A difusão da ideologia imperialista estadunidense nas histórias em quadrinhos dos avengers (1963 a 1967)Pereira, Carlos Eduardo Boaretto 22 March 2013 (has links)
Made available in DSpace on 2017-07-10T17:55:27Z (GMT). No. of bitstreams: 1 Carlos_Eduardo_Boaretto_Pereira.pdf: 6034832 bytes, checksum: c0f740035dbbebc46ae02e67ea6ef5c4 (MD5) Previous issue date: 2013-03-22 / Fundação Araucária / This dissertation is the result of research that aimed at the analysis of comic magazines of U.S. publisher Marvel Comics, The Avengers. The time frame that comprises the analysis of the magazines is from September 1963 to December 1967. This period consist into the formation of this group of superheroes (The Avengers), and the second attempt to launch a magazine with the superhero of the Second World War, Captain America, which was integrated into the group by publishers in March 1964, until the last appearance of Captain America in The Avengers magazine in the December 1967 edition. The proposal of the magazine consisted in grouping several superheroes in a single group. All the superheroes had appeared previously in other comics from this publisher. Ant-Man and Wasp in "Tales to Astonish" number 27 in January 1962. Hulk in his own magazine, "The Incredible Hulk", in May 1962; Iron Man in "Tales of Suspense" number 39, in March 1963; Thor in "Journey Into Mystery" number 83, in August 1962 and Captain America in "Captain America" number 01 in March 1941. This work has two hypotheses: The first is: the comics of superheroes Captain America and Avengers helped the project from a portion of American civil society composed by the great capitalists, and therefore, a portion of the American political society that aimed political and/or military intervention, if necessary, in other countries, to ensure raw material and consumer markets after the Second World War. And the second is: The Avengers comic books also served to minimize and even disqualify radical movements for civil rights, which in the 1960s in the U.S., began a wave of questioning the status quo of the country, coming to cogitate the transformation of the American capitalist system / Esta dissertação é resultado da pesquisa que teve como objeto de suas análises as revistas de história em quadrinhos publicadas pela editora estadunidense Marvel Comics, The Avengers (Vingadores). O recorte temporal que compreendeu as análises desse trabalho foi de setembro de 1963 até dezembro de 1967. Esse período consiste na formação desse grupo de super-heróis e na segunda tentativa de lançar uma revista com o super-herói da Segunda Guerra Mundial, Capitão América, que foi integrado ao grupo pelos editores da Marvel Comics em março de 1964, até a última aparição do Capitão América nessa revista, na edição de dezembro de 1967. Á proposta desta publicação consistiu-se em agrupar vários super-heróis diferentes em um único grupo. Todos esses super-heróis já haviam aparecido anteriormente em outras histórias em quadrinhos da editora. Ant-Man e Wasp em Tales to Astonish número 27 de Janeiro de 1962; Hulk em sua própria revista, The Incredible Hulk , de Maio de 1962; Iron Man em Tales of Suspense número 39 de Março de 1963; e Thor em Journey Into Mystery número 83 de Agosto de 1962 e o Capitão América em Captain America número 1 de Março de 1941. Esse trabalho têm duas hipótese: a primeira é que as histórias em quadrinhos dos super-heróis Capitão América e Avengers auxiliaram no projeto de uma parcela da sociedade civil estadunidense composta pelos grandes capitalistas e por consequência, uma parcela da sociedade política estadunidense que visava à intervenção política e/ou militar, se necessária, em outros países, para assegurar matérias primas e mercados consumidores após a Segunda Grande Guerra Mundial. E a segunda é que as revistas em quadrinhos dos Avengers também serviram para minimizar e até desqualificar os movimentos radicais por direitos civis, que nos anos de 1960 nos EUA, iniciaram uma onda de questionamento do status quo do país, chegando a cogitar a transformação do sistema capitalista estadunidense
Les justiciers du "vigilante movie" : essor et origines d'une figure postmoderne / The avengers of the vigilante movie : rise and origins of a postmodern archetypeSadat shafai, Yal alexandre 06 December 2018 (has links)
Les années soixante-dix ont vu la résurgence d'un genre hollywoodien centré sur la figure du justicier civil, errant dans la modernité urbaine ou rurale afin d'éradiquer le crime en lieu et place des institutions officielles. Baptisé "vigilante movie" par la critique des années soixante-dix, ce type de film a connu son avènement commercial dans une séquence que nous situons entre 1968 et 1989.La majorité des œuvres concernées étant, à nos yeux, conscientes des contrastes et des égarements comportementaux de leurs personnages, nous nous attachons ici à analyser le regard critique porté par leurs auteurs sur la justice civile – un regard souvent occulté par les textes rédigés contre ces films, perçus comme des apologies conservatrices des solutions les plus draconiennes à la criminalité. Nous proposons donc de relever les procédés communs fondant la nature profondément pessimiste de ce cinéma d'action. Comme nous allons le voir, les cinéastes et les scénaristes des grands studios et des circuits de l'exploitation ont saisi que le vigilante est en soi l'outil idéal pour incarner tout à la fois l'Amérique, ses origines, son évolution, ses aspirations, son rêve de liberté et d'indépendance. / Within the nineteen-seventies, a Hollywoodian genre focusing on the vigilante archetype, wandering throughout urban or rural modernity in order to eradicate crime instead of legal institutions, came back in the public eye. Called "vigilante movie" by critics in the nineteen-seventies, this genre arose commercially within a period that we situate between 1968 and 1989. Since most works are, according to us, aware of the paradoxes and bewilderments of their characters, we try to analyze the critical view expressed by authors on vigilante justice - that is, a view often neglected by texts written against these movies, perceived as conservative glorifications of the most radical reactions to criminality. Therefore, we propose a collection of common aesthetic processes that define the pessimistic aspect of these action films. As we are about to see, filmmakers and screenwriters from major studios and exploitation channels have understood that the vigilante in itself is the ideal tool for the embodiment of America, its origins, its aspirations, its evolution, its dreams of liberty and independence.
Manliga hjälteideal : En jämförande studie av amerikanska Comics och japansk Manga / Ideals of Male Heroes : A Comparative Study of American Comics and Japanese MangaMarcusson, Sophia January 2014 (has links)
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Avenging the Anthropocene : Green philosophy of heroes and villains in the motion picture tetralogy The Avengers and its applicability in the Swedish EFL-classroomVang, Jens January 2019 (has links)
This essay investigates the ecological values present in antagonists and protagonists in the narrative revolving the Avengers of the Marvel Cinematic Universe. The analysis concludes that biocentric ideals primarily are embodied by the main antagonist of the film series, whereas the protagonists mainly represent anthropocentric perspectives. Since there is a continuum between these two ideals some variations were found within the characters themselves, but philosophical conflicts related to the environment were also found within the group of the Avengers. Excerpts from the films of the study can thus be used to discuss and highlight complex ecological issues within the EFL-classroom.
Låt ingen komma undan : Hanteringen av främmande kroppar i Marvels filmuniversum / Leave none alive : Treating foreign bodies in Marvel's cinematic universeLarsson, Vix January 2017 (has links)
This essay examines the appearance of non-normative bodies in three films from the Marvel Cinematic Universe; The Avengers (2012), Thor: The Dark World (2013) and Avengers: Age of Ultron (2015), in an attempt to find qualities that might suggest queer, non-binary or gender disruptive attributes, in addition to looking at how the movies handle them. Using a combination of feminist film theory, queer theory and discourse analysis, the Otherness of these bodies are put into contrast with the normative and hegemonic gender expressions employed by the protagonists, the heroes of the films. While the study finds several indications of transgressive bodies and 'gender ambiguity' among the creatures and beings who play the part of inhuman threat, as well as the presence of discourses that paint them as threatening partly because of these qualities, they remain blurred and ill-defined, their queerness inferred rather than overt. The preferred reading, the analysis suggests, offers little in the way of identification, but all the more with regard to oppression. The way these bodies are treated in all three films implies that the tolerance for bodily deviance is virtually non-existent, and that a defining quality of masculine leadership is the ability to banish them from existence.
Guffey, Ensley F
01 May 2014
This thesis used theories of historical memory studies to examine the ways in which the American writer/director/showrunner Joss Whedon uses American memories, particularly those associated with American experiences in the Civil War and World War II, in his works of fictional, genre television and film. Emphasis was placed on the manner in which Whedon engages in the construction of popular memory, how his work challenges and/or reinforces existing memory narratives, and how Whedon uses historical memories to comment on and influence political, social, and cultural issues in the present. This investigation shows how at least certain productions of American popular culture are increasingly dominant forces in the construction of public memory. The major theoretical underpinnings of this examination are provided by the works of John Bodnar, Richard Slotkin, and Jeanine Basinger.
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