Cataclysm: the Ultimates Last Stand Free
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Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough 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 August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
The Avengers (Action) (2012)
1 The Avengers (Action) (2012) Major Characters Captain America/Steve Rogers...............................................................................................Chris Evans Steve Rogers, a shield-wielding soldier from World War II who gained his powers from a military experiment. He has been frozen in Arctic ice since the 1940s, after he stopped a Nazi off-shoot organization named HYDRA from destroying the Allies with a mystical artifact called the Cosmic Cube. Iron Man/Tony Stark.....................................................................................................Robert Downey Jr. Tony Stark, an extravagant billionaire genius who now uses his arms dealing for justice. He created a techno suit while kidnapped by terrorist, which he has further developed and evolved. Thor....................................................................................................................................Chris Hemsworth He is the Nordic god of thunder. His home, Asgard, is found in a parallel universe where only those deemed worthy may pass. He uses his magical hammer, Mjolnir, as his main weapon. The Hulk/Dr. Bruce Banner..................................................................................................Mark Ruffalo A renowned scientist, Dr. Banner became The Hulk when he became exposed to gamma radiation. This causes him to turn into an emerald strongman when he loses his temper. Hawkeye/Clint Barton.........................................................................................................Jeremy -
Famine and Foreigners: Ethiopia Since Live Aid This Page Intentionally Left Blank Famine and Foreigners: Ethiopia Since Live Aid
‘Th ank God for great journalism. Th is book is a much needed, ex- haustively researched and eff ortlessly well written recent history of Ethiopia. A book that strips away the cant and rumour, the pros and antis and thoroughly explains the people, politics and economics of that most beautiful nation. A superb and vital piece of work by some- one who clearly loves the country of which he writes.’ Bob Geldof ‘Th e great Ethiopian famine changed everything and nothing. It fun- damentally altered the rich world’s sense of its responsibility to the hungry and the poor, but didn’t solve anything. A quarter of a century on, we’re still arguing about the roots of the problem, let alone the so- lution, and—though there has been progress—Ethiopia’s food inse- curity gets worse, not better. Peter Gill was one of the most thorough and eff ective television journalists of his generation. He was there in 1984 and his work at the time added up to the most sensible, balanced and comprehensive explanation of what had happened. Twenty-fi ve years later, he’s gone back to test decades of aspiration against the re- alities on the ground. It’s a book that bridges journalism and history, judicious analysis with a strong, and often gripping, narrative. Always readable, but never glib, this is a must for all those who think there is a simple answer to the famine, still waiting in the wings. ’ Michael Buerk ‘No outsider understands Ethiopia better than Peter Gill. He com- bines compassion with a clinical commitment to the truth. -
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OrdErS PREVIEWS world.com duE th 18MAR 2013 MAR COMIC THE SHOP’S PREVIEWSPREVIEWS CATALOG CUSTOMER ORDER FORM Mar Cover ROF and COF.indd 1 2/7/2013 3:35:28 PM Available only STAR WARS: “BOBA FETT CHEST from your local HOLE” BLACK T-SHIRT comic shop! Preorder now! MACHINE MAN THE WALKING DEAD: ADVENTURE TIME: CHARCOAL T-SHIRT “KEEP CALM AND CALL “ZOMBIE TIME” Preorder now! MICHONNE” BLACK T-SHIRT BLACK HOODIE Preorder now! Preorder now! 3 March 13 COF Apparel Shirt Ad.indd 1 2/7/2013 10:05:45 AM X #1 kiNG CoNaN: Dark Horse ComiCs HoUr oF THe DraGoN #1 Dark Horse ComiCs GreeN Team #1 DC ComiCs THe moVemeNT #1 DoomsDaY.1 #1 DC ComiCs iDW PUBlisHiNG THe BoUNCe #1 imaGe ComiCs TeN GraND #1 UlTimaTe ComiCs imaGe ComiCs sPiDer-maN #23 marVel ComiCs Mar13 Gem Page ROF COF.indd 1 2/7/2013 2:21:38 PM Featured Items COMIC BOOKS & GRAPHIC NOVELS Mouse Guard: Legends of the Guard Volume 2 #1 l ARCHAIA ENTERTAINMENT Uber #1 l AVATAR PRESS Suicide Risk #1 l BOOM! STUDIOS Clive Barker’s New Genesis #1 l BOOM! STUDIOS Marble Season HC l DRAWN & QUARTERLY Black Bat #1 l D. E./DYNAMITE ENTERTAINMENT 1 1 Battlestar Galactica #1 l D. E./DYNAMITE ENTERTAINMENT Grimm #1 l D. E./DYNAMITE ENTERTAINMENT Wars In Toyland HC l ONI PRESS INC. The From Hell Companion SC l TOP SHELF PRODUCTIONS Valiant Masters: Shadowman Volume 1: The Spirits Within HC l VALIANT ENTERTAINMENT Rurouni Kenshin Restoration Volume 1 GN l VIZ MEDIA Soul Eater Soul Art l YEN PRESS BOOKS & MAGAZINES 2 Doctor Who: Who-Ology Official Miscellany HC l DOCTOR WHO / TORCHWOOD Doctor Who: The Official -
Avengers and Its Applicability in the Swedish EFL-Classroom
Master’s Thesis Avenging the Anthropocene Green philosophy of heroes and villains in the motion picture tetralogy The Avengers and its applicability in the Swedish EFL-classroom Author: Jens Vang Supervisor: Anne Holm Examiner: Anna Thyberg Date: Spring 2019 Subject: English Level: Advanced Course code: 4ENÄ2E 2 Abstract This essay investigates the ecological values present in antagonists and protagonists in the narrative revolving the Avengers of the Marvel Cinematic Universe. The analysis concludes that biocentric ideals primarily are embodied by the main antagonist of the film series, whereas the protagonists mainly represent anthropocentric perspectives. Since there is a continuum between these two ideals some variations were found within the characters themselves, but philosophical conflicts related to the environment were also found within the group of the Avengers. Excerpts from the films of the study can thus be used to discuss and highlight complex ecological issues within the EFL-classroom. Keywords Ecocriticism, anthropocentrism, biocentrism, ecology, environmentalism, film, EFL, upper secondary school, Avengers, Marvel Cinematic Universe Thanks Throughout my studies at the Linneaus University of Vaxjo I have become acquainted with an incalculable number of teachers and peers whom I sincerely wish to thank gratefully. However, there are three individuals especially vital for me finally concluding my studies: My dear mother; my highly supportive girlfriend, Jenniefer; and my beloved daughter, Evie. i Vang ii Contents 1 Introduction -
African Afro-Futurism: Allegories and Speculations
African Afro-futurism: Allegories and Speculations Gavin Steingo Introduction In his seminal text, More Brilliant Than The Sun, Kodwo Eshun remarks upon a general tension within contemporary African-American music: a tension between the “Soulful” and the “Postsoul.”1 While acknowledging that the two terms are always simultaneously at play, Eshun ultimately comes down strongly in favor of the latter. I quote him at length: Like Brussels sprouts, humanism is good for you, nourishing, nurturing, soulwarming—and from Phyllis Wheatley to R. Kelly, present-day R&B is a perpetual fight for human status, a yearning for human rights, a struggle for inclusion within the human species. Allergic to cybersonic if not to sonic technology, mainstream American media—in its drive to banish alienation, and to recover a sense of the whole human being through belief systems that talk to the “real you”—compulsively deletes any intimation of an AfroDiasporic futurism, of a “webbed network” of computerhythms, machine mythology and conceptechnics which routes, reroutes and criss- crosses the Atlantic. This digital diaspora connecting the UK to the US, the Caribbean to Europe to Africa, is in Paul Gilroy’s definition a “rhizo- morphic, fractal structure,” a “transcultural, international formation.” […] [By contrast] [t]he music of Alice Coltrane and Sun Ra, of Underground Resistance and George Russell, of Tricky and Martina, comes from the Outer Side. It alienates itself from the human; it arrives from the future. Alien Music is a synthetic recombinator, an applied art technology for amplifying the rates of becoming alien. Optimize the ratios of excentric- ity. Synthesize yourself. -
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Creating a Superheroine: a Rhetorical Analysis of the X-Men Comic Books
CREATING A SUPERHEROINE: A RHETORICAL ANALYSIS OF THE X-MEN COMIC BOOKS by Tonya R. Powers A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree MASTER OF ARTS Major Subject: Communication West Texas A&M University Canyon, Texas August, 2016 Approved: __________________________________________________________ [Chair, Thesis Committee] [Date] __________________________________________________________ [Member, Thesis Committee] [Date] __________________________________________________________ [Member, Thesis Committee] [Date] ____________________________________________________ [Head, Major Department] [Date] ____________________________________________________ [Dean, Fine Arts and Humanities] [Date] ____________________________________________________ [Dean, Graduate School] [Date] ii ABSTRACT This thesis is a rhetorical analysis of a two-year X-Men comic book publication that features an entirely female cast. This research was conducted using Kenneth Burke’s theory of terministic screens to evaluate how the authors and artists created the comic books. Sonja Foss’s description of cluster criticism is used to determine key terms in the series and how they were contributed to the creation of characters. I also used visual rhetoric to understand how comic book structure and conventions impacted the visual creation of superheroines. The results indicate that while these superheroines are multi- dimensional characters, they are still created within a male standard of what constitutes a hero. The female characters in the series point to an awareness of diversity in the comic book universe. iii ACKNOWLEDGEMENTS I wish to thank my thesis committee chair, Dr. Hanson, for being supportive of me within the last year. Your guidance and pushes in the right direction has made the completion of this thesis possible. You make me understand the kind of educator I wish to be. You would always reply to my late-night emails as soon as you could in the morning. -
Avengers Dissemble! Transmedia Superhero Franchises and Cultic Management
Taylor 1 Avengers dissemble! Transmedia superhero franchises and cultic management Aaron Taylor, University of Lethbridge Abstract Through a case study of The Avengers (2012) and other recently adapted Marvel Entertainment properties, it will be demonstrated that the reimagined, rebooted and serialized intermedial text is fundamentally fan oriented: a deliberately structured and marketed invitation to certain niche audiences to engage in comparative activities. That is, its preferred spectators are often those opinionated and outspoken fan cultures whose familiarity with the texts is addressed and whose influence within a more dispersed film- going community is acknowledged, courted and potentially colonized. These superhero franchises – neither remakes nor adaptations in the familiar sense – are also paradigmatic byproducts of an adaptive management system that is possible through the appropriation of the economics of continuity and the co-option of online cultic networking. In short, blockbuster intermediality is not only indicative of the economics of post-literary adaptation, but it also exemplifies a corporate strategy that aims for the strategic co- option of potentially unruly niche audiences. Keywords Marvel Comics superheroes post-cinematic adaptations Taylor 2 fandom transmedia cult cinema It is possible to identify a number of recent corporate trends that represent a paradigmatic shift in Hollywood’s attitudes towards and manufacturing of big budget adaptations. These contemporary blockbusters exemplify the new industrial logic of transmedia franchises – serially produced films with a shared diegetic universe that can extend within and beyond the cinematic medium into correlated media texts. Consequently, the narrative comprehension of single entries within such franchises requires an increasing degree of media literacy or at least a residual awareness of the intended interrelations between correlated media products. -
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. -
The Citizen Is Willing, but Society Won't Deliver
Myerscov3.qx 10/31/08 2:09 PM Page 2 THE CITIZEN IS WILLING, BUT SOCIETY WON’T DELIVER THE PROBLEM OF INSTITUTIONAL ROADBLOCKS Norman Myers and Jennifer Kent THE CITIZEN IS WILLING, BUT SOCIETY WON’T DELIVER: THE PROBLEM OF INSTITUTIONAL ROADBLOCKS Norman Myers and Jennifer Kent © 2008 International Institute for Sustainable Development (IISD), Norman Myers and Jennifer Kent Published by the International Institute for Sustainable Development The International Institute for Sustainable Development contributes to sustainable development by advancing policy recommendations on international trade and investment, economic policy, climate change, measurement and assessment, and natural resources management. Through the Internet, we report on international negotiations and share knowledge gained through collaborative projects with global partners, resulting in more rigorous research, capacity building in developing countries and better dialogue between North and South. IISD’s vision is better living for all—sustainably; its mission is to champion innovation, enabling societies to live sustainably. IISD is registered as a charitable organization in Canada and has 501(c)(3) status in the United States. IISD receives core operating support from the Government of Canada, provided through the Canadian International Development Agency (CIDA), the International Development Research Centre (IDRC) and Environment Canada; and from the Province of Manitoba. The institute receives project funding from numerous governments inside and outside Canada, United -
The Phoenix/Jean Grey Across Time and Media Lenise Prater Films
Gender and Power: The Phoenix/Jean Grey across Time and Media Lenise Prater Films based on comic books have been box-office successes in recent years, particularly the X-Men franchise, which is comprised of a trilogy and two prequels,1 and the X-Men trilogy. Through the characters of Jean Grey and Rogue these films represent women as largely unable to control their powers, and subsequently as significantly dangerous to men.2 Unfortunate- ly, these problematic representations of women are often explained, or even justified, by audience members who tacitly assume, given these films are based on comics of the 1960s, 1970s and 1980s, that these films will feature more conservative representations of gender. Even bloggers and journalists familiar with comic books offhandedly argue that the sexism in the movies is based on the sexism in the original comics. Journalist Jeff Al- exander, for example, argues that the inclusion of strong women in comic book movies is “an uphill battle,” because “so much of the original comic- book source material is inherently sexist and objectifying to begin with.”3 Similarly, blogger Wraith24, in a discussion of promotional poster for The Avengers, concludes “that even in 2012, the influences of old sexist comics is still quite prevalent.”4 Indeed, it would not, for example, be readily ac- ceptable to name a group of men and women “X-Men” in the year 2001, as is the case with the first movie, because using “man” to describe a group that is partly comprised of women does not make sense as it did in the COLLOQUY text theory critique 24 (2012).