Exhibit B: Business and Business Plan VIRAL FILMS MEDIA LLC
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“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
Generic Transformation in the Superhero Film Genre by Noah Goodman
GENERIC TRANSFORMATION IN THE SUPERHERO FILM GENRE BY NOAH GOODMAN Reaffirmation of Myth: Humorous Burlesque: • Questions the • Pokes fun at the traditional heroic overused tropes of the values of the genre genre • Lighter, comedic tone • Reaffirms traditional • Graphic violence as heroic values as comedy being true • Non-heroic protagonist • Enforces the idea of • Satirizes interconnection (i.e. interconnected the MCU) superhero films INTRODUCTION: According to film genre theorist, John G. Cawelti, there are four modes at which a film genre can undergo generic transformation. Cawelti states these modes are “humorous burlesque, evocation of nostalgia, demythologization of generic myth, and the affirmation of myth as myth” (Cawelti 295). Despite it being a relatively new film genre, the superhero genre has already had a multitude of films to already fit these four modes declared by Cawelti. However, no other films express these four modes as greatly as Tim Miller’s Deadpool (2016), Patty Jenkin’s Wonder Woman (2017), James Mangold’s Logan (2017), and Joe and Anthony Russo’s Captain America: The Winter Soldier (2014), respectively. DEFINITION OFTERMS: • Humorous Burlesque: tropes used in the genre are situated in a way to invoke laughter and are satirized • Evocation of Nostalgia: uses genre conventions to recreate aura of the past while establishing a relationship to the present • Demythologization: invokes the traditional genre conventions and demonstrates them as inadequate and destructive • Reaffirmation of Myth: questions genre conventions and ultimately reaffirmed at least partially Demythologization: Evocation of • More realistic tone Nostalgia: • Reference to myth as • Repisodic nostalgia being inadequate and based around pop false culture • Disillusioned • Traditional, heroic protagonist protagonist with • Shows the violence of unwavering beliefs super heroic actions • Thematic mending of • Darker promotional past and present material societal issues. -
Media Industry Approaches to Comic-To-Live-Action Adaptations and Race
From Serials to Blockbusters: Media Industry Approaches to Comic-to-Live-Action Adaptations and Race by Kathryn M. Frank A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Lisa A. Nakamura Associate Professor Aswin Punathambekar © Kathryn M. Frank 2015 “I don't remember when exactly I read my first comic book, but I do remember exactly how liberated and subversive I felt as a result.” ― Edward W. Said, Palestine For Mom and Dad, who taught me to be my own hero ii Acknowledgements There are so many people without whom this project would never have been possible. First and foremost, my parents, Paul and MaryAnn Frank, who never blinked when I told them I wanted to move half way across the country to read comic books for a living. Their unending support has taken many forms, from late-night pep talks and airport pick-ups to rides to Comic-Con at 3 am and listening to a comics nerd blather on for hours about why Man of Steel was so terrible. I could never hope to repay the patience, love, and trust they have given me throughout the years, but hopefully fewer midnight conversations about my dissertation will be a good start. Amanda Lotz has shown unwavering interest and support for me and for my work since before we were formally advisor and advisee, and her insight, feedback, and attention to detail kept me invested in my own work, even in times when my resolve to continue writing was flagging. -
De Cómics, Narrativas Y Multiversos Transmediáticos: Re-Conceptualizando Al Hombre Araña En Spider-Man: Un Nuevo Universo
MHCJ Vol. 11 (2) | Año 2020 - Artículo nº10 (161) - Páginas 201 a 220 - mhjournal.org Fecha recepción: 30/03/2020 Fecha revisión: 21/05/2020 Fecha de publicación: 31/07/2020 De cómics, narrativas y multiversos transmediáticos: re-conceptualizando al hombre araña en Spider-Man: Un Nuevo Universo María Inmaculada Parra Martínez | [email protected] Universidad Católica San Antonio de Murcia, Murcia (España) Resumen Palabras clave “Animación”; “Cómic”; “Cultura-popular”; Este artículo examina la nueva versión animada de la franquicia “Narrativa”; “Spider-Man”; “Transmedia”. Spider-Man en términos de las elecciones narrativas y artísticas Sumario 1. Introducción. de sus creadores, para ofrecer una respuesta potencial acerca del 2. Contextualizando el Spider-Verso dentro de la franquicia de superhéroes. éxito de la película más aclamada por la crítica sobre el personaje 3. Vuelve la página: regreso al estilo cómic. arácnido. Teniendo en cuenta la complejidad que caracteriza a esta 3.1. Textura cómic. 3.2. Léxico de cómic. producción, especialmente con respecto a su historia, su densidad 4. Una red de múltiples dimensiones: el Spider-Verso como un universo Transmedia. técnica y su proyección transmedia, se emplea un enfoque 5. Conclusión. multidisciplinario para estudiar las múltiples dimensiones de esta 6. Bibliografía. película. Este artículo ofrece primero una contextualización del personaje del superhéroe y las diferentes historias que inspiraron la creación de esta, para luego presentar un análisis de su estilo artístico y la naturaleza transmedia de la misma. En particular, este artículo argumenta que la animación en formato cómic de esta película, combinada con la identidad transmedia de su narrativa, son las opciones más idóneas para la re-conceptualización de este personaje, ya que recuperan la esencia del género de superhéroes, a la vez que apelan a la dimensión social de su audiencia actual, de manera más efectiva que sus predecesores. -
The Birth and Death of the Superhero Film
The Birth and Death of the Superhero Film RUNNING HEAD: The Superhero Film The Birth and Death of the Superhero Film Sander L. Koole Daniel Fockenberg Mattie Tops Iris K. Schneider VU University Amsterdam Draft: October 30, 2012 To appear in: Daniel Sullivan and Jeff Greenberg (Eds.) Fade to Black: Death in Classic and Contemporary Cinema KEYWORDS: Terror management, superhero, cinema Author Note Sander L. Koole, Department of Clinical Psychology, VU University Amsterdam, The Netherlands. Preparation of this chapter was facilitated by a Consolidator Grant from the European Research Council (ERC-2011-StG_20101124) awarded to Sander L. Koole. Address correspondence to Sander L. Koole, Department of Social Psychology, VU University Amsterdam, van der Boechorststraat 1, 1081 BT, Amsterdam, the Netherlands. Email: [email protected]. 1 The Birth and Death of the Superhero Film The Birth and Death of the Superhero Film In the late 1970s, when one of the authors of this chapter was at an impressionable age, his parents took him for the first time to a movie theatre. The experience was, in a single word, overwhelming. The epic music, accompanied by dazzling visuals and a delightful story, transported the young boy to a brand-new and brightly colored universe where just about anything seemed possible. When lights switched on and the credits appeared, our boy felt alive and bursting with energy. Indeed, as the movie ads had promised, he found himself believing that a man could fly. The movie, of course, was Richard Donner’s Superman (1978), the first superhero story to come out as a major feature film. -
Hawkman in the Bronze Age!
HAWKMAN IN THE BRONZE AGE! July 2017 No.97 ™ $8.95 Hawkman TM & © DC Comics. All Rights Reserved. BIRD PEOPLE ISSUE: Hawkworld! Hawk and Dove! Nightwing! Penguin! Blue Falcon! Condorman! featuring Dixon • Howell • Isabella • Kesel • Liefeld McDaniel • Starlin • Truman & more! 1 82658 00097 4 Volume 1, Number 97 July 2017 EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow Comics’ Bronze Age and Beyond! DESIGNER Rich Fowlks COVER ARTIST George Pérez (Commissioned illustration from the collection of Aric Shapiro.) COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Alter Ego Karl Kesel Jim Amash Rob Liefeld Mike Baron Tom Lyle Alan Brennert Andy Mangels Marc Buxton Scott McDaniel John Byrne Dan Mishkin BACK SEAT DRIVER: Editorial by Michael Eury ............................2 Oswald Cobblepot Graham Nolan Greg Crosby Dennis O’Neil FLASHBACK: Hawkman in the Bronze Age ...............................3 DC Comics John Ostrander Joel Davidson George Pérez From guest-shots to a Shadow War, the Winged Wonder’s ’70s and ’80s appearances Teresa R. Davidson Todd Reis Chuck Dixon Bob Rozakis ONE-HIT WONDERS: DC Comics Presents #37: Hawkgirl’s First Solo Flight .......21 Justin Francoeur Brenda Rubin A gander at the Superman/Hawkgirl team-up by Jim Starlin and Roy Thomas (DCinthe80s.com) Bart Sears José Luís García-López Aric Shapiro Hawkman TM & © DC Comics. Joe Giella Steve Skeates PRO2PRO ROUNDTABLE: Exploring Hawkworld ...........................23 Mike Gold Anthony Snyder The post-Crisis version of Hawkman, with Timothy Truman, Mike Gold, John Ostrander, and Grand Comics Jim Starlin Graham Nolan Database Bryan D. Stroud Alan Grant Roy Thomas Robert Greenberger Steven Thompson BRING ON THE BAD GUYS: The Penguin, Gotham’s Gentleman of Crime .......31 Mike Grell Titans Tower Numerous creators survey the history of the Man of a Thousand Umbrellas Greg Guler (titanstower.com) Jack C. -
1 Consider the Development of Imagery in the Superhero Film. Are
Consider the development of imagery in the superhero film. Are its expressive techniques more relevant to traditions of comics or cinema? Illustrate your answer with examples. From a level of camp that was attributed to early1 television and made-for-television film adaptations of superhero comics, to the realism and gritty German expressionist lens that coloured the likes of Superman (Richard Donner, 1978) and Batman (Tim Burton, 1989) respectively (Morton, 2016), the development of imagery in the superhero film has often teetered between the expressive techniques of cinema, and those of comics. According to Bukatman (2011: 118), today “the superhero film has displaced the superhero comic in the world of mass culture.” With this in mind, it is expedient to assess which medium’s expressive techniques the twenty-first century is more relevant to. Through the analysis of three films, this essay attempts to do exactly that. Before taking on this endeavour, however, it is important to establish what the yardstick of each medium’s expressive techniques is for this essay. Cinematic expressive techniques will be taken as the mise-en-scène2, soundtrack/score, the use of the star/celebrity, and visual effects. While the expressive techniques of comics will be taken as the use of panels, the elements within panels3, gutters, page-turns, and colour. The following three films will be analysed: Watchmen (Zack Snyder, 2009), a film that is said to be “very faithful” (Crocker, 2009) to the original comic book, but still appears “something less than the sum of its parts” (Bukatman, 2011:118); Thor: Ragnarok (Taika Waititi, 2017), the third instalment of the ‘Thor’ series which is most lauded for its evident “Jack Kirby influence” (Waititi, quoted in Blair, 2017); and Spider-Man: Into the Spider-Verse (Ramsey, Rothman & Persichetti, 2018), which of the three chosen films is arguably the most relevant to the expressive techniques of comics, given its closeness to the medium as an animated film. -
Working Paper Series
Working Paper Series SPECIAL ISSUE: REVISITING AUDIENCES: RECEPTION, IDENTITY, TECHNOLOGY Superheroes and Shared Universes: How Fans and Auteurs Are Transforming the Hollywood Blockbuster Edmund Smith University of Otago Abstract: Over the course of the 2000s, the Hollywood blockbuster welcomed the superhero genre into its ranks after these films saw an explosion in popularity. Now, the ability to produce superhero films through an extended transmedia franchise is a coveted prize for major studios. The likes of Sony, 20th Century Fox, and Warner Bros. are locked in competition with the new kid on the block, Marvel, who changed the way Hollywood produces the blockbuster franchise. Drawing upon my previous and current postgraduate work, this essay will discuss fans and authorship in relation to the superhero genre which, I posit, exemplifies the industrial model of the Hollywood blockbuster and the cycle of appropriation and revitalisation that defines it. I will explain how studios like Marvel call upon up-and-coming directorial talent to further legitimise their films in order to appeal to middlebrow expectations through auteur credibility. Such director selection demonstrates: 1) how the contemporary auteur has become commodified within transmedia franchise blockbusters and, 2) how, due to the conflicting creative and commercial interests inherent to the blockbuster, these films are now supported by a form of co-dependent authorship. Related to this, I will also explore how fans function within this industrial context and the effect that their fannish support and promotion of superhero films has had on the latter’s viability as a staple of studio production. ISSN2253-4423 © MFCO Working Paper Series 3 MFCO Working Paper Series 2017 Introduction From the 2000s, through to the present day, the superhero film has seen a titanic increase in popularity, becoming a staple of the mainstream film industry. -
The Batman Adventures Comic!
Celebrating Batman: The Animated Series’ 25th Anniversary! September 2017 No.99 $8.95 Harley Quinn history! The Batman Adventures comic! The animated DC Universe in comics! And a tribute to the late, great Mike Parobeck! featuring Altieri • Burchett • Conroy • Dini • Pasko • Sorkin • Strong • Timm & more! 1 82658 00102 5 g y g Volume 1, Number 99 September 2017 EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow Comics’ Bronze Age and Beyond! DESIGNER Rich Fowlks COVER ARTIST Bruce Timm (Harley Quinn commission from the collection of John Hicks.) COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Kevin Altieri Paul Levitz Brian Augustyn Judi Lewinson Brooke Barnett/DPN Elliot S. Maggin Talent Agency Tifiney McCullough Mike W. Barr Dennis O’Neil Norm Breyfogle Mike Parobeck Laren Bright Appreciation Society Rick Burchett Martin Pasko Alan Burnett Scott Peterson KC Carlson Mike Pigott Kevin Conroy Dr. Harleen Quinzell Gerry Conway Dan Riba Karen Crary Randy Rogel DC Comics Andrea Romano Sean Catherine Derek Nino Santiago Paul Dini Arleen Sorkin PRO2PRO ROUNDTABLE: Batman: The Animated Series: An Oral History . 2 Chuck Dixon Len Strazewski Animators, writers, and voice talent discuss the evolution of the classic Batman TV show Mark Evanier Tara Strong Lance Falk Rick Taylor EPISODE GUIDE: Batman: The Animated Series. 23 Jordan B. Gorfinkel Steven Thompson Grand Comics Bruce Timm BACKSTAGE PASS: Bob Hastings, the Voice of Commissioner Gordon . 30 Database John Trumbull This actor/voice actor was no stranger to comics-related roles Heritage Comics Steve Vance Auctions Warner Bros. Animation John Hicks Glenn Whitmore TOY BOX: The Animated Batmobile . 32 Christopher Jones Marv Wolfman Collectibles of the coolest cartoon car ever Karl Kesel Walden Wong Charlie Kochman World’s Finest Online FLASHBACK: The Batman Adventures: An Enduring Legacy . -
A Look at Queer Stereotypes As Signifiers in DC Comics' the Joker
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-27-2018 Queering The loC wn Prince of Crime: A Look at Queer Stereotypes as Signifiers In DC Comics’ The Joker Zina Hutton [email protected] DOI: 10.25148/etd.FIDC006550 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Modern Literature Commons, and the Other Film and Media Studies Commons Recommended Citation Hutton, Zina, "Queering The loC wn Prince of Crime: A Look at Queer Stereotypes as Signifiers In DC Comics’ The oJ ker" (2018). FIU Electronic Theses and Dissertations. 3702. https://digitalcommons.fiu.edu/etd/3702 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida QUEERING THE CLOWN PRINCE OF CRIME: A LOOK AT QUEER STEREOTYPES AS SIGNIFIERS IN DC COMICS’ THE JOKER A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS in ENGLISH by Zina Hutton 2018 To: Dean Michael R. Heithaus College of Arts, Sciences and Education This thesis, written by Zina Hutton, and entitled Queering the Clown Prince of Crime: A Look at Queer Stereotypes as Signifiers in DC Comics’ The Joker, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. -
History, Life and Times of Robert Anderson, Gheebelum, Ngugi, Mulgumpin
ROBER T ANDERSON, GHEEBELUM, NGUGI, MULGUMPIN HIS T O R Y LIFE AND TIMES HISTORY LIFE AND TIMES of Robert Anderson, Gheebelum, Ngugi, Mulgumpin, is a community and personal history of an Aboriginal elder of the Quandamooka area. The life experiences of Aboriginal and Torres Strait Islander elders are varied and are many and access to their knowledge is essential to the process of continuing our traditions. HISTORY LIFE AND TIMES OF ROBERT ANDERSON GHEEBELUM, NGUGI, MULGUMPIN Community and personal history of a Ngugi Elder of Mulgumpin in Quandamooka, South East Queensland, Australia. Nations and people are largely the stories they feed themselves. If they tell themselves stories that are lies, they will suffer the future consequences of those lies. If they tell themselves stories that face their own truths, they will free their histories for future flowerings. Ben Okri, Birds of Heaven History Life and Times of Robert Anderson, Gheebelum, Ngugi, Mulgumpin First published in September, 2001 by Uniikup Productions Ltd. PO Box 3230, South Brisbane, Queensland 4101 Australia Design by Inkahoots, www.inkahoots.com.au Distributed by Uniikup Productions Ltd. © Robert V. Anderson 2001 This book is copyright. Apart from any fair dealing for the purposes of private study, research, criticism or review, as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Enquiries should be made to the publisher. This project has been assisted by: Community and Personal Histories Department of Aboriginal and Torres Strait Islander Policy, Queensland Government REF: 11507.3 23/6/97 Cataloguing-in-Publication Data: National Library of Australia Peacock, Eve Christine, 1951-. -
Chuck Dixon: Wingman
Chuck Dixon: Wingman This January writer Chuck Dixon returns to Nightwing to tell a six-issue “Year One” story that bridges the gap between Dick Grayson’s last days as Robin and his start as Nightwing. Beginning in issue #101, Dixon, co-writer Scott Beatty and artist Scott McDaniel will reveal what really happened between Batman and Robin the day Dick was fired, why Dick chose the name Nightwing, and how this delicate time period impacted Dick’s relationships. Nightwing: Year One marks the third mini-series of origin stories written by Dixon and Beatty. In the last three years they have delivered powerful tales about Robin and Batgirl, giving weight and meaning to formative events in Bat history that weren’t fully explored. I talked to Chuck about what it’s like to write Nightwing again and what other “Year One” stories he might have up his sleeve. MARKISAN NASO: With Robin: Year One, Batgirl: Year One and now Nightwing: Year One you and Scott Beatty have created a trilogy of connected miniseries that define the Batman sidekick mythos. Did you and Scott always plan to write a trilogy? CHUCK DIXON: Actually, our dream is a whole darned bookshelf! I can’t see why this series of “Year Ones” couldn’t continue. They consistently rank at the top of DC’s sellers each year and backlist well. Nightwing: Year One leaves itself wide open to the same treatment for another character and we’d love to take the concept outside of the Bat crowd and do more. NASO: What are some other characters you’d like to give the “Year One” treatment to? DIXON: That would be telling.