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Lakey Lawsuit Settled for $55,000
75¢ Friday/ Saturday March 26-27, 2021 www.perrynewspapers.com Lakey lawsuit settled for $55,000 The Taylor County Lakey filed suit against coronavirus (COVID-19) fees, they would have been Commission has settled the board in late 2019, outbreak. astronomical. Also, you a lawsuit filedalleging by the county The commission held a need to remember, your former Taylor County violated his employmentspecial meeting Tuesday, deductible is $5,000.” Administrator Ted Lakeycontract and due process March 23, during which Under the agreement, over his 2018 firingby notfor providing himCounty Attorney Conrad Lakey will receive $55,000 $55,000. with a hearing prior to his Bishop outlined the and no attorneys’ fees, The county will only termination, as well as three settlement agreement. according to Bishop. have to pay $5,000 otherof claims. “Taylor County was “That’s all he’s going to that amount to cover theA mediation hearing was sued on five or sixget differentin the way of monetary,” deductible on its liability held earlier this month in counts in the complaint he said. “The insurance insurance policy. the case between the county, filed by Mr. Lakey,” Bishopcompany is going to pay it. Citing job performance Lakey and the insurance said. “This settled all of I questioned that, and they issues and a lack ofcarrier, which approved them, and it is a completeassured us that they would community involvement, the settlement. County release of all those claims. pay that. the county commission Attorney Conrad Bishop One of the things most folks “[Lakey] was also suing voted 4-0 to terminateand Commissioner Michael need to remember is, if he to get his job back,” Bishop Lakey’s contract at a NewmanNov. -
Dallas Fine Art Auction 2235 Monitor Street Dallas, TX 75207
Dallas Fine Art Auction 2235 Monitor Street Dallas, TX 75207 Phone: 214-653-3900 Fax: 214-653-3912 January 28, 2012 1/28/2012 LOT # LOT # 1 Alexandre Hogue (1898-1994), "Rattler" lithograph. 5 Edward Dawson-Watson (1893-1978), "Buckin' Steer" Sight: 6.25"H x 11.25"W; Frame: 14''H x tempera on paper board. Image: 5"H x 8.25"W; 18.25''W. Signed and dated lower right, Frame: 11.75"H x 15"W. Signed lower right in "Alexandre Hogue - 1938"; titled and numbered pencil on mat: "Edward Dawson Watson"; titled 13/50 lower left. The theme of man versus lower left in pencil on mat. nature is found in Hogue's paintings during the 800.00 - 1,200.00 1930s. This lithograph of "Rattler" is an excellent example of that. The horseshoe, symbolizing man's presence, and of course the snake being nature. 6 Reveau Bassett (1897-1981), "Ducks" (1) pencil 1,500.00 - 3,000.00 drawing and (1) corresponding etching. Sight: 10"H x 13"W; Frame: 15.25"H x 18.75"W. Signed lower right in pencil, "Reveau Bassett". 1,500.00 - 2,500.00 2 Frank Reaugh (1860-1945), "Untitled" (Creek Scene ) 1896 pastel on paper. Paper: 9.25"H x 4.75"W. Unsigned. A letter of authenticity from Mr. Michael Grauer, Associate 7 Donna Howell-Sickles (b. 1949), "Cowgirls" mixed Director for Curatorial Affairs/Curator for Art, media on canvas. Canvas: 48"H x 48"W; Frame: Panhandle-Plains Historical Museum, Canyon, 49''H x 49''W. -
Spencer Vicentini Sinclair
64 LGY#865 SPENCER VICENTINI SINCLAIR RATED T $3.99 US 0 6 4 1 1 7 5 9 6 0 6 0 8 9 3 6 9 BONUS DIGITAL EDITION – DETAILS INSIDE! PETER PARKER was bitten by a radioactive spider and gained the proportional speed, strength, and agility of a SPIDER, adhesive fingertips and toes, and the unique precognitive awareness of danger called “SPIDER-SENSE”! After the tragic death of his Uncle Ben, Peter understood that with great power there must also come great responsibility. He became the crimefighting super hero called… KING’S RANSOM Part Two Peter is rocking a new high-tech suit courtesy of Threats & Menaces. The suit allows TNM subscribers to watch the world through Spidey’s eyes, sending subscriptions through the roof. Spidey has been dealing with a spike in super-villain activity thanks to NYC mayor Wilson Fisk, the Kingpin, who’s seeking the pieces of the powerful Lifeline Tablet. Peter and his roommate, “reformed villain” Fred Myers, A.K.A. Boomerang, have been trying to keep the pieces out of Kingpin’s hands. So Kingpin assembled a cabal of villains to distract Spidey and Boomerang while he schemes behind the scenes with Baron Mordo! Meanwhile, Peter’s other roommate, Randy Robertson, rekindled his relationship with criminal Janice Lincoln, A.K.A. the Beetle-- which outraged their fathers, archenemies Robbie Robertson and Lonnie Lincoln, A.K.A. Tombstone. Madame Masque and the Crime Master ambushed Randy and Janice at Peter’s apartment and were holding them hostage when Peter and Fred returned. A fight ensued, and the apartment was blown open! NICK SPENCER ALEX SINCLAIR | colorist VC’s JOE CARAMAGNA | letterer writer MARK BAGLEY, JOHN DELL, and EDGAR DELGADO | cover artists CARLOS PACHECO, RAFAEL FONTERIZ, and RACHELLE ROSENBERG FEDERICO VICENTINI variant cover artists ANTHONY GAMBINO | designer LINDSEY COHICK | assistant editor artist NICK LOWE | editor C.B. -
(“Spider-Man”) Cr
PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership. -
Resistant Vulnerability in the Marvel Cinematic Universe's Captain America
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-15-2019 1:00 PM Resistant Vulnerability in The Marvel Cinematic Universe's Captain America Kristen Allison The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kristen Allison 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Allison, Kristen, "Resistant Vulnerability in The Marvel Cinematic Universe's Captain America" (2019). Electronic Thesis and Dissertation Repository. 6086. https://ir.lib.uwo.ca/etd/6086 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Established in 2008 with the release of Iron Man, the Marvel Cinematic Universe has become a ubiquitous transmedia sensation. Its uniquely interwoven narrative provides auspicious grounds for scholarly consideration. The franchise conscientiously presents larger-than-life superheroes as complex and incredibly emotional individuals who form profound interpersonal relationships with one another. This thesis explores Sarah Hagelin’s concept of resistant vulnerability, which she defines as a “shared human experience,” as it manifests in the substantial relationships that Steve Rogers (Captain America) cultivates throughout the Captain America narrative (11). This project focuses on Steve’s relationships with the following characters: Agent Peggy Carter, Natasha Romanoff (Black Widow), and Bucky Barnes (The Winter Soldier). -
Released 25Th September 2019 BOOM! STUDIOS JUL198679
Released 25th September 2019 BOOM! STUDIOS JUL198679 ANGEL #4 (2ND PTG) JUL198681 ANGEL #5 15 COPY FOC SLINEY INCV JUL191315 ANGEL #5 CVR A MAIN PANOSIAN JUL191316 ANGEL #5 CVR B MATTHEWS CONNECTING VAR JUL191317 ANGEL #5 CVR C PREORDER BUONCRISTIANO JUL198680 ANGEL #5 FOC SLINEY INCV JUL191320 ANGEL TP VOL 01 JUN191301 AVANT-GUARDS #8 (OF 8) CVR A MAIN HAYES JUN191302 AVANT-GUARDS #8 (OF 8) CVR B PREORDER MCGEE VAR JUL191339 FAITHLESS #6 (OF 6) CVR A POPE JUL191340 FAITHLESS #6 (OF 6) CVR B EROTICA LOTAY VAR JUL198682 FAITHLESS #6 (OF 6) FOC LEE VAR JUL198685 JIM HENSON DARK CRYSTAL AGE RESISTANCE #1 25 COPY TONG VAR JUL198684 JIM HENSON DARK CRYSTAL AGE RESISTANCE #1 BLANK SKETCH VAR JUL191302 JIM HENSON DARK CRYSTAL AGE RESISTANCE #1 CVR A JUL191303 JIM HENSON DARK CRYSTAL AGE RESISTANCE #1 CVR B CONNECTING VAR JUL198683 JIM HENSON DARK CRYSTAL AGE RESISTANCE #1 FOC WARD VAR MAY191240 JIM HENSON DARK CRYSTAL CREATION MYTHS COMPLETE HC JUL191344 LUMBERJANES #66 CVR A LEYH JUL191345 LUMBERJANES #66 CVR B PREORDER MILLEDGE VAR JUL191331 MIGHTY MORPHIN POWER RANGERS #43 CVR A CAMPBELL JUL198687 MIGHTY MORPHIN POWER RANGERS #43 FOC MORA VAR JUL191333 MIGHTY MORPHIN POWER RANGERS #43 FOIL MONTES VAR DARK HORSE COMICS MAY190279 ALIENS RESCUE #3 (OF 4) CVR A DE LA TORRE MAY190280 ALIENS RESCUE #3 (OF 4) CVR B CHATER MAY190278 ART OF RAGE 2 HC MAY190290 BERSERK TP VOL 40 MAY190263 DISNEY CHRISTMAS CAROL STARRING SCROOGE MCDUCK TP JUN190366 DISNEY FROZEN HERO WITHIN #3 (OF 3) KAWAII CREATIVE STUDIO MAY190295 ELFEN LIED OMNIBUS TP VOL 02 JUL190364 -
O SILENCER Please Continue on Back If Needed!) O TERRIFICS 1/1/18
DARK HORSE IMAGE MARVEL CONT. o AMERICAN GODS Neil Gaiman o ANGELIC o MS MARVEL o ANGEL o BEAUTY o OLD MAN HAWKEYE o BPRD o BLACK SCIENCE o OLD MAN LOGAN o BUFFY o CURSE WORDS o PETER PARKER Spectacular Spider o HARROW COUNTY o DEADLY CLASS o PUNISHER o HELLBOY o DESCENDER o RUNAWAYS DC / VERTIGO COMICS o EAST OF WEST o SHE HULK o ACTION o EXTREMITY o SPIDER-GWEN o AQUAMAN o FIX o SPIDER-MAN o ASTRO CITY o GOD COMPLEX o SPIDER-MAN / DEADPOOL o BANE CONQUEST o HIT GIRL o STAR WARS o BATGIRL o I HATE FAIRYLAND o STAR WARS DARTH VADER o BATGIRL & BIRDS OF PREY o KICK ASS o STAR WARS DOCTOR APHRA o BATMAN o KILL OR BE KILLED o STAR WARS POE DAMERON o BATMAN BEYOND o MONSTRESS o TALES OF SUSPENSE o BATWOMAN o MOONSHINE o THANOS o BOMBSHELLS UNITED o MOTOR CRUSH o UNBEATABLE SQUIRREL GIRL o DAMAGE o OBLIVION SONG o VENOM o DEATHSTROKE o OUTCAST o WEAPON H o DETECTIVE COMICS o PAPER GIRLS o WEAPON X o DOOMSDAY CLOCK o PORT OF EARTH o X-MEN BLUE o FLASH o RAT QUEENS o X-MEN GOLD o FUTURE QUEST PRESENTS o REDLANDS o X-MEN RED o GOTHAM CITY GARAGE o REDNECK VALIANT o GREEN ARROW o ROSE o SHADOWMAN o GREEN LANTERNS o ROYAL CITY o ARMSTRONG o HAL JORDAN GREEN LANTERN CORP o RUMBLE o BLOODSHOT o HARLEY QUINN o SAGA o NINJAK o HELLBLAZER o SNOTGIRL o QUANTUM & WOODY o INJUSTICE 2 o SPAWN o X-O MANOWAR o JUSTICE LEAGUE o VS OTHER o JUSTICE LEAGUE OF AMERICA o WALKING DEAD o ADVENTURE TIME o MISTER MIRACLE o WICKED & THE DIVINE o ARCHIE o NEW SUPERMAN & Justice League China o WITCHBLADE o DOCTOR WHO o NIGHTWING o YOUNGBLOOD o GO GO POWER RANGERS o RAGMAN -
The Only Way Is Down: Lark and Brubaker's Saga As '70S Cinematic
The Only Way is Down: Lark and Brubaker’s Saga as ’70s Cinematic Noir an Essay by Ryan K Lindsay from THE DEVIL IS IN THE DETAILS: EXAMINING MATT MURDOCK AND DAREDEVIL THE DEVIL IS IN THE DETAILS: EXAMINING MATT MURDOCK AND DAREDEVIL EDITED BY RYAN K. LINDSAY SEQUART RESEARCH & LITERACY ORGANIZATION EDWARDSVILLE, ILLINOIS The Devil is in the Details: Examining Matt Murdock and Daredevil Edited by Ryan K. Lindsay Copyright © 2013 by the respective authors. Daredevil and related characters are trademarks of Marvel Comics © 2013. First edition, February 2013, ISBN 978-0-5780-7373-6. All rights reserved. Except for brief excerpts used for review or scholarly purposes, no part of this book may be reproduced in any manner whatsoever, including electronic, without express consent of the publisher. Cover by Alice Lynch. Book design by Julian Darius. Interior art is © Marvel Comics; please visit marvel.com. Published by Sequart Research & Literacy Organization. Edited by Ryan K. Lindsay. Assistant edited by Hannah Means-Shannon. For more information about other titles in this series, visit sequart.org/books. The Only Way is Down: Lark and Brubaker’s Saga as ’70s Cinematic Noir by Ryan K Lindsay Cultural knowledge indicates that Daredevil is the noir character of the Marvel Universe. This assumption is an unchallenged perception that doesn’t actually hold much water under any major scrutiny. If you add up all of Daredevil’s issues to date, the vast majority are not “noir.” Mild examination exposes Daredevil as one of the most diverse characters who has ever been written across a series of genres, from swashbuckling romance, to absurd space opera, to straight up super-heroism and, often, to crime saga. -
Masculinity, Aging, Illness, and Death in Tombstone and Logan
ORIGINAL SCIENTIFIC PAPER 791-51 DOI:10.5937/ ZRFFP48-18623 DANIJELA L J. P ETKOVIĆ1 UNIVERSITY OF N IŠ FACULTY OF P HILOSOPHY ENGLISH D EPARTMENT (IM)POSSIBLE MARTYRDOM: MASCULINITY, AGING, ILLNESS, AND DEATH IN TOMBSTONE AND LOGAN ABSTRACT. The title of this paper alludes to Hannah Arendt’s famous claim that in Nazi concentration camps martyrdom was made impossible, for the first time in Western history, by the utter anonymity and meaninglessness of inmates’ deaths (Arendt, 2000, p. 133): the paper, in contrast, examines two contem- porary films which, while intersecting normative/heroic masculinity with debilitating illness and death, allow for the possibility of martyrdom. Tomb- stone and Logan , directed by George P. Cosmatos and James Mangold respectively, depict the last days of such pop culture icons of masculinity as John Henry “Doc” Holliday and James Howlett, aka Logan/Wolverine. The films’ thematic focus on the (protracted) ending of life, which is evident not only in the storylines and dialogues but also in the numerous close-ups of emaciated, bleeding, scarred and prostrate male bodies, afflicted with tuberculosis and cancer-like adamantium poisoning, invites, first, a discus- sion of the relationship between the cinematic representations of normative and disabled masculinities. Specifically, since normative masculinity, as opposed to femininity, is synonymous with physical and mental strength, power and domination – including the control of one’s own body – the focus of this discussion is if, and how, the films depict Doc Holliday and Wolverine as feminized by their failing/disobedient bodies, thus contribut- ing to the cultural construction of gender. Secondly, the paper discusses the halo of martyrdom with which the films’ dying men are rewarded as emo- tionally deeply satisfying to the viewer: in Logan and Tombstone , death is not averted but hastened for the sake of friendship, family, and the protec- tion of the vulnerable and the marginalized. -
Avengers Dissemble! Transmedia Superhero Franchises and Cultic Management
Taylor 1 Avengers dissemble! Transmedia superhero franchises and cultic management Aaron Taylor, University of Lethbridge Abstract Through a case study of The Avengers (2012) and other recently adapted Marvel Entertainment properties, it will be demonstrated that the reimagined, rebooted and serialized intermedial text is fundamentally fan oriented: a deliberately structured and marketed invitation to certain niche audiences to engage in comparative activities. That is, its preferred spectators are often those opinionated and outspoken fan cultures whose familiarity with the texts is addressed and whose influence within a more dispersed film- going community is acknowledged, courted and potentially colonized. These superhero franchises – neither remakes nor adaptations in the familiar sense – are also paradigmatic byproducts of an adaptive management system that is possible through the appropriation of the economics of continuity and the co-option of online cultic networking. In short, blockbuster intermediality is not only indicative of the economics of post-literary adaptation, but it also exemplifies a corporate strategy that aims for the strategic co- option of potentially unruly niche audiences. Keywords Marvel Comics superheroes post-cinematic adaptations Taylor 2 fandom transmedia cult cinema It is possible to identify a number of recent corporate trends that represent a paradigmatic shift in Hollywood’s attitudes towards and manufacturing of big budget adaptations. These contemporary blockbusters exemplify the new industrial logic of transmedia franchises – serially produced films with a shared diegetic universe that can extend within and beyond the cinematic medium into correlated media texts. Consequently, the narrative comprehension of single entries within such franchises requires an increasing degree of media literacy or at least a residual awareness of the intended interrelations between correlated media products. -
THE PUNISHER WAR JOURNAL by Luis Filipe Based on Marvel Comics
THE PUNISHER THE PUNISHER WARWAR JOURNALJOURNAL by Luis Filipe Based on Marvel Comics character Copyright (c) 2017 This is just a fan made [email protected] OVER BLACK The sound of a POLICE RADIO calling. RADIO All units. Central Park shooting, requiring reinforcements immediately. CUT TO: CELL PHONE POV: Filming towards of Central Park alongside more people. Everyone horrified, but we don't know for what yet. CUT TO: VIDEO FOOTAGE: Now in Central Park where the police and CSI surround an entire area that is filled with CORPSES. A REPORTER talks to the camera. REPORTER Today New York witnessed the biggest outdoor massacre. It is speculated that the victims are members of the Mafia or even gangs, but no confirmation from the police yet. CUT TO: ANOTHER FOOTAGE: With the cameraman zooming in the forensic putting some bodies in black bags. One of them we notice that it's a little girl, and another a woman. REPORTER (O.S.) Apparently there was only one survivor. The victim is in serious condition but the paramedics doubt that he will hold it for long. CUT TO: SHAKY FOOTAGE: The only surviving man being taken on the stretcher to an ambulance. An oxygen mask on his face. His body covered in blood. He still uses his last forces to murmur. MAN My family... I want my... family. He is placed inside the ambulance. As the paramedics slam the ambulance doors - CUT TO BLACK: 2. Then - FADE IN: INT. CASTLE'S APARTMENT - DAY A small place with little furniture. The curtain blocks the sun from the single window of the apartment, allowing only a wispy sunlight to enter. -
"Why Do You Look for the Living Among the Dead?" 1
TEXT: LUKE 24:4-8 #2885 EASTER THEME: "WHY DO YOU LOOK FOR THE LIVING AMONG THE DEAD?" 1. WE HA VE A RISEN LORD. II. WE HAVE ms RELIABLE WORD. III. WE HAVE A RESPONSffiILITY IN THE WORLD. Phoenix - 3127116 My dear fellow redeemed, Here's a strange story from the Associated Press. A judge over in Yugoslavia was electrocuted when he reach up to change a light bulb while standing in the bathtub, and his wife found his body sprawled on the bathroom floor. He was pronounced dead and, as was the custom in that town, he was placed in a room under a crypt in the town cemetery for 24 hours before his burial. In the middle of the night, however, this judge suddenly revived, realized where he was, and rushed over to alert the night watchman .... who promptly ran away, terrified. Fortunately, the night watchman returned with a friend, and they released the newly-revived judge. The judge's first thought was to phone his wife and her and let hr know what had happened, but he got no farther than, "Darling, it's me .... when she screamed and fainted. He then went to the houses of several friends, but them slammed the door in his face, thinking he was a ghost. In one last desperate measure, he called a relative in France who hadn't heard yet about his death, and this relative interceded for him with his family and friends. Almost unbelievable, isn't it? But at the same time, it sounds an awful lot like what happened on the first Easter Sunday morning.