|||GET||| Watchmen: the Deluxe Edition 1St Edition
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From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K
From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas (http://www.lasalle.edu/library/vietnam/FilmIndex/home.htm) compiled by John K. McAskill, La Salle University ([email protected]) W2835 WATCHMEN (USA, 2009) Credits: director, Zack Snyder ; writers, David Hayter, Alex Tse ; graphic novel, Alan Moore, Dave Gibbons. Cast: Malin Akerman, Billy Crudup, Matthew Goode, Jackie Earle Haley, Jeffrey Dean Morgan, Patrick Wilson, Carla Gugino. Summary: Science fiction/superhero film based on the graphic novel written by Alan Moore and illustrated by Dave Gibbons. Set in an alternative 1985 US governed by Richard Nixon with occasional flashbacks to prior events. Masked superheroes were a normal part of American life through the 1960s. In Vietnam, the Comedian (Morgan) wields a flame thrower and engages in ground combat operations until the radioactive blue giant Dr. Manhattan (Crudup) arrives, at the behest of President Nixon, and ends the war in a matter of weeks. A formation of surrendering Viet Cong bow down to the Dr. like a god. In a Saigon bar shortly thereafter, the Comedian is confronted by his pregnant Vietnamese mistress about the future of their unborn child and he calmly shoots her. After Vietnam, masked superheroes were forced into retirement. However, as Cold War tensions between the US and the Soviet Union begin to rise, a washed up but no less determined masked vigilante named Rorschach (Haley) discovers a plot to kill and discredit all past and present superheroes. As Rorschach and his small group of retired superheroes investigate, they discover a deeper conspiracy with links to their shared past and catastrophic consequences for the future. -
My Beloved Is a Bass Line: Musical, De-Colonial Interventions in Song Criticism and Sacred Erotic Discourse
THE BIBLE & CRITICAL THEORY My Beloved is a Bass Line: Musical, De-colonial Interventions in Song Criticism and Sacred Erotic Discourse Heidi Epstein, University of Saskatchewan Abstract How might musical settings of the Song of Songs provide critical interventions in the politics of love? This case study builds a womanist intertextual matrix for the Song such that its amatory and horticultural language can be reinterpreted as irreducibly “de-colonial.” Reread through Chela Sandoval’s model of love, Alice Walker’s search for her foremothers’ and foresisters’ gardens, and Toni Morrison’s “commentary” on the Song (Beloved), the biblical text circulates de-colonial energies. And, given that music figures centrally in these womanists’ genealogies of love, a de-colonial reading of the Song mandates deconstruction of a subaltern musical archive within the Eurocentric discourse of sacred eroticism, a discourse that the Song sustains as an Ur-text. If the biblical female protagonist’s longing and seeking are reread as de-colonial and trickster-esque, she begets a subaltern musical family tree—audible today in the “Shulammitic” bass playing and protest singing of Meshell Ndegeocello. Key words Meshell Ndegeocello; Song of Songs; Bible and music; love; de-colonial theory; Toni Morrison; Alice Walker Introduction What meanings might be produced from the Song of Song’s amatory and horticultural language if it is read with a sense of love as irreducibly “de-colonial”? Some of these meanings shall emerge over the course of this article as I re-read the Song of Song’s imagery and its musicality in four phases through womanist intertexts by Chela Sandoval, Toni Morrison, Alice Walker, and Meshell Ndegeocello. -
Tolono Library CD List
Tolono Library CD List CD# Title of CD Artist Category 1 MUCH AFRAID JARS OF CLAY CG CHRISTIAN/GOSPEL 2 FRESH HORSES GARTH BROOOKS CO COUNTRY 3 MI REFLEJO CHRISTINA AGUILERA PO POP 4 CONGRATULATIONS I'M SORRY GIN BLOSSOMS RO ROCK 5 PRIMARY COLORS SOUNDTRACK SO SOUNDTRACK 6 CHILDREN'S FAVORITES 3 DISNEY RECORDS CH CHILDREN 7 AUTOMATIC FOR THE PEOPLE R.E.M. AL ALTERNATIVE 8 LIVE AT THE ACROPOLIS YANNI IN INSTRUMENTAL 9 ROOTS AND WINGS JAMES BONAMY CO 10 NOTORIOUS CONFEDERATE RAILROAD CO 11 IV DIAMOND RIO CO 12 ALONE IN HIS PRESENCE CECE WINANS CG 13 BROWN SUGAR D'ANGELO RA RAP 14 WILD ANGELS MARTINA MCBRIDE CO 15 CMT PRESENTS MOST WANTED VOLUME 1 VARIOUS CO 16 LOUIS ARMSTRONG LOUIS ARMSTRONG JB JAZZ/BIG BAND 17 LOUIS ARMSTRONG & HIS HOT 5 & HOT 7 LOUIS ARMSTRONG JB 18 MARTINA MARTINA MCBRIDE CO 19 FREE AT LAST DC TALK CG 20 PLACIDO DOMINGO PLACIDO DOMINGO CL CLASSICAL 21 1979 SMASHING PUMPKINS RO ROCK 22 STEADY ON POINT OF GRACE CG 23 NEON BALLROOM SILVERCHAIR RO 24 LOVE LESSONS TRACY BYRD CO 26 YOU GOTTA LOVE THAT NEAL MCCOY CO 27 SHELTER GARY CHAPMAN CG 28 HAVE YOU FORGOTTEN WORLEY, DARRYL CO 29 A THOUSAND MEMORIES RHETT AKINS CO 30 HUNTER JENNIFER WARNES PO 31 UPFRONT DAVID SANBORN IN 32 TWO ROOMS ELTON JOHN & BERNIE TAUPIN RO 33 SEAL SEAL PO 34 FULL MOON FEVER TOM PETTY RO 35 JARS OF CLAY JARS OF CLAY CG 36 FAIRWEATHER JOHNSON HOOTIE AND THE BLOWFISH RO 37 A DAY IN THE LIFE ERIC BENET PO 38 IN THE MOOD FOR X-MAS MULTIPLE MUSICIANS HO HOLIDAY 39 GRUMPIER OLD MEN SOUNDTRACK SO 40 TO THE FAITHFUL DEPARTED CRANBERRIES PO 41 OLIVER AND COMPANY SOUNDTRACK SO 42 DOWN ON THE UPSIDE SOUND GARDEN RO 43 SONGS FOR THE ARISTOCATS DISNEY RECORDS CH 44 WHATCHA LOOKIN 4 KIRK FRANKLIN & THE FAMILY CG 45 PURE ATTRACTION KATHY TROCCOLI CG 46 Tolono Library CD List 47 BOBBY BOBBY BROWN RO 48 UNFORGETTABLE NATALIE COLE PO 49 HOMEBASE D.J. -
|||GET||| Watchmen 1St Edition
WATCHMEN 1ST EDITION DOWNLOAD FREE John Higgins | 9781401219260 | | | | | The Watchmen by Alan Moore, First Edition August 26, Archived from the original on February 11, The Comics Journal July Though he attempted to flee from the authorities, Rorschach is ultimately captured and unmasked as Walter Kovacs. Gibbons recalled that "[t]he script for the first issue of Watchmen was, I think, Watchmen 1st edition of typescript—single-spaced—with no gaps between the individual panel descriptions or, indeed, even between the pages. Moore noted that the artist paid particular attention to lighting and subtle color changes; in issue six, Higgins began with "warm and cheerful" colors and throughout the issue gradually made it darker to Watchmen 1st edition the story a dark and bleak feeling. Cover wraps show some general use and shelf wear. Watchmen at Wikipedia's sister projects. InBrain Scan Studios released the parody Watchmenscha comic in which writer Rich Johnston chronicled "the debate surrounding Watchmenthe original contracts, the current legal suits over the Fox contract". Seller Rating:. Published by Warner Books, U. While many of the heroes retired, Doctor Manhattan and another superhero, known as The Comedian, operate as government-sanctioned agents. Condition: Bien. The post office and other shippers Watchmen 1st edition overwhelmed and some shipments may experience significant delays. Published by Dc Comics, New York Rorschach refuses to compromise and leaves, intent on revealing the truth. March 14, The television show takes place in34 years after the end of the limited series, and is primarily set in Tulsa, Oklahoma. Internals are clean and unmarked. So Watchmen 1st edition the plot itself is of no great consequence The main thrust of the story essentially hinges on what is called a macguffina gimmick About this Item: DC Comics. -
Alan Moore and Dave Gibbons's Watchmen
NACAE National Association of Comics Art Educators Reading Questions: Alan Moore and Dave Gibbons's Watchmen 1. What different themes does this book explore? Be as detailed and exhaustive as possible. 2. Pick a panel and analyze how Moore and Gibbons combine text and visuals to their utmost effect. 3. Pick a page and analyze its overall layout. How does the page as a whole make use of the comic book format to achieve meaning and impact. You might find it helpful to consider the larger themes of Watchmen. 4. Visual motifs are recurrent images that take on specific meanings relevant to a given work. What visual motifs appear throughout Watchmen and what meanings do they suggest? 5. How does the issue of crimefighting evolve over time in the world imagined in Watchmen? 6. Consider the names "Rorschach" and "Ozymandias." Why are these particularly appropriate names for these two characters? 7. Which character or characters do you sympathize with most? Why? 8. What does Chapter IV, "Watchmaker," reveal to us about Dr. Manhattan? How does he experience time? What are his interests? How would you summarize his view of existence? 9. How do Moore and Gibbons use the imagined history in Watchmen to comment on real events in 20th century America? 10. Look closely at Chapter V, "Fearful Symmetry." How does the idea of "symmetry" play out in this chapter in both form and content? 11. What are the worldviews of Dr. Manhattan, Rorschach, and Adrian Veidt? Where do these worldviews intersect? Where do they differ? 12. What does Watchmen suggest about masked crimefighters and their costumes? Which characters bring these ideas most clearly into focus? 13. -
The Power of Subtext and the Politics of Closure: an Examination of Self, Representation, and Audience in 3 Narrative Forms
THE POWER OF SUBTEXT AND THE POLITICS OF CLOSURE: AN EXAMINATION OF SELF, REPRESENTATION, AND AUDIENCE IN 3 NARRATIVE FORMS by Adam Berzak A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida August 2010 ACKNOWLEDGEMENTS I would like to thank the members of my thesis committee—Dr. Youngberg, Dr. Barrios, and Dr. Berlatsky—for their patience and guidance throughout the development of this project. I would also like to express my gratitude towards Barri, Gary, Mookie, Quincy, and Lucy for their enduring love and support. Not least, thank you to Alissa Feffer for cherishing the ‘real’ me. iii ABSTRACT Author: Adam Berzak Title: The Power of Subtext and the Politics of Closure: An Examination of Self, Representation, and Audience in 3 Narrative Forms Institution: Florida Atlantic University Thesis Advisor: Quentin Youngberg Degree: Master of Arts Year: 2010 This thesis explores the ways that certain artists—including Joseph Conrad, Alan Moore, Richard Attenborough, and Francis Ford Coppola—break from their inherited traditions in order to speak from an alternative perspective to western discourse. Conventional narrative formulas prescribe that meaning will be revealed in a definitive end, but all of the texts discussed reveal other avenues through which it is discerned. In Heart of Darkness, the tension between two divergent narratives enables Conrad to speak beyond his social context and imperialist limitations to demonstrate that identity is socially constructed. In Watchmen, Moore breaks from comic convention to illustrate ways meaning may be ascertained despite the lack of plot ends. -
Commodity Master List
Commodity Master List 005 ABRASIVES 010 ACOUSTICAL TILE, INSULATING MATERIALS, AND SUPPLIES 015 ADDRESSING, COPYING, MIMEOGRAPH, AND SPIRIT DUPLICATING MACHINE SUPPLIES: CHEMICALS, INKS, PAPER, ETC. 019 AGRICULTURAL CROPS AND GRAINS INCLUDING FRUITS, MELONS, NUTS, AND VEGETABLES 020 AGRICULTURAL EQUIPMENT, IMPLEMENTS, AND ACCESSORIES (SEE CLASS 022 FOR PARTS) 022 AGRICULTURAL IMPLEMENT AND ACCESSORY PARTS 025 AIR COMPRESSORS AND ACCESSORIES 031 AIR CONDITIONING, HEATING, AND VENTILATING: EQUIPMENT, PARTS AND ACCESSORIES (SEE RELATED ITEMS IN CLASS 740) 035 AIRCRAFT AND AIRPORT, EQUIPMENT, PARTS, AND SUPPLIES 037 AMUSEMENT, DECORATIONS, ENTERTAINMENT, TOYS, ETC. 040 ANIMALS, BIRDS, MARINE LIFE, AND POULTRY, INCLUDING ACCESSORY ITEMS (LIVE) 045 APPLIANCES AND EQUIPMENT, HOUSEHOLD TYPE 050 ART EQUIPMENT AND SUPPLIES 052 ART OBJECTS 055 AUTOMOTIVE ACCESSORIES FOR AUTOMOBILES, BUSES, TRUCKS, ETC. 060 AUTOMOTIVE MAINTENANCE ITEMS AND REPAIR/REPLACEMENT PARTS 065 AUTOMOTIVE BODIES, ACCESSORIES, AND PARTS 070 AUTOMOTIVE VEHICLES AND RELATED TRANSPORTATION EQUIPMENT 075 AUTOMOTIVE SHOP EQUIPMENT AND SUPPLIES 080 BADGES, EMBLEMS, NAME TAGS AND PLATES, JEWELRY, ETC. 085 BAGS, BAGGING, TIES, AND EROSION CONTROL EQUIPMENT 090 BAKERY EQUIPMENT, COMMERCIAL 095 BARBER AND BEAUTY SHOP EQUIPMENT AND SUPPLIES 100 BARRELS, DRUMS, KEGS, AND CONTAINERS 105 BEARINGS (EXCEPT WHEEL BEARINGS AND SEALS -SEE CLASS 060) 110 BELTS AND BELTING: AUTOMOTIVE AND INDUSTRIAL 115 BIOCHEMICALS, RESEARCH 120 BOATS, MOTORS, AND MARINE AND WILDLIFE SUPPLIES 125 BOOKBINDING SUPPLIES -
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. -
“The Superman Exists, and He Is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture
Connecticut College Digital Commons @ Connecticut College Film Studies Honors Papers Film Studies Program 2010 “The upS erman Exists, and He is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture Richard Charles Abate Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/filmhp Part of the American Film Studies Commons, American Popular Culture Commons, and the Film and Media Studies Commons Recommended Citation Abate, Richard Charles, "“The uS perman Exists, and He is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture" (2010). Film Studies Honors Papers. 2. http://digitalcommons.conncoll.edu/filmhp/2 This Honors Paper is brought to you for free and open access by the Film Studies Program at Digital Commons @ Connecticut College. It has been accepted for inclusion in Film Studies Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. “The Superman Exists, and He is American”: Graphic Novel Film Adaptations and Masculine Heroism in Post-9/11 Culture An Honors Thesis presented by Richard Charles Abate to The Department of Film Studies in partial fulfillment of the requirements for Honors in the Major Field Connecticut College New London, Connecticut May 2010 Acknowledgements I would like to thank Professor Nina Martin for advising me throughout this project and for introducing me to the wonderful world of film theory. I would also like to thank my readers, Professor Simon Hay and Professor David Greven, for taking the time to read over drafts of this thesis and for their invaluable comments and constructive criticisms. -
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. -
The Annotated Watchmen 1
THE ANNOTATED WATCHMEN 1 Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 THE ANNOTATED WATCHMEN by Doug Atkinson Watchmen is a trademark of DC Comics Inc., copyright 1995. These annotations copyright 1995 by Doug Atkinson. They may be freely copied and distributed, provided the text is not altered. INTRODUCTION The Annotated Watchmen was written for several reasons. The series is packed with detail, more so than almost any other, and much of that detail is easily missed. Much of the background of the world is not given straight out, but has to be inferred. There are several ongoing motifs that are worth spotting. My goal in annotating the series is to highlight and explain all these points. by Doug Atkinson 2 The Annotations are intended for the secondtime reader, someone who's read through once, knows the basic plot, but missed a lot of the detail and wants to find it. If you are reading them along with your first reading of the series, you may find that it spoils some of the surprise. Caveat lector. (I have removed most of the blatant spoilers from earlier editions.) A few conventions are worth explaining. The reason I quote newspaper headlines and signs is that some of them are hard to read, and I'm trying to save eyestrain on the reader's part. Although some of the headlines have text larger than the dialogue, I decided to be consistent and quote them all. References such as 4:12:2 are to issue:page:panel (so the example would refer to issue 4, page 12, panel 2). -
Discovering the Literary Relevancy of Watchmen: a Review of the Graphic
Running head: LITERARY RELEVANCY OF WATCHMEN 1 Discovering the Literary Relevancy of Watchmen A Review of the Graphic Novel’s Philosophical Themes (2 inches) Tyler Flynn (2 inches) A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2012 (1.5 inches) LITERARY RELEVANCY OF WATCHMEN 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Dr. Carey Martin, Ph.D. Thesis Chair (1 inch) ______________________________ Dr. Cliff Kelly, Ph.D. Committee Member (1 inch) ______________________________ Dr. David Duby, Ph.D. Committee Member (1 inch) ______________________________ Brenda Ayres, Ph.D. Honors Director (1 inch) ______________________________ Date LITERARY RELVANCY OF WATCHMEN 3 Abstract The American comic book, specifically those of the superhero genre, is a medium that has been associated with stagnant, morally upright characters and formulaic plots. However, author Alan Moore and artist Dave Gibbons changed said stigma with their groundbreaking series Watchmen . An analysis of the work’s storyline, as well as some of the main characters, will reveal the deep philosophical and psychological underpinnings of the graphic novel, and, more importantly, its literary merit. A Christian interpretation of the work will also be presented. LITERARY RELEVANCY OF WATCHMEN 4 Discovering the Literary Relevancy of Watchmen A Review of the Graphic Novel’s Philosophical Themes The advent of the superhero is widely agreed to have been initiated by Jerry Siegel and Joe Schuster with the creation of Superman in the 1938 publication of Action Comics #1 (Goulart 43).