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Bill Rogers Collection Inventory (Without Notes).Xlsx
Title Publisher Author(s) Illustrator(s) Year Issue No. Donor No. of copies Box # King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 13 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 14 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 12 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench Alan Kupperberg and 1982 11 Bill Rogers 1 J1 Group Ernie Chan King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 10 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench John Buscema, Ernie 1982 9 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 8 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 6 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar Mike Docherty, Art 1988 33 Bill Rogers 1 J1 Nnicholos King Conan Marvel Comics Roy Thomas John Buscema, Danny 1981 5 Bill Rogers 2 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema, Danny 1980 3 Bill Rogers 1 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1980 2 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar M. Silvestri, Art Nichols 1985 29 Bill Rogers 1 J1 Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 30 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 31 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Vince 1986 32 Bill Rogers -
Writing About Comics and Copyright
CREATe Working Paper 2013/9 (December 2013) Writing About Comics and Copyright Authors Ronan Deazley Jason Mathis University of Glasgow www.jasonmathis.ca [email protected] [email protected] Initially released as a pre-publication edition privately printed for the authors, limited to a print run of 200 copies. CREATe Working Paper Series DOI: 10.5281/zenodo.8379. This release was supported by the RCUK funded Centre for Copyright and New Business Models in the Creative Economy (CREATe), AHRC Grant Number AH/K000179/1. 1 WRITING ABOUT COMICS AND COPYRIGHT Ronan Deazley and Jason Mathis Copyright © 2013 Ronan Deazley and Jason Mathis [ii] For Moira and Ruby [iii] [iv] TABLE OF CONTENTS Introduction 1 Comics scholarship and clearing rights 3 What is a ‘work’? 6 Insubstantial copying 12 Criticism and review 16 Current proposals for reform 20 Conclusion 23 30 Afterword / Manifesto 28 Notes [v] [1] [2] COMICS SCHOLARSHIP AND CLEARING RIGHTS Academics who research and write about the visual world often complain about the way in which copyright law can hinder their scholarly endeavours, and with good reason. Writing about visual work without reproducing that work is an impoverished exercise, for both writer and reader. But, reproducing visual material can trigger concerns on the part of the conscientious author or – more often – demands on the part of the publisher about the need to secure copyright permission. In this respect, comics scholarship is - ing rights for publication can be frustrating and time-consuming, andno different academic from publishers any other often field manage of visual the or cultural business studies. -
Gotham Knights
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 11-1-2013 House of Cards Matthew R. Lieber University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Screenwriting Commons Recommended Citation Lieber, Matthew R., "House of Cards" (2013). Electronic Theses and Dissertations. 367. https://digitalcommons.du.edu/etd/367 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. House of Cards ____________________________ A Thesis Presented to the Faculty of Social Sciences University of Denver ____________________________ In Partial Requirement of the Requirements for the Degree Master of Arts ____________________________ By Matthew R. Lieber November 2013 Advisor: Sheila Schroeder ©Copyright by Matthew R. Lieber 2013 All Rights Reserved Author: Matthew R. Lieber Title: House of Cards Advisor: Sheila Schroeder Degree Date: November 2013 Abstract The purpose of this thesis is to approach adapting a comic book into a film in a unique way. With so many comic-to-film adaptations following the trends of action movies, my goal was to adapt the popular comic book, Batman, into a screenplay that is not an action film. The screenplay, House of Cards, follows the original character of Miranda Greene as she attempts to understand insanity in Gotham’s most famous criminal, the Joker. The research for this project includes a detailed look at the comic book’s publication history, as well as previous film adaptations of Batman, and Batman in other relevant media. -
Power of the Stick Year 8
Year 8 - Knowledge Organiser - Giacometti The width from shoulder to shoulder = 2heads The elbow roughly lines up with the bottom of the What is proportion? – Proportion is comparison ribcage just above the waist It is important to draw the human figure in proportion. The tip of the middle finger to the armpit = 3 heads Though there are subtle differences between individuals Width of the waist at the belly is 1 head length wide human proportions fit within a fairly standard range, which With the arm stretched out the hand reaches have varied considerably over different periods and regions. midthigh. In modern figure drawing, the basic unit of measurement is Hand = face (chin to hairline) the ‘head’, which is the distance from the top of the head to the chin. Motion -The body is a supple and agile system, The proportions used in figure drawing are: influenced by gravity. It has no natural rigid position • An average person is generally 7 ½ heads tall. • An ideal figure , used when aiming for an impression 1.An exaggerated walking gait. of nobility or grace, is drawn at 8 heads tall. The hip joints move because of • An heroic figure , gods and superheroes, is 8 ½ gravity. The motion of the 1 heads tall. (bigger chest and longer legs) shoulders moves in reverse to the hip joints. 2. A sideways lying person, resting on 1 arm. This causes Power of the Stick • An unbalanced pose conveys the rest of the body (ribcage) to red circle = centreFigure of gravity dynamics, action and motion hang on the resting shoulder. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
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. -
Alter Ego #78 Trial Cover
TwoMorrows Publishing. Celebrating The Art & History Of Comics. SAVE 1 NOW ALL WHE5% O N YO BOOKS, MAGS RDE U & DVD s ARE ONL R 15% OFF INE! COVER PRICE EVERY DAY AT www.twomorrows.com! PLUS: New Lower Shipping Rates . s r Online! e n w o e Two Ways To Order: v i t c e • Save us processing costs by ordering ONLINE p s e r at www.twomorrows.com and you get r i e 15% OFF* the cover prices listed here, plus h t 1 exact weight-based postage (the more you 1 0 2 order, the more you save on shipping— © especially overseas customers)! & M T OR: s r e t • Order by MAIL, PHONE, FAX, or E-MAIL c a r at the full prices listed here, and add $1 per a h c l magazine or DVD and $2 per book in the US l A for Media Mail shipping. OUTSIDE THE US , PLEASE CALL, E-MAIL, OR ORDER ONLINE TO CALCULATE YOUR EXACT POSTAGE! *15% Discount does not apply to Mail Orders, Subscriptions, Bundles, Limited Editions, Digital Editions, or items purchased at conventions. We reserve the right to cancel this offer at any time—but we haven’t yet, and it’s been offered, like, forever... AL SEE PAGE 2 DIGITIITONS ED E FOR DETAILS AVAILABL 2011-2012 Catalog To get periodic e-mail updates of what’s new from TwoMorrows Publishing, sign up for our mailing list! ORDER AT: www.twomorrows.com http://groups.yahoo.com/group/twomorrows TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 • 919-449-0344 • FAX: 919-449-0327 • e-mail: [email protected] TwoMorrows Publishing is a division of TwoMorrows, Inc. -
ART 213 Figure Drawing (Definitive Version)
ART 2323 – FIGURE DRAWING I MAIN ART BUILDING, ROOM 201 2:00 P.M. -- 4:50 P.M. Instructor: Gerard Huber [email protected] Office Hours 11:00AM to 1:50PM, Tuesday/Thursday, Room #211 in Art Building CATALOGUE DESCRIPTION: The solving of total compositional problems, through drawing media. Emphasis is placed upon the figure, with additional concentration upon other subject matter and nonobjective image making. ADDITIONAL DESCRIPTION: A course in learning how to draw the nude human body accurately and with sensitivity. Objectives of the course are to acquire a comprehensive understanding of the human form by developing a working knowledge of the structural components of the human body. Course Purpose: The purpose of Figure Drawing is to develop perceptual skills in terms of drawing a correctly articulated human figure with accurate proportions from a nude figure. The student will review basic knowledge of the elements of art structure: line, value, shape, texture, and color to lead to their deliberate manipulation of different types of spatial illusion, compositions, and expressive meaning. Course Goals: Figure Drawing is designed to build each student’s perceptual, compositional, and expressive figure drawing skills so that by the end of the semester he or she will: learn to make a drawing of the live human figure based on increased sensory perception as opposed to preconceived ideas of what the figure should look like. be able to draw the human figure in an objectively accurate manner. be able to analyze underlying structure and proportions of male and female human figures. be able to draw the human figure in an expressive manner, with desired mood or emotional nuance. -
The Muppets Take the Mcu
THE MUPPETS TAKE THE MCU by Nathan Alderman 100% unauthorized. Written for fun, not money. Please don't sue. 1. THE MUPPET STUDIOS LOGO A parody of Marvel Studios' intro. As the fanfare -- whistled, as if by Walter -- crescendos, we hear STATLER (V.O.) Well, we can go home now. WALDORF (V.O.) But the movie's just starting! STATLER (V.O.) Yeah, but we've already seen the best part! WALDORF (V.O.) I thought the best part was the end credits! They CHORTLE as the credits FADE TO BLACK A familiar voice -- one we've heard many times before, and will hear again later in the movie... MR. EXCELSIOR (V.O.) And lo, there came a day like no other, when the unlikeliest of heroes united to face a challenge greater than they could possibly imagine... STATLER (V.O.) Being entertaining? WALDORF (V.O.) Keeping us awake? MR. EXCELSIOR (V.O.) Look, do you guys mind? I'm foreshadowing here. Ahem. Greater than they could possibly imagine... CUT TO: 2. THE MUPPET SHOW COMIC BOOK By Roger Langridge. WALTER reads it, whistling the Marvel Studios theme to himself, until KERMIT All right, is everybody ready for the big pitch meeting? INT. MUPPET STUDIOS The shout startles Walter, who tips over backwards in his chair out of frame, revealing KERMIT THE FROG, emerging from his office into the central space of Muppet Studios. The offices are dated, a little shabby, but they've been thoroughly Muppetized into a wacky, cozy, creative space. SCOOTER appears at Kermit's side, and we follow them through the office. -
Fiction – January, 2017
FICTION – JANUARY, 2017 Ackerman, Elliot, Dark at the crossing / Elliot Ackerman. FICTION ACK Adiga, Aravind, Selection day / Aravind Adiga. FICTION ADI Appelfeld, Aharon, The man who never stopped sleeping / Aharon Appelfeld ; Translated from the Hebrew by Jeffrey M. Green. FICTION APP Arden, Katherine, The bear and the nightingale / Katherine Arden. FICTION ARD Auster, Paul, 1947- 4 3 2 1 / Paul Auster. FICTION AUS Barry, Brunonia, The fifth petal / Brunonia Barry. FICTION BAR Berenson, Alex, The prisoner / Alex Berenson. FICTION BER In sunlight or in shadow : stories inspired by the paintings of Edward Hopper / edited by Lawrence Block. FICTION IN Bohjalian, Chris, 1960- The sleepwalker / by Chris Bohjalian. FICTION BOH Burnet, Graeme Macrae, 1967- His bloody project : documents relating to the case of Roderick Macrae, a historical thriller / edited and introduced by Graeme Macrae Burnet. FICTION BUR Coe, Jonathan, Number 11 / Jonathan Coe. FICTION COE Coover, Robert, Huck out west / Robert Coover. FICTION COO Cusk, Rachel, 1967- Transit / Rachel Cusk. FICTION CUS D'Agostino, Kris, 1978- The antiques / Kris D'Agostino. FICTION D'AG Nightmares : a new decade of modern horror / edited by Ellen Datlow. FICTION NIG Doctorow, E. L., 1931-2015, Doctorow : collected stories / E.L. Doctorow. FICTION DOC Ellis, Janet, The butcher's hook / Janet Ellis. FICTION ELL Forstchen, William R., The final day / William R. Forstchen. FICTION FOR Frankel, Laurie, This is how it always is / Laurie Frankel. FICTION FRA Fridlund, Emily, History of wolves / Emily Fridlund. FICTION FRI Gardner, Lisa, Right behind you / Lisa Gardner. FICTION GAR Gay, Roxane, Difficult women / Roxane Gay. FICTION GAY Gilligan, Ruth, Nine folds make a paper swan / Ruth Gilligan. -
The Art of Figure Drawing the Art of Figure Drawing The
The art of figure drawing the science of modeling "The life Class ", by toby boothman http://fineartamerica.com/featured/the-life-class-toby-boothman.html © 2011 RP Renaud The art of figure drawing the science of modeling Needless to say, the wonderful parody on the cover page by artist Toby Boothman isn't very likely to depict what one will see at art classes or open studios. This photo, with the one recognizable face blurred for privacy, is more in line with what one will experience in the real world. This is a painting session, but a drawing session will not be that much different. Artists will be preserving the image of a model using various media such as pencils, pens, chalk, colored pencils, charcoal or Conté Crayons, and a variety of surfaces such as sheet paper, note pads, easel pads, newsprint (the stuff that newspapers are printed on) or whatever the artist is moved to use. Art is the product of individuality. © 2011 RP Renaud 2 The star of the show So we now have a group of artists, from a few to a classroom full, with one thing on their artistic minds: they want to draw something. The term "life class" presupposes that their subject will be living, and generally that subject is a human being. And that's your cue. You're their model. They want to draw you. Although in some life classes the model is dressed ("draped", in the jargon) in street clothes or costumes, this group of artists wants you to be nude. Get used to that concept before you even consider modeling. -
Noches Oscuras: Death Metal
SERIES DC COMICS MAYO 2021 NOCHES OSCURAS: DEATH METAL: EL EVENTO DEL AÑO SIGUE EN LAS NUEVAS ENTREGAS DE LA MINISERIE Y EN EL ESPECIAL LIGA DE LA JUSTICIA: DOOM METAL Nuevas temporadas de Wonder Woman y Aquaman A LA VENTA EN MAYO DE 2021 ECC CÓMICS NÚM. 27, BATMAN NÚM. 110/55, LA GUERRA DEL JOKER NÚM. 5 DE 6, LA TUMBA DE BATMAN NÚM. 12 DE 12, SUPERMAN NÚM. 107/28, WONDER WOMAN: PRIMERA TEMPORADA – LA CACERÍA SALVAJE, LIGA DE LA JUSTICIA NÚM 112/34, LIGA DE LA JUSTICIA OSCURA NÚM. 9 DE 9, DEATH METAL NÚM. 3, DEATH METAL NÚM. 3 BAND EDITION - LACUNA COIL, DEATH METAL - METALVERSO NÚM. 2, LIGA DE LA JUSTICIA: DOOM METAL, BATMAN/SUPERMAN NÚM 15, EL GREEN LANTERN NÚM. 106/24, FLASH NÚM. 69/55, YOUNG JUSTICE NÚM. 22 DE 22, DCSOS: PLANETA MUERTO NÚM. 5 DE 7, STRANGE ADVENTURES NÚM. 8 DE 12, ESCUADRÓN SUICIDA NÚM 36/11, , RORSCHACH NÚM. 4 DE 12, LEGIÓN DE SUPERHÉROES NÚM. 4 DE 4, AQUAMAN: SEGUNDA TEMPORADA - AMNISTÍA. ECC Cómics núm. 27 CON TODA LA INFORMACIÓN SOBRE LOS TÍTULOS DE ECC. Contiene el siguiente capítulo de Dcsos: Esperanza en el fin del mundo, de Tom Taylor y Renato Guedes, y dos nuevas historias cortas de la antología Batman: Black and White, incluyendo el debut en DC de la aclamada dibujante española Emma Ríos (Pretty Deadly). Invencible estrena serie animada en Amazon Prime Video y nosotros os ofrecemos hasta diez razones para haceros con la nueva edición del cómic original escrito por Robert Kirkman (The Walking Dead), que recopila las aventuras de Mark Grayson desde el principio.