Expectations Across Entertainment Media
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Teen-Noir – Veronica Mars Og Den Moderne Ungdomsserie (PDF)
Teen Noir – Veronica Mars og den moderne ungdomsserie AF MICHAEL HØJER I 2004 havde den amerikanske ungdomskanal UPN premiere på Rob Tho- mas’ ungdomsserie Veronica Mars (2004-2007). Serien foregår i den fikti- ve, sydcaliforniske by Neptune og handler om teenagepigen Veronica Mars (Kristen Bell), der arbejder som privatdetektiv, samtidig med at hun går på high school. Trods det faktum, at Veronica Mars havde en dedikeret fanskare bag sig, befandt den sig i samtlige tre sæsoner blandt de mindst sete tv-serier i USA. Da tendensen kun forværredes hen mod afslutningen af tredje sæ- son, var der ikke længere økonomisk grobund for at fortsætte (Van De Kamp 2007). Serien blev sat på pause, inden de sidste fem afsnit blev vist, hvor- efter CW (en fusion af det tidligere UPN og en anden ungdomsorienteret ka- nal ved navn WB) lukkede permanent for kassen. Selvom seriens hardcore fans sendte 10.000 Marsbarer til CW’s hovedkontor i et forsøg på at genop- live serien, og selvom der var flere forsøg fra produktionsholdets side på at fortsætte den enten via tv, en opfølgende film eller endda en tegneserie, er dvd-udgivelsen af Veronica Mars’ tre sæsoner det sidste, man har set til Rob Thomas’ serie. Foruden sin dedikerede fanskare – der bl.a. talte prominente personer som forfatteren Stephen King, filminstruktøren Kevin Smith og Joss Whe- don, der skabte både Firefly og Buffy the Vampire Slayer (UPN/WB, 1997- 2003)1 – var også anmelderne hurtige til at se seriens kvaliteter. Specielt de første to sæsoner af Veronica Mars blev meget vel modtaget. Større, to- neangivende amerikanske medier som LA Weekly, The Village Voice, New York Times og Time roste alle serien med ord som ”remarkably innovative”, ”promising”, ”smart, engaging” og ”genre-defying”. -
Sexual Selection Research on Spiders: Progress and Biases
Biol. Rev. (2005), 80, pp. 363–385. f Cambridge Philosophical Society 363 doi:10.1017/S1464793104006700 Printed in the United Kingdom Sexual selection research on spiders: progress and biases Bernhard A. Huber* Zoological Research Institute and Museum Alexander Koenig, Adenauerallee 160, 53113 Bonn, Germany (Received 7 June 2004; revised 25 November 2004; accepted 29 November 2004) ABSTRACT The renaissance of interest in sexual selection during the last decades has fuelled an extraordinary increase of scientific papers on the subject in spiders. Research has focused both on the process of sexual selection itself, for example on the signals and various modalities involved, and on the patterns, that is the outcome of mate choice and competition depending on certain parameters. Sexual selection has most clearly been demonstrated in cases involving visual and acoustical signals but most spiders are myopic and mute, relying rather on vibrations, chemical and tactile stimuli. This review argues that research has been biased towards modalities that are relatively easily accessible to the human observer. Circumstantial and comparative evidence indicates that sexual selection working via substrate-borne vibrations and tactile as well as chemical stimuli may be common and widespread in spiders. Pattern-oriented research has focused on several phenomena for which spiders offer excellent model objects, like sexual size dimorphism, nuptial feeding, sexual cannibalism, and sperm competition. The accumulating evidence argues for a highly complex set of explanations for seemingly uniform patterns like size dimorphism and sexual cannibalism. Sexual selection appears involved as well as natural selection and mechanisms that are adaptive in other contexts only. Sperm competition has resulted in a plethora of morpho- logical and behavioural adaptations, and simplistic models like those linking reproductive morphology with behaviour and sperm priority patterns in a straightforward way are being replaced by complex models involving an array of parameters. -
X-Men Blue Vol. 4: Cry Havok PDF Book
X-MEN BLUE VOL. 4: CRY HAVOK PDF, EPUB, EBOOK Cullen Bunn | 136 pages | 07 Aug 2018 | Marvel Comics | 9781302909796 | English | New York, United States X-men Blue Vol. 4: Cry Havok PDF Book VC by Otto Schmidt. The fight continues and unexpectedly they tried to take out Lorna first. I have to post a very adorable and cute art by David Baldeon. The Road to Calvary: not a walk in the park 2. Subject to credit approval. Zee keeps in touch with all her friends with texts, IMs, and emails—and now, Bluetopia, the coolest social networking site ever! After Polaris blast their way through the Orchis troops, Magneto ripped the vibranium massive vault door. How intriguing : VC by David Baldeon. Overview After the X-Men's cross time capers and harrowing exploits in Mojo Worldwide, the team needs to regroup because what's in store for them is bigger and more daunting than ever! Tweet Clean. Average Rating:. Anyway, these mutants are the future. It is all a bit of a mess. And look! X-Factor 4 is a good sign for things to come. Silva, Marcus To, and the rest of the art team did well on the other half of the issues as well. Saturnyne destroyed the external gate in order to avoid trespassing into Otherworld. Cover Price. View 1 comment. Apocalypse barely made it but only thanks to Polaris, Magneto, Hope, and Healer since he was in a really bad shape. But what does the terrifying new landscape of the Marvel Universe mean for mutantkind? She believes she can be successful in breaking herself free. -
Why No Wonder Woman?
Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends. -
The Community-Centered Cult Television Heroine, 1995-2007
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 2010 "Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007 Tamy Burnett University of Nebraska at Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, North America Commons, and the Visual Studies Commons Burnett, Tamy, ""Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007" (2010). Dissertations, Theses, and Student Research: Department of English. 27. https://digitalcommons.unl.edu/englishdiss/27 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 by Tamy Burnett A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English (Specialization: Women‟s and Gender Studies) Under the Supervision of Professor Kwakiutl L. Dreher Lincoln, Nebraska May, 2010 “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 Tamy Burnett, Ph.D. University of Nebraska, 2010 Adviser: Kwakiutl L. Dreher Found in the most recent group of cult heroines on television, community- centered cult heroines share two key characteristics. The first is their youth and the related coming-of-age narratives that result. -
Detectives with Pimples: How Teen Noir Is Crossing the Frontiers of the Traditional Noir Films1
Detectives with pimples: How teen noir is crossing the frontiers of the traditional noir films1 João de Mancelos (Universidade da Beira Interior) Palavras-chave: Teen noir, Veronica Mars, cinema noir, reinvenção, feminismo Keywords: Teen noir, Veronica Mars, noir cinema, reinvention, feminism 1. “If you’re like me, you just keep chasing the storm” In the last ten years, films and TV series such as Heathers (1999), Donnie Darko (2001), Brick (2005) or Veronica Mars (2004-2007) have become increasingly popular and captivated cult audiences, both in the United States and in Europe, while arousing the curiosity of critics. These productions present characters, plots, motives and a visual aesthetic that resemble the noir films created between 1941, when The Maltese Falcon premiered, and 1958, when Touch of Evil was released. The new films and series retain, for instances, characters like the femme fatale, who drags men to a dreadful destiny; the good-bad girl, who does not hesitate in resorting to dubious methods in order to achieve morally correct objectives; and the lonely detective, now a troubled adolescent — as if Sam Spade had gone back to High School. In the first decade of our century, critics coined the expression teen noir to define this new genre or, in my opinion, subgenre, since it retains numerous traits of the classic film noir, especially in its contents, thus not creating a significant rupture. In this article, I intend to a) examine the common elements between teen noir series and classic noir films; b) analyze how this new production reinvents or subverts the characteristics of the old genre, generating a sense of novelty; c) detect some of the numerous intertextual references present in Veronica Mars, which may lead young viewers to investigate other series, movies or books. -
ARCHIE COMICS Random House Adult Blue Omni, Summer 2012
ARCHIE COMICS Random House Adult Blue Omni, Summer 2012 Archie Comics Archie Meets KISS Summary: A highly unexpected pairing leads to a very Alex Segura, Dan Parent fun title that everyone’s talking about. Designed for both 9781936975044 KISS’s and Archie’s legions of fans and backed by Pub Date: 5/1/12 (US, Can.), On Sale Date: 5/1 massive publicity including promotion involving KISS $12.99/$14.99 Can. cofounders Gene Simmons and Paul Stanley, Archie 112 pages expects this title to be a breakout success. Paperback / softback / Trade paperback (US) Comics & Graphic Novels / Fantasy From the the company that’s sold over 1 billion comic books Ctn Qty: 0 and the band that’s sold over 100 million albums and DVDs 0.8lb Wt comes this monumental crossover hit! Immortal rock icons 363g Wt KISS join forces ... Author Bio: Alex Segura is a comic book writer, novelist and musician. Alex has worked in comics for over a decade. Before coming to Archie, Alex served as Publicity Manager at DC Comics. Alex has also worked at Wizard Magazine, The Miami Herald, Newsarama.com and various other outlets and websites. Author Residence: New York, NY Random House Adult Blue Omni, Summer 2012 Archie Comics Archie Meets KISS: Collector's Edition Summary: A highly unexpected pairing leads to a very Alex Segura, Dan Parent, Gene Simmons fun title that everyone’s talking about. Designed for both 9781936975143 KISS’s and Archie’s legions of fans and backed by Pub Date: 5/1/12 (US, Can.), On Sale Date: 5/1 massive publicity including promotion involving KISS $29.99/$34.00 Can. -
Transmetropolitan: Back on the Street Vol 1 Free
FREE TRANSMETROPOLITAN: BACK ON THE STREET VOL 1 PDF Darick Robertson,Warren Ellis | 144 pages | 18 Nov 2011 | DC Comics | 9781401220846 | English | New York, NY, United States Transmetropolitan - Wikipedia After years of self-imposed exile from a civilizati on rife with degradati on and indecency, cynical journalist Spider Jerusalem is forced to return to a job that he hates and a city that he loa the Transmetropolitan: Back on the Street Vol 1. Working as an investigative reporter for the newspaper The Word, Spider attacks the injustices of his surreal 23rd Century surroundings. Combining black humor, life-threatening situati on s, and moral ambiguity, this book is the first look into the mind of an outlaw journalist and the world he seeks to destroy. Short-link Link Embed. Share from cover. Share from page:. More magazines by this user. Close Flag as Inappropriate. You Transmetropolitan: Back on the Street Vol 1 already flagged this document. Thank you, for helping us keep this platform clean. The editors will have a look at it as soon as possible. Delete template? Cancel Delete. Cancel Overwrite Save. Don't wait! Try Yumpu. Start using Yumpu now! Resources Blog Product changes Videos Magazines. Integrations Wordpress Zapier Dropbox. Cooperation partner: bote. Terms of service. Privacy policy. Cookie policy. Change language. Main languages. Transmetropolitan Vol. 1: Back on the Street - Warren Ellis - Google книги Transmetropolitan is a cyberpunk transhumanist comic book series written by Warren Ellis and co-created and designed by Darick Robertson ; it was published by the American company DC Comics in — Transmetropolitan chronicles the battles of Spider Jerusaleminfamous renegade gonzo journalist of the future. -
Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. -
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. -
Exploded Gaze First Edition Published by Multimedijalni Institut © 2018 by Goran Sergej Pristaš
Goran Sergej Pristaš Exploded Gaze First edition published by Multimedijalni institut © 2018 by Goran Sergej Pristaš Multimedijalni institut ISBN 978-953-7372-46-0 — this book is a joint publication with the performance collective BADco., in collaboration with Drugo more A CIP catalogue record for this book is available from the National and University Library in Zagreb under 001017853. — Skhole is a program-segment within the flagship Dopolavoro (Rijeka 2020 – European Capital of Culture) Zagreb, December 2018 Goran Sergej Pristaš Exploded Gaze Translated by Žarko Cvejić With an Afterword by Bojana Kunst Contents Acknowledgments — 9 1. Encounters “How do you work?” — 13 Of Animals and Artists — 16 Producing production — 22 Work, Non-work, Artwork — 32 The Institutions of Viewing — 37 interstice: Parenthesis on Responsibility — 46 2. The Exploded View Chrono-logics of Theatre — 51 Post-Hoc — 57 Literarisation — 69 Displacement — 74 Regime of Interests — 78 Operation — 84 Interruption of Myth — 88 Reconstruction — 91 interstice: On Translation — 96 3. “He is in the Orchestra Seats. He’s the Wise Man.” Cinematic Modes of Viewing — 103 Concerning the Image of the World — 107 Situation, Event — 112 A Paradox within a Paradox — 118 Indifference — 128 The Law of Energies and Interest — 138 Scene, Image, Plan — 146 Similitude — 163 Hieroglyph — 168 Objectification — 177 Up to Brecht and Cinema — 182 interstice: Breath — 189 4. Notes on Viewing Composites — 197 Ideal People — 209 Double Exposition/Exposure — 213 The Melting of Perspective — 220 Scheme — 224 The View from Matter — 235 interstice: A Few Looks... — 251 A Few Turns — 255 5. Appendix The Exploded View of Poetics — 269 afterword: Poetics of production — 283 Notes — 295 Works Cited — 303 Acknowledgments This volume of artistic notes emerged from a whole series of encounters and turns, involving both the people and artworks that are discussed in it. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers.