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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. -
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United States Court of Appeals for the Seventh Circuit
Case: 13-2337 Document: 39 Filed: 08/14/2014 Pages: 17 In the United States Court of Appeals For the Seventh Circuit No. 13-2337 FORTRES GRAND CORPORATION, Plaintiff-Appellant, v. WARNER BROS. ENTERTAINMENT INC., Defendant-Appellee. Appeal from the United States District Court for the Northern District of Indiana, South Bend Division. No. 12-cv-00535 — Philip P. Simon, Chief Judge. ARGUED DECEMBER 10, 2013 — DECIDED AUGUST 14, 2014 Before MANION, ROVNER, and HAMILTON, Circuit Judges. MANION, Circuit Judge. Fortres Grand Corporation develops and sells a desktop management program called “Clean Slate.” When Warner Bros. Entertainment used the words “the clean slate” to describe a hacking program in the movie, The Dark Knight Rises, Fortres Grand noticed a precipitous drop in sales of its software. Believing Warner Bros.’ use of the words “clean slate” infringed its trademark and caused the decrease in sales, Fortres Grand brought this suit. Fortres Grand alleged that Case: 13-2337 Document: 39 Filed: 08/14/2014 Pages: 17 2 No. 13-2337 Warner Bros.’ use of the words “clean slate” could cause consumers to be confused about the source of Warner Bros.’ movie (“traditional confusion”) and to be confused about the source of Fortres Grand’s software (“reverse confusion”). The district court held that Fortres Grand failed to state a claim under either theory, and that Warner Bros.’ use of the words “clean slate” was protected by the First Amendment. Fortres Grand appeals, arguing only its reverse confusion theory, and we affirm without reaching the constitutional question. I. Factual Background Fortres Grand develops and sells a security software program known as “Clean Slate.” It also holds a federally registered trademark for use of that name to identify the source of “[c]omputer software used to protect public access comput- ers by scouring the computer drive back to its original configu- ration upon reboot.” Trademark Reg. -
2016 Threshold
nomad 2016 Threshold The Department of Comparative Literature’s Journal of Undergraduate Writing University of Oregon The University of Oregon is an equal-opportunity, affirmative-action institution committed to cultural diversity and compliance with the Americans with Disabilities Act. This publication will be made available in accessible formats upon request. MC1016_092dm_B5XXXXX EDITORIAL BOARD EDITOR Julia “Susi” Gómez EDITORIAL BOARD Dr. Kenneth Calhoon Rachel Branson Palita Chunsaengchan MENTORS TO THE UNDERGRADUATE WRITERS Martha Bannikov Anna-Lisa Baumeister Rachel Branson Dr. Kenneth Calhoon Emily Cole Rachel Eccleston Dr. Andréa Gilroy Julia “Susi” Gómez Elizabeth Howard Anna Kovalchuk Jason Lester Rob Moore Bess Myers Joanna Myers Dr. Jenny Odintz Justine Parkin Tera Reid-Olds Ying Xiong SPECIAL THANKS To Cynthia Stockwell, Laura White, and the Duck Store for their continued support of this project COVER ART Threshold, ©2016 Minshall CONTENTS vii Editor’s Comments ERIN CASINI 9 Breaking the Threshold ANDREA CUEVA 17 Fairy Tale Portals: Gateways to Understanding Modern Life ANNA FITTING 24 The Silent Border: Repression and Winner of the NOMAD Prize for Excellence in Progression in Silent Hill 2 Undergraduate Scholarship BRANDY GRAHAM 36 The Threshold of Identity: Internalizing the Male Gaze in John Green’s Paper Towns SARAH GOUGH-PIAZZA 46 “It’s Showtime!”: The Blending of Reality and Fantasy in Tim Burton’s Beetlejuice KATIE GUISLER 54 Dissipation of Form: Threshold of the Self and the Double Work of Culture in Paprika and Woman -
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Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
Costume Culture: Visual Rhetoric, Iconography, and Tokenism In
COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to the Office of Graduate Studies Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to: Advisor: Christopher Gonzalez Committee: Tabetha Adkins Donna Dunbar-Odom Mike Odom Head of Department: M. Hunter Hayes Dean of the College: Salvatore Attardo Interim Dean of Graduate Studies: Mary Beth Sampson iii Copyright © 2017 Michael G. Baker iv ABSTRACT COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS Michael G. Baker, PhD Texas A&M University-Commerce, 2017 Advisor: Christopher Gonzalez, PhD Superhero comic books provide a unique perspective on marginalized characters not only as objects of literary study, but also as opportunities for rhetorical analysis. There are representations of race, gender, sexuality, and identity in the costuming of superheroes that impact how the audience perceives the characters. Because of the association between iconography and identity, the superhero costume becomes linked with the superhero persona (for example the Superman “S” logo is a stand-in for the character). However, when iconography is affected by issues of tokenism, the rhetorical message associated with the symbol becomes more difficult to decode. Since comic books are sales-oriented and have a plethora of tie-in merchandise, the iconography in these symbols has commodified implications for those who choose to interact with them. When consumers costume themselves with the visual rhetoric associated with comic superheroes, the wearers engage in a rhetorical discussion where they perpetuate whatever message the audience places on that image. -
The Wonder Women: Understanding Feminism in Cosplay Performance
THE WONDER WOMEN: UNDERSTANDING FEMINISM IN COSPLAY PERFORMANCE by AMBER ROSE GRISSOM B.A. Anthropology University of Central Florida, 2015 B.A. History University of Central Florida, 2015 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Anthropology in the College of Sciences at the University of Central Florida Orlando, Florida Summer Term 2019 © 2019 Amber Rose Grissom ii ABSTRACT Feminism conjures divisive and at times conflicting thoughts and feelings in the current political climate in the United States. For some, Wonder Woman is a feminist icon, for her devotion to truth, justice, and equality. In recent years, Wonder Woman has become successful in the film industry, and this is reflected by the growing community of cosplayers at comic book conventions. In this study, I examine gender performativity, gender identity, and feminism from the perspective of cosplayers of Wonder Woman. I collected ethnographic data using participant observation and semi-structured interviews with cosplayers at comic book conventions in Florida, Georgia, and Washington, about their experiences in their Wonder Woman costumes. I found that many cosplayers identified with Wonder Woman both in their own personalities and as a feminist icon, and many view Wonder Woman as a larger role model to all people, not just women and girls. The narratives in this study also show cosplay as a form of escapism. Finally, I found that Wonder Woman empowers cosplayers at the individual level but can be envisioned as a force at a wider social level. I conclude that Wonder Woman is an important and iconic figure for understanding the dynamics of culture in the United States. -
Peer Review: Delia Gonzalez Interviews Eli Sudbrack
January 5, 2018 - As told to Delia Gonzalez, 905 words. Tags: Art, Process, Inspiration. Peer Review: Delia Gonzalez interviews Eli Sudbrack Read: Eli Sudbrack interviews Delia Gonzalez What do you do when you’re creatively stuck? I work more. I’m totally obsessive. I’m good at multitasking and I’m always working on multiple things at same time, so if I’m stuck with one thing, I just move on to another one. I wish I would respond this question by saying that I go out biking or for a walk or to the beach, but in reality that never happens. I’m very good at focusing on my work when I’m at the studio. I hardly ever leave even for food. Once I’m at the studio, I’m there working for like 8 hours straight—no breaks. How do you avoid burnout? I don’t. I always work to the max. But I do have rules. I arrive early at my studio everyday around 8am and leave max at around 6pm. I don’t work on the weekends. My cell is always on silent even when I’m at the studio. I don’t answer or check my phone after I get back home from the studio. And if I go away for holidays I never work. I don’t take my computer and avoid my phone as much as possible. So if I’m away I’m really away, no work. How do you nourish your creative side when you aren’t working? Beach, biking, spending time with my beau without talking about art, reading Marvel comics (old and new), walking, spending time under the sun. -
DC Comics Jumpchain CYOA
DC Comics Jumpchain CYOA CYOA written by [text removed] [text removed] [text removed] cause I didn’t lol The lists of superpowers and weaknesses are taken from the DC Wiki, and have been reproduced here for ease of access. Some entries have been removed, added, or modified to better fit this format. The DC universe is long and storied one, in more ways than one. It’s a universe filled with adventure around every corner, not least among them on Earth, an unassuming but cosmically significant planet out of the way of most space territories. Heroes and villains, from the bottom of the Dark Multiverse to the top of the Monitor Sphere, endlessly struggle for justice, for power, and for control over the fate of the very multiverse itself. You start with 1000 Cape Points (CP). Discounted options are 50% off. Discounts only apply once per purchase. Free options are not mandatory. Continuity === === === === === Continuity doesn't change during your time here, since each continuity has a past and a future unconnected to the Crises. If you're in Post-Crisis you'll blow right through 2011 instead of seeing Flashpoint. This changes if you take the relevant scenarios. You can choose your starting date. Early Golden Age (eGA) Default Start Date: 1939 The original timeline, the one where it all began. Superman can leap tall buildings in a single bound, while other characters like Batman, Dr. Occult, and Sandman have just debuted in their respective cities. This continuity occurred in the late 1930s, and takes place in a single universe. -
Ultimates: Omniversal Vol. 2: Civil War II: Vol. 2 Free Ebook
FREEULTIMATES: OMNIVERSAL VOL. 2: CIVIL WAR II: VOL. 2 EBOOK Al Ewing,Christian Ward,Kenneth Rocafort | 136 pages | 31 Jan 2017 | Marvel Comics | 9780785196716 | English | New York, United States Ultimates: Omniversal Vol. 2: Civil War II Ultimates: Omniversal Vol. 2 - Civil War II TP Released December 21st, by Marvel Comics. Search Comics, Titles, Creators & More. Search. X. X Prev. Continued from Ultimates Vol 2 Renumbered to Ultimates 2# Ultimates 2 Vol 2 #6 "War in Heaven" Release date: April 26, Cover date: June, Ultimates: Omniversal Vol. 2: Civil War II by Al Ewing (Text by), Christian Ward (Illustrator) CIVIL WAR II's main player takes center stage, and its seismic. Ultimates: Omniversal Vol. 2 - Civil War II (Trade Paperback) CIVIL WAR II TIE-IN! • The Ultimates are at war – with each other! FANDOM. Games Movies TV Video. Wikis. Explore Wikis Ultimates Vol 2. Civil War II. T+ ( The Ultimates is a fictional group of superheroes appearing in Ultimates: Omniversal Vol. 2: Civil War II: Vol. 2 comic books published by Marvel Comics. Although the team takes its name from the unrelated team Ultimateswhich was the Ultimate Marvel version of the Avengersit is set in the. Get this from a library! The Ultimates. Omniversal. Vol. 2, Civil War II. [Al Ewing; Kenneth Rocafort; Djibril Morissette-Phan; Christian Ward; Dan Brown, (Colorist); Joe Sabino; Marvel Comics Group,] -- "The Ultimates vs. Thanos in a fight that kicks off Civil War II!. Ultimates - Omniversal Vol. 2: Civil War II TP Title Material collected ISBN Publication date Ultimates: Omniversal Volume 1: Start With the Impossible: Ultimates Vol.2 #, Avengers #0: July 19, Ultimates: Omniversal Volume 2: Civil War II.