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Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019). -
Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved. -
“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. -
The Development History of Chinese Science Fiction from Liu Cixin's Science Fiction
International Journal of Languages, Literature and Linguistics, Vol. 6, No. 3, September 2020 The Development History of Chinese Science Fiction from Liu Cixin's Science Fiction Xia Tianyi nature? At present, China's science fiction is facing many Abstract—In the history of Western literature, science fiction, problems, such as the writer's fault, the decreasing number of as an essential branch of it, has been widely loved by the masses, publications, uneven works, the stagnation of theoretical and and a crowd of outstanding science fiction novelists has been critical research work, etc. How can we stimulate the produced. With a large number of science fiction books adapted enthusiasm of the people for science fiction so that Chinese into films, the novels are also familiar to more audiences. Science fiction has been sprouting since 1902 in China, with the science fiction can develop continuously and healthily? It is a efforts of the pioneers and the relay of the latecomers, there question worthy of further discussion. have been many excellent works. But compared with the situation of western science fiction, it is not supportive of the healthy growth of science fiction in our country, and the public II. A BASIC EXPLANATION OF SCIENCE FICTION has not accepted science fiction novels. This paper will focus on the development history and current situation of science fiction Science fiction is a literal translation of western terms. It in China, and explore the differences between the creative originally meant science, which is a type of popular literature environment of Chinese and western science fiction and the with scientific imagination and innovation. -
Exhibit B: Business and Business Plan VIRAL FILMS MEDIA LLC
Exhibit B: Business and Business Plan VIRAL FILMS MEDIA LLC BUSINESS AND BUSINESS PLAN Viral Films Media LLC Producing an independent live-action superhero film: REBEL'S RUN Business Plan Summary Our recently formed company, Viral Films Media LLC, will produce, market and distribute an independently produced live-action superhero film, based on characters from the recently created Alt Hero comic book universe. The film will be titled Rebel’s Run, and will feature the character Shiloh Summers, or Rebel, from the Alt Hero comic book series. Viral Films has arranged to license a script and related IP from independent comic book publisher Arkhaven Comics, with comic book legend Chuck Dixon and epic fantasy author Vox Day co-writing the script. Viral Films Media is also partnering with Georgia and LA-based production company, Galatia Films, which has worked on hits including Goodbye, Christopher Robin and Reclaiming the Blade. The director of Rebel’s Run will be Scooter Downey, an up-and-coming director who recently co-produced Hoaxed, the explosive and acclaimed documentary on the fake news phenomenon. The filming of Rebel’s Run will take place in Georgia. We have formed a board of directors and management team including a range of professionals with experience in project management, law, film production and cyber-security. (image from Alt Hero, # 2, which introduced the character Shiloh Summers, or Rebel.) Film Company Overview Viral Films Media LLC (VFM) is a new film studio with the business purpose of creating a live-action superhero film – Rebel’s Run – based on characters from the ALT-HERO comic book universe created by Chuck Dixon, Vox Day and Arkhaven Comics. -
A Genre Is a Conventional Response to a Rhetorical Situation That Occurs Fairly Often
What is a genre? A genre is a conventional response to a rhetorical situation that occurs fairly often. Conventional does not necessarily mean boring. Instead, it means a recognizable pattern for providing specific kinds of information for an identifiable audience demanded by circumstances that come up again and again. For example, new movies open almost every week. Movie makers pay for advertising to entice viewers to see their movies. Genres have a purpose. While consumers may learn about a movie from the ads, they know they are getting a sales pitch with that information, so they look for an outside source of information before they spend their money. Movie reviews provide viewers with enough information about the content and quality of a film to help them make a decision, without ruining it for them by giving away the ending. Movie reviews are the conventional response to the rhetorical situation of a new film opening. Genres have a pattern. The movie review is conventional because it follows certain conventions, or recognized and accepted ways of giving readers information. This is called a move pattern. Here are the moves associated with that genre: 1. Name of the movie, director, leading actors, Sometimes, the opening also includes the names of people and companies associated with the film if that information seems important to the reader: screenwriter, animators, special effects, or other important aspects of the film. This information is always included in the opening lines or at the top of the review. 2. Graphic design elements---usually, movie reviews include some kind of art or graphic taken from the film itself to call attention to the review and draw readers into it. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
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. -
An Ecological Alarm Bell: Liu Cixin's Science Fiction the Wandering Earth
ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 19, No. 3, 2019, pp. 60-63 www.cscanada.net DOI:10.3968/11366 www.cscanada.org An Ecological Alarm Bell: Liu Cixin’s Science Fiction The Wandering Earth LI Jiya[a],* [a] Instructor, PhD candidate, School of Foreign Languages, Southwest fiction literature. His short and medium-length novel Jiaotong University, Chengdu, China. The Wandering Earth was published in 2008, and has * Corresponding author. been reprinted by different publishing houses many Received 6 September 2019; accepted 21 November 2019 times. The box office of the adapted film of the same Published online 26 December 2019 name surpassed 1.6 billion in 2019, and the response at home and abroad was enthusiastic, which could be Abstract regarded as a milestone of Chinese science fiction film. The Wandering Earth is another masterpiece of Liu Cixin This work surpasses ordinary sci-fi literary works in after The Three, and later adapted into a film. After its both grand imagination and meticulous details of science release, the film has won high reputation at home and and technology, and can be regarded as a literary classic. abroad. It can be regarded as a milestone of Chinese In addition to the grand narrative, we should also pay science fiction movies. From the perspective of Western attention to the realistic problems, the development of eco-criticism, the future ecological environment described natural ecology and the ideological dilemma of human in the work is fragmented; the earth disaster which has beings. The story is full of humanistic care. -
Under the Influence of Satire Introduction
DeMattio 1 Under the Influence of Satire By: Ashley DeMattio Introduction This thesis compares and contrasts the two plays, Lysistrata by Aristophanes and Mrs. Warren’s Profession by George Bernard Shaw, based on their political agendas through the literary form of satire; they are greatly influenced by the time period in which they lived, and express themselves through the female characters in their plays. Insight and further understanding of each play will be provided, and it will be demonstrated how the authors had a goal of starting specific conversations amongst their audiences. Though these conversations differ, Aristophanes and Shaw demonstrate the ability to politically and intellectually enlighten their audiences through pleasure. Aristophanes was a native of Greece during the first century B.C.E., and witnessed the cruel occurrences of the Peloponnesian War and the challenge to Greece’s political stability. In his play Lysistrata he took the idea of war and molded it into a battle of the sexes. The main idea of the play is that the women of Greece, both Athenians and Spartans, are seeking to end the war, and in order to do so they hold a sex strike. The sex strike is used as a way to intrigue the audience through humor and risqué references; the use of satire is amplified when he uses women as the dominant characters. The women hold the power in the play, and this makes the Athenian audience uneasy. This uneasiness is what Aristophanes wants to accomplish, and he puts the audience in a vulnerable state. Lysistrata is meant to warn the people of Greece; what he is warning against and how he goes about it will be further understood when the play is examined. -
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.