24 KENTUCKY ALUMNI Don Rosa Sits in Front of a Portion of His Duck
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Americana E-Journal of American Studies in Hungary
AMERICANA E-JOURNAL OF AMERICAN STUDIES IN HUNGARY VOLUME X, NUMBER 1, SPRING 2014 "ANIMATED NOIR: INVESTIGATING WALT DISNEY’S FEMALE CHARACTERS OF THE 1940S AND 1950S" BY EMMA BÁLINT Emma Bálint is an MA student at the Institute of English and American Studies, University of Szeged. Email: emma.balint@ieasszeged.hu INTRODUCTION Since the establishment of the studio in the early 1920s, the Walt Disney Productions’ animators have designed, drawn and animated numerous helpless damsels in distress, who always submissively abide by the rules of a strictly heterosexual and patriarchal realm. In the 1940s and 1950s, during the classical era of film noir, however, the animation studio daringly adopted the then popular cinematic style known for the portrayal of rather domineering women along with plots and themes generally unfit for young audiences. The purpose of this essay is to observe the overall influence of film noir on the renowned Disney imagery in the resulting animated noirs, namely Donald’s Crime (dir. Jack King, 1945), Duck Pimples (dir. Jack Kinney, 1945), and How to be a Detective (dir. Jack Kinney, 1952), with a particular focus on the way the typical Disney female character has been merged with the stereotypical noir woman, the femme fatale, who, in contrast, possesses both agency and narrative significance. Following a brief description of the era dominated by and the visual and narrative elements characteristic of the film noir style, I will discuss the short films and the female characters featured in them with the help of certain notions of psychoanalytic and feminist film theories, which have both been extremely influential in the study of film noir in general. -
Journal of Religion & Society
Journal of Religion & Society Volume 6 (2004) ISSN 1522-5658 David, Mickey Mouse, and the Evolution of an Icon1 Lowell K. Handy, American Theological Library Association Abstract The transformation of an entertaining roguish figure to an institutional icon is investigated with respect to the figures of Mickey Mouse and the biblical King David. Using the three-stage evolution proposed by R. Brockway, the figures of Mickey and David are shown to pass through an initial entertaining phase, a period of model behavior, and a stage as icon. The biblical context for these shifts is basically irretrievable so the extensive materials available for changes in the Mouse provide sufficient information on personnel and social forces to both illuminate our lack of understanding for changes in David while providing some comparative material for similar development. Introduction [1] One can perceive a progression in the development of the figure of David from the rather unsavory character one encounters in the Samuel narratives, through the religious, righteous king of Chronicles, to the messianic abstraction of the Jewish and Christian traditions.2 The movement is a shift from “trickster,” to “Bourgeoisie do-gooder,” to “corporate image” proposed for the evolution of Mickey Mouse by Robert Brockway.3 There are, in fact, several interesting parallels between the portrayals of Mickey Mouse and David, but simply a look at the context that produced the changes in each character may help to understand the visions of David in three surviving biblical textual traditions in light of the adaptability of the Mouse for which there is a great deal more contextual data to investigate. -
An Exploration of Comics and Architecture in Post-War Germany and the United States
An Exploration of Comics and Architecture in Post-War Germany and the United States A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Ryan G. O’Neill IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Rembert Hueser, Adviser October 2016 © Ryan Gene O’Neill 2016 Table of Contents List of Figures……………………………………………………………………………………...……….i Prologue……………………………………………………………………………………….....…1 Introduction………………………………………………………………………………………...8 Chapter 1: The Comic Laboratory…………………………………………………...…………………………………….31 Chapter 2: Comics and Visible Time…………………………………………………………………………...…………………..52 Chapter 3: Comic Cities and Comic Empires………………………………...……………………………...……..…………………….80 Chapter 4: In the Shadow of No Archive…………………………………………………………………………..…….…………114 Epilogue: The Painting that Ate Paris………………………………………………………………………………...…………….139 Works Cited…..……………………………………………………………………………..……152 i Figures Prologue Figure 1: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 2: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 3: Image of Vitra Feuerwehrhaus Uncredited. https://www.vitra.com/de-de/campus/architecture/architecture-fire-station Figure 4: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Introduction Figure 1: Goscinny, René (w), Alberto Uderzo (i). Die Trabantenstadt. trans. Gudrun Penndorf. Stuttgart: Ehapa Verlag GmbH, 1974. Pp.28-29. Print. Figure 2: Forum at Pompeii, Vitruvius Vitrubius. The Ten Books on Architecture. trans. Morris Hicky Morgan, Ph.D., LL.D. Illustrations under the direction of Herbert Langford Warren, A.M. pp. 132. Print. Figure 3: Töpffer, Rodolphe. -
Translations of Sound Effects in Seven Comics
KPOW, CHINK, SPLAT: Translations of Sound Effects in Seven Comics Vilma Kokko MA thesis University of Turku School of Languages and Translation Studies Department of English; English Translation and Interpreting May 2013 TURUN YLIOPISTO Kieli- ja käännöstieteiden laitos/humanistinen tiedekunta KOKKO, VILMA: KPOW, CHINK, SPLAT: Translations of Sound Effects in Seven Comics Pro gradu -tutkielma, 106 s. Englannin kieli, englannin kääntäminen ja tulkkaus Toukokuu 2013 Tämä pro gradu -tutkielma käsittelee äänitehosteiden kääntämistä sarjakuvissa. Tutkimus perustuu seitsemän eri sarjakuvan äänitehosteiden ja niiden suomennoksien vertailuun. Tutkitut tehosteet on kerätty yhdeksi korpukseksi kolmesta Aku Ankka -tarinasta, Tenavat- ja Lassi ja Leevi -stripeistä sekä Batman- ja Vartijat- sarjakuvaromaaneista. Sarjakuvat edustavat osittain eri genrejä, jotta saadaan tietoa erityyppisten sarjakuvien mahdollisesti erilaisista käännöskonventioista. Aku Ankka -sarjakuvien määrää on painotettu, jotta olisi mahdollista saada tarkempi kuva yhdestä yksittäisestä sarjakuvasta, jossa oletetaan äänitehosteiden pääsääntöisesti olevan käännettyjä. Äänitehosteita ja äänitehostekäännöksiä tutkitaan kahdesta eri näkökulmasta. Tutkielman ensimmäisessä osassa tarkastellaan äänitehosteissa käytettyjä käännösstrategioita ja etsitään seikkoja, jotka vaikuttavat eri käännösstrategioiden käyttöön ja tehosteiden kääntämiseen tai kääntämättä jättämiseen. Kaindlin (1999) esittelemää sarjakuvien käännösstrategiajaottelua verrataan Celottin (2008) kuvaan upotettuihin teksteihin -
NEDOR HEROES! $ NEDOR HEROES! In8 Th.E9 U5SA
Roy Tho mas ’Sta nd ard Comi cs Fan zine OKAY,, AXIS—HERE COME THE GOLDEN AGE NEDOR HEROES! $ NEDOR HEROES! In8 th.e9 U5SA No.111 July 2012 . y e l o F e n a h S 2 1 0 2 © t r A 0 7 1 82658 27763 5 Vol. 3, No. 111 / July 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) Ronn Foss, Biljo White, Mike Friedrich Proofreaders Rob Smentek, William J. Dowlding Cover Artist Shane Foley (after Frank Robbins & John Romita) Cover Colorist Tom Ziuko With Special Thanks to: Deane Aikins Liz Galeria Bob Mitsch Contents Heidi Amash Jeff Gelb Drury Moroz Ger Apeldoorn Janet Gilbert Brian K. Morris Writer/Editorial: Setting The Standard . 2 Mark Austin Joe Goggin Hoy Murphy Jean Bails Golden Age Comic Nedor-a-Day (website) Nedor Comic Index . 3 Matt D. Baker Book Stories (website) Michelle Nolan illustrated! John Baldwin M.C. Goodwin Frank Nuessel Michelle Nolan re-presents the 1968 salute to The Black Terror & co.— John Barrett Grand Comics Wayne Pearce “None Of Us Were Working For The Ages” . 49 Barry Bauman Database Charles Pelto Howard Bayliss Michael Gronsky John G. Pierce Continuing Jim Amash’s in-depth interview with comic art great Leonard Starr. Rod Beck Larry Guidry Bud Plant Mr. Monster’s Comic Crypt! Twice-Told DC Covers! . 57 John Benson Jennifer Hamerlinck Gene Reed Larry Bigman Claude Held Charles Reinsel Michael T. -
Ankkakielen Meemit – Analyysi Aku Ankan Suomennosten Adaptaatioperäisestä Aineksesta
Ankkakielen meemit – analyysi Aku Ankan suomennosten adaptaatioperäisestä aineksesta Ville Viitanen Tampereen yliopisto Viestintätieteiden tiedekunta Monikielisen viestinnän ja käännöstieteen maisteriopinnot Englannin kääntämisen ja tulkkauksen opintosuunta Pro gradu -tutkielma Toukokuu 2017 Tampereen yliopisto Monikielisen viestinnän ja käännöstieteen maisteriopinnot viestintätieteiden tiedekunta VIITANEN, VILLE: Ankkakielen meemit – analyysi Aku Ankan suomennosten adaptaatioperäisestä aineksesta Monikielisen viestinnän pro gradu -tutkielma, 74 sivua + englanninkielinen lyhennelmä 16 sivua Toukokuu 2017 ___________________________________________________________________________ Käsittelen tutkielmassani Aku Ankka -sarjakuvalehden käännöskielelle ominaisia piirteitä ja niiden alkuperää. Selvitän vertailevan tekstianalyysin keinoin, millä tavoin lehdessä julkaistut suomennokset poikkeavat lähtöteksteistä, ja pohdin havaintojeni pohjalta, millaiset mekanismit kohdetekstiä mukauttavien käytäntöjen taustalla vaikuttavat. Taustoitan tutkimustani esittelemällä sarjakuvakääntämisen erityispiirteitä ja käytäntöjä sekä tutkimusaineistooni monin tavoin rinnastuvassa käännetyssä lastenkirjallisuudessa yleisiä adaptaatiota hyödyntäviä toimintatapoja. Teoreettisena viitekehyksenä käytän Georges L. Bastinin, Göte Klingbergin ja Zohar Shavitin adaptaatiotutkimusta ja havaintojeni erittelyn apuvälineenä Andrew Chestermanin esittämää Richard Dawkinsin kehittämään memetiikan käsitteeseen pohjautuvaa analyysimallia. Muodostan aiempien tutkimusten sekä ei-tieteellisten -
Nieuwigheden Anderstalige Strips 2014
NIEUWIGHEDEN ANDERSTALIGE STRIPS 2014 WEEK 2 Engels All New X-Men 1: Yesterday’s X-Men (€ 19,99) (Stuart Immonen & Brian Mickael Bendis / Marvel) All New X-Men / Superior Spider-Men / Indestructible Hulk: The Arms of The Octopus (€ 14,99) (Kris Anka & Mike Costa / Marvel) Avengers A.I.: Human After All (€ 16, 99) (André Araujo & Sam Humphries / Marvel) Batman: Arkham Unhinged (€ 14,99) (David Lopez & Derek Fridols / DC Comics) Batman Detective Comics 2: Scare Tactics (€ 16,99) (Tony S. Daniel / DC Comics) Batman: The Dark Knight 2: Cycle of Violence (€ 14,99) (David Finch & Gregg Hurwitz / DC Comics) Batman: The TV Stories (€ 14,99) (Diverse auteurs / DC Comics) Fantastic Four / Inhumans: Atlantis Rising (€ 39,99) (Diverse auteurs / Marvel) Simpsons Comics: Shake-Up (€ 15,99) (Studio Matt Groening / Bongo Comics) Star Wars Omnibus: Adventures (€ 24,99) (Diverse auteurs / Dark Horse) Star Wars Omnibus: Dark Times (€ 24,99) (Diverse auteurs / Dark Horse) Superior Spider-Men Team-Up: Friendly Fire (€ 17,99) (Diverse auteurs / Marvel) Swamp Thing 1 (€ 19,99) (Roger Peterson & Brian K. Vaughan / Vertigo) The Best of Wonder Wart-Hog (€ 29,95) (Gilbert Shelton / Knockabout) West Coast Avengers: Sins of the Past (€ 29,99) (Al Milgrom & Steve Englehart / Marvel) Manga – Engelstalig: Naruto 64 (€ 9,99) (Masashi Kishimoto / Viz) Naruto: Three-in-One 7 (€ 14,99) (Masashi Kishimoto / Viz) Marvel Omnibussen in aanbieding !!! Avengers: West Coast Avengers vol. 1 $ 99,99 NU: 49,99 Euro !!! Marvel Now ! $ 99,99 NU: 49,99 Euro !!! Punisher by Rick Remender $ 99,99 NU: 49,99 Euro !!! The Avengers vol. 1 $ 99,99 NU: 49,99 Euro !!! Ultimate Spider-Man: Death of Spider-Man $ 75 NU: 39,99 Euro !!! Untold Tales of Spider-Man $ 99,99 NU: 49,99 Euro !!! X-Force vol. -
Disney Comics from Italy♦ © Francesco Stajano 1997-1999
Disney comics from Italy♦ © Francesco Stajano 1997-1999 http://i.am/filologo.disneyano/ A Roberto, amico e cugino So what exactly shall we look at? First of all, the Introduction fascinating “prehistory” (early Thirties) where a few pioneering publishers and creators established a Disney Most of us die-hard Disney fans are in love with those presence in Italy. Then a look at some of the authors, seen comics since our earliest childhood; indeed, many of us through their creations. Because comics are such an learnt to read from the words in Donald’s and Mickey’s obviously visual medium, the graphical artists tend to get balloons. Few of us, though, knew anything about the the lion’s share of the critics’ attention; to compensate for creators of these wonderful comics: they were all this, I have decided to concentrate on the people who calligraphically signed by that “Walt Disney” guy in the actually invent the stories, the script writers (though even first page so we confidently believed that, somewhere in thus I’ve had to miss out many good ones). This seems to America, a man by that name invented and drew each and be a more significant contribution to Disney comics every one of those different stories every week. As we studies since, after all, it will be much easier for you to grew up, the quantity (too many) and quality (too read a lot about the graphical artists somewhere else. And different) of the stories made us realise that this man of course, by discussing stories I will also necessarily could not be doing all this by himself; but still, we touch on the work of the artists anyway. -
The Big Fat Flat Blot Plot
eap into action with Donald Duck and Mick ey Mouse for a wild collection of modern-day L comics classics featuring the return of the diabolical Phantom Blot! When the supervillain Blot turns himself two dimen- sional, daring Mickey can only stop his crime spree by hopping dimensions! Then, unlucky Donald finally wins the lottery... and will do anything to hang on to his prize! All the stories from IDW’s Donald and Mickey #1 and 2 are here, including work by fan-favorite writer-artists William Van Horn and Andrea “Casty” Castellan! The Big Fat Flat Blot Plot From Italian Topolino #2619, 2006 Writer: Andrea “Casty” Castellan Artist: Lorenzo Pastrovicchio Colorists: Disney Italia with Digikore Studios, Erik Rosengarten, and Nicole and Travis Seitler Letterers: Nicole and Travis Seitler Translation and Dialogue: Jonathan H. Gray Yard Wars From Dutch Donald Duck #27/1995 Writer: Frank Jonker Artist: Bas Heymans Colorists: Sanoma and Digikore Studios The Saucerer’s a Menace! Letterers: Nicole and Travis Seitler From Danish Anders And & Co. #13/2005 Translation and Dialogue: Maura McManus Writer: Kari Korhonen Artist: Daniel Branca Colorists: Digikore Studios and Tim Artz with Nicole and Travis Seitler Letterers: Nicole and Travis Seitler Translation and Dialogue: Thad Komorowski Special thanks to Eugene Paraszczuk, Julie Dorris, Carlotta Quattricolo, Chris Troise, Roberto Santillo, Manny Mederos, Camille Vedove, Stefano Ambrosio, and Thomas Jensen. For international rights, contact [email protected] ISBN: 978-1-68405-136-6 21 20 19 18 1 2 3 4 Greg Goldstein, President & Publisher • Robbie Robbins, EVP & Sr. Art Director • Chris Ryall, Chief Creative Officer & Editor-in-Chief • Matthew Ruzicka, CPA, Chief Financial Officer • David Hedgecock, Associate Publisher • Laurie Windrow, Senior Vice President of Sales & Marketing Lorelei Bunjes, VP of Digital Services • Eric Moss, Sr. -
Parking Information
Parking Information Suburban Collection Showplace is conveniently located at 46100 Grand River Avenue, between Novi and Beck Roads in Novi, MI. Our Facility can be accessed From I-96 at the Novi and Beck Road exits. Parking will have a small charge For each day oF the event. There will be a Fully-equipped press room on site. Interviews may not be conducted inside the press room. More details on the location oF the press room will be provided. 3 Motor City Comic Con Floor Plan 2014 4 Schedule of Events *Schedule is subject to change Friday: ñ “Sweep the Leg” Panel with Billy Zabka and Martin Kove-Time TBD o They will discuss their roles in The Karate Kid ñ Ready-To-Play Deck Event-Beginners Level-Time TBD o Card game For beginners ñ Friday Anime Programming Schedule: o 11:30 a.m: Urusei Yatsura o Noon: Dirty Pair o 12:55 p.m.: Bodacious Space Pirates o 2:10 p.m.: Shinesmen o 3:10 p.m.: Saint Seiya o 4:30 p.m.: Tiger & Bunny- The Movie o 6:00 p.m.: Read or Die Saturday: ñ Costume Cosplay Contest (ages 13+)-Time TBD ñ Standard Format Constructed Event-Experienced Level o Card game For experienced gamers ñ Saturday Anime Programming Schedule: o 10:30 a.m.: Little Witch Academia o 11:00 a.m.: Fairy Tail o 12:15 p.m.: TBA o 2:15 p.m.: Nadia: The Secret oF Blue Water o 3:30 p.m.: TBA o 4:45 p.m.: Level E o 5:30 p.m.: TBA o 6:15 p.m.: Good Luck Girl o 7:30 p.m.: Akira o 9:30 p.m.: High School oF the Dead o 10:30 p.m.: Space Adventure Cobra ñ Get Drunk on Comics Panel-Time TBD o The guys From the Drunk on Comics podcast will discuss podcasting, -
The Summer Lobo, Volume 009, No 2, 6/16/1939
University of New Mexico UNM Digital Repository 1938 The aiD ly Lobo 1931 - 1940 6-16-1938 The ummeS r Lobo, Volume 009, No 2, 6/16/1939 University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/daily_lobo_1938 Recommended Citation University of New Mexico. "The ummeS r Lobo, Volume 009, No 2, 6/16/1939." 9, 2 (1938). https://digitalrepository.unm.edu/ daily_lobo_1938/35 This Newspaper is brought to you for free and open access by the The aiD ly Lobo 1931 - 1940 at UNM Digital Repository. It has been accepted for inclusion in 1938 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. e Four THE SUMMER LOBO Tuesday, June 6, 1939 liant :McLeish Dunbar, who has been organize the art department of tmmer Students Ready Dean St. Clair a professor of architecture at Scrip;ps College, California, during Cornell University ;for the past 15 which time he headed the a:rt de" T~~ SUMM~R ~LOBO o Study Hard or Hardly Study Congratulates years. partment there. Dunbar is a fellow in the Ameri- UNIVERSITY OF NEW MEXICO By Paul Kircher Publications Board can Institute of Architecture, ln Cricket, the famed English Edited and P~:~blished by the Journalism Class hum-summ.er school starts, FASHION PREVIEW 1931 he was granted .a four years' game, is a popular student sport re is a lot of hard work, while * * Health Improved; leave of absence :from Cornell to at Mount Angel College. VoL. IX ALBUQUERQUE, NEW MEXICO, FRIDAY, JUNE 16, 1939 No.2 •b(ldy else is loafing around in Fights Philistines at the seashore, or the world~s . -
The Craig Krull Collection the Craig Krull Collection
Disneyland COVER THE CRAIG KRULL COLLECTION THE CRAIG KRULL COLLECTION FRIDAY JUNE 9, 2017 IMMEDIATELY FOLLOWING LOT 611 OF ANIMATION & DISNEYANA AUCTION 94 LIVE • MAIL • PHONE • FAX • INTERNET Place your bid over the Internet! PROFILES IN HISTORY will be providing Internet-based bidding to qualified bidders in real-time on the day of the auction. For more information visit us @ www.profilesinhistory.com CATALOG PRICE AUCTION LOCATION (PREVIEWS BY APPOINTMENT ONLY) $35.00 PROFILES IN HISTORY, 26662 AGOURA ROAD, CALABASAS, CA 91302 CALL: 310-859-7701 FAX: 310-859-3842 This auction is a continuation of Profiles in History’s Animation & Disneyana Auction 94, which begins at 11 am PDT on June 9th, 2017, and will commence immediately following Lot 611 of Auction 94. Bidders may register by phone, online at www.profilesinhistory.com, or use the registration and bidding forms in the Auction 94 catalog. “CONDITIONS OF SALE” Profiles may accept current and valid VISA, MasterCard, Discover removed from the premises or possession transferred to Buyer unless and American Express credit or debit cards for payment but under Buyer has fully complied with these Conditions of Sale and the terms AGREEMENT BETWEEN PROFILES IN HISTORY AND the express condition that any property purchased by credit or debit of the Registration Form, and unless and until Profiles has received BIDDER. BY EITHER REGISTERING TO BID OR PLACING A card shall not be refundable, returnable, or exchangeable, and that no the Purchase Price funds in full. Notwithstanding the above, all BID, THE BIDDER ACCEPTS THESE CONDITIONS OF SALE credit to Buyer’s credit or debit card account will be issued under any property must be removed from the premises by Buyer at his or her AND ENTERS INTO A LEGALLY, BINDING, ENFORCEABLE circumstances.