography and blurred dialogue. Thanos I've read the first volume couple of days ago, and while it was very entertaining with a distinctly different way of presenting Now THIS is why writer Matt Fraction is a genius, and this series is one of the most critically acclaimed Marvel comics in the last years! As the name of this collection says, it is a trade of one-offs and short arcs. Alassaid : an agent of the Communist interThe squadred is now slated to apartment by putting itching lead in the Big Ten Closing Thoughts: Another futzing volume down already? Even if you read it before, bro. Defenders Marvel. It's a fun story, slightly let down by the artwork. -
(“Spider-Man”) Cr
PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership. -
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. -
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. -
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 ............................................................................................. -
Deathlok and African American Slavery in Contemporary Society╊
James Madison University JMU Scholarly Commons Proceedings of the Tenth Annual MadRush MAD-RUSH Undergraduate Research Conference Conference: Best Papers, Spring 2019 “The Living Nightmare: Deathlok and African American Slavery in Contemporary Society” Christian Organ Follow this and additional works at: https://commons.lib.jmu.edu/madrush Part of the Literature in English, North America, Ethnic and Cultural Minority Commons Organ, Christian, "“The Living Nightmare: Deathlok and African American Slavery in Contemporary Society”" (2019). MAD-RUSH Undergraduate Research Conference. 1. https://commons.lib.jmu.edu/madrush/2019/nightmare/1 This Event is brought to you for free and open access by the Conference Proceedings at JMU Scholarly Commons. It has been accepted for inclusion in MAD-RUSH Undergraduate Research Conference by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Organ 1 Christian Organ ENG 359 Dr. Godfrey The Living Nightmare: Deathlok and African American Slavery in Contemporary Society Marvel’s limited series Deathlok #1-4 ends its third issue with Deathlok confronting his creator Harlan Ryker at the corporate headquarters of Roxxon Oil. Deathlok laments Ryker’s murder of his old self and the life he lived as Michael Collins, a black man employed at Roxxon Oil who worked for Ryker in the cybernetics department. Collins, as Deathlok, asks Ryker, “Was it whimsey that made you put me into your precious toy? Was it the puppeteer in you that found joy in programming me to destroy, in forcing me to kill?” (Deathlok #3, Figure 1). The Deathlok in this scene is almost the antithesis of the Michael Collins the reader is presented at the beginning of the comics. -
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. -
Prince Raffaele Rosenberg
1 PRINCE RAFFAELE ROSENBERG PARENTAL ADVISORY | $4.99 US 0 0 1 1 1 7 59606 09220 8 BONUS DIGITAL EDITION – DETAILS INSIDE! Writer Artist Color Artist W. MAXWELL PRINCE STEFFANO RAFFAELE RACHELLE ROSENBERG Letterer Cover Art Variant Cover Art VC’s TRAVIS LANHAM JUAN FERREYRA INHYUK LEE Editor Consulting Editor Editor In Chief Chief Creative Officer President Executive Producer CHRIS JORDAN D. C.B. JOE DAN ALAN ROBINSON WHITE CEBULSKI QUESADA BUCKLEY FINE MARVEL ZOMBIE No. 1, December 2018. Published as a One-Shot by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC. OFFICE OF PUBLICATION: 135 West 50th Street, New York, NY 10020. © 2018 MARVEL No similarity between any of the names, characters, persons, and/or institutions in this magazine with those of any living or dead person or institution is intended, and any such similarity which may exist is purely coincidental. $4.99 per copy in the U.S. (GST #R127032852) in the direct market; Canadian Agreement #40668537. Printed in the USA. DAN BUCKLEY, President, Marvel Entertainment; JOHN NEE, Publisher; JOE QUESADA, Chief Creative Officer; TOM BREVOORT, SVP of Publishing; DAVID BOGART, SVP of Business Affairs & Operations, Publishing & Partnership; DAVID GABRIEL, SVP of Sales & Marketing, Publishing; JEFF YOUNGQUIST, VP of Production & Special Projects; DAN CARR, Executive Director of Publishing Technology; ALEX MORALES, Director of Publishing Operations; DAN EDINGTON, Managing Editor; SUSAN CRESPI, Production Manager; STAN LEE, Chairman Emeritus. For information regarding advertising in Marvel Comics or on Marvel.com, please contact Vit DeBellis, Custom Solutions & Integrated Advertising Manager, at [email protected]. For Marvel subscription inquiries, please call 888-511-5480. -
Made-For-TV Movies Adapted from Marvel Comics Properties
DePaul University Via Sapientiae College of Communication Master of Arts Theses College of Communication Summer 8-2013 From Panels to Primetime: Made-for-TV Movies Adapted from Marvel Comics Properties Jef Burnham DePaul University Follow this and additional works at: https://via.library.depaul.edu/cmnt Part of the Communication Commons Recommended Citation Burnham, Jef, "From Panels to Primetime: Made-for-TV Movies Adapted from Marvel Comics Properties" (2013). College of Communication Master of Arts Theses. 22. https://via.library.depaul.edu/cmnt/22 This Thesis is brought to you for free and open access by the College of Communication at Via Sapientiae. It has been accepted for inclusion in College of Communication Master of Arts Theses by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. From Panels to Primetime Made-for-TV Movies Adapted from Marvel Comics Properties By Jef Burnham, B.A. Thesis Presented to the Faculty of the Graduate School of DePaul University in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Media and Cinema Studies DePaul University July 2013 For Alistair. iii Acknowledgements I may have found inspiration for this thesis in my love of made-for-TV movies adapted from comic books, but for the motivation to complete this project I am entirely indebted to my wife, Amber, and our son, Alistair. With specific regard to the research herein, I would like to thank Ben Grisanti for turning me onto The Myth of the American Superhero , as well as authors Andy Mangels and James Van Hise for their gracious responses to my Facebook messages and emails that ultimately led me to Jack Mathis’ book, Valley of the Cliffhangers. -
Marvel January – April 2021
MARVEL Aero Vol. 2 The Mystery of Madame Huang Zhou Liefen, Keng Summary THE MADAME OF MYSTERY AND MENACE! LEI LING finally faces MADAME HUANG! But who is Huang, and will her experience and power stop AERO in her tracks? And will Aero be able to crack the mystery of the crystal jade towers and creatures infiltrating Shanghai before they take over the city? COLLECTING: AERO (2019) 7-12 Marvel 9781302919450 Pub Date: 1/5/21 On Sale Date: 1/5/21 $17.99 USD/$22.99 CAD Paperback 136 Pages Carton Qty: 40 Ages 13 And Up, Grades 8 to 17 Comics & Graphic Novels / Superheroes CGN004080 Captain America: Sam Wilson - The Complete Collection Vol. 2 Nick Spencer, Daniel Acuña, Angel Unzueta, Paul Re... Summary Sam Wilson takes flight as the soaring Sentinel of Liberty - Captain America! Handed the shield by Steve Rogers himself, the former Falcon is joined by new partner Nomad to tackle threats including the fearsome Scarecrow, Batroc and Baron Zemo's newly ascendant Hydra! But stepping into Steve's boots isn't easy -and Sam soon finds himself on the outs with both his old friend and S.H.I.E.L.D.! Plus, the Sons of the Serpent, Doctor Malus -and the all-new Falcon! And a team-up with Spider-Man and the Inhumans! The headline- making Sam Wilson is a Captain America for today! COLLECTING: CAPTAIN AMERICA (2012) 25, ALL-NEW CAPTAIN AMERICA: FEAR HIM (2015) 1-4, ALL-NEW CAPTAIN AMERICA (2014) 1-6, AMAZING SPIDERMAN SPECIAL (2015) 1, INHUMAN SPECIAL (2015) 1, Marvel ALL-NEW CAPTAIN AMERICA SPECIAL (2015) 1, CAPTAIN AMERICA: SAM WILSON (2015) 1-6 9781302922979 Pub Date: 1/5/21 On Sale Date: 1/5/21 $39.99 USD/$49.99 CAD Paperback 504 Pages Carton Qty: 40 Ages 13 And Up, Grades 8 to 17 Comics & Graphic Novels / Superheroes CGN004080 Marvel January to April 2021 - Page 1 MARVEL Guardians of the Galaxy by Donny Cates Donny Cates, Al Ewing, Tini Howard, Zac Thompson, .. -
39155 369E8e52840f888dd93c
Age of Ultron (AU) (crossover Amazing Spider-Man Annual, The. Anole 698 series) 698 See Spider-Man, Amazing Spider- Ant-Man (1st) 225, 226, 229, 231, Index Agent X 679 Man Annual, The 235, 236–37, 240–41, 300, 305, Agents of S. H. I. E. L. D. (TV Amazing Spider-Man Special, The. 317, 325, 485, 501–03, 628, 681. Italic numerals refer to pages of the series) 699. See also Captain See Spider-Man, Amazing Spider- See also Giant-Man; Goliath (1st); TASCHEN book 75 Years of Marvel America, Captain America: Man Special, The Henry (Hank) Pym; Wasp, The which include images. The Winter Soldier (movie); Amazing Spider-Man, The (book). See (1st); Yellowjacket (1st) S. H. I. E. L. D. Spider-Man, Amazing Spider- Ant-Man (2nd) 581, 591, 628, 653. A Aggamon 281 Man, The (book) See also Scott Lang “Amazing Case of the Human Torch, Aja, David 685, 697 “Amazing Spider-Man, The” (comic Ant-Man (3rd) 691 The” (short story) 55 Alascia, Vince 29, 63, 68, 100 strip). See Spider-Man, “Amazing Antonioni, Michelangelo 468 A.I.M. (Advanced Idea Alcala, Alfredo 574 Spider-Man, The” (comic strip) Apache Kid 120. See also Western Mechanics) 381 Alderman, Jack 73 Amazing Spider-Man, The (movie). Gunfighters (vols. 1–2) Aaron Stack 596. See also Machine Aldrin, Edwin (“Buzz”) 453 See Spider-Man, Amazing Spider- Apache Kid, The 106 Man Alex Summers 475. See also Havok Man, The (movie) Apocalypse 654 Aaron, Jason 691, 694 Alf 649 Amazing Spider-Man, The (TV Apollo 11 453 ABC (American Broadcasting Alias (live TV version) 699 series) (1977–79).