Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, 2011. / Submitted by Daniel Arcanjo Bueno Portela (dmbueno2@hotmail.com) on 2011-09-15T15:47:54Z No. of bitstreams: 1 2011_AlexandradeCarvalhoRodriguesdaSilva.pdf: 10880296 bytes, checksum: e798f0d9df51a47b8b69c473f21ec999 (MD5) / Approved for entry into archive by Jaqueline Ferreira de Souza(jaquefs.braz@gmail.com) on 2011-09-20T11:44:46Z (GMT) No. of bitstreams: 1 2011_AlexandradeCarvalhoRodriguesdaSilva.pdf: 10880296 bytes, checksum: e798f0d9df51a47b8b69c473f21ec999 (MD5) / Made available in DSpace on 2011-09-20T11:44:46Z (GMT). No. of bitstreams: 1 2011_AlexandradeCarvalhoRodriguesdaSilva.pdf: 10880296 bytes, checksum: e798f0d9df51a47b8b69c473f21ec999 (MD5) / A presente dissertação tem por objetivo apresentar a articulação entre a caracterização de Batman na minissérie Ano Um (1987) e uma perspectiva de História que coloca em evidência as construções e reconstruções sociais do personagem, como também suas continuidades e descontinuidades analisadas em sua trajetória nos quadrinhos, cinema e televisão. Nas memórias pessoais do herói sobre o assassinato de seus pais no Beco do Crime, busco interpretar esta cena narrativa nos quadrinhos como alegoria benjaminiana, para nelas, perscrutar as rupturas da caracterização do personagem em sua construção como super-herói no século XX, na busca de acrescentar, questionar e refletir sobre as possibilidades de se conhecer e pensar o passado, em um processo onde se pode ver e extrair o atual. ______________________________________________________________________________ ABSTRACT / The present dissertation has since objective presents the articulation between the characterization of Batman in comic book story Year One (1987) and a perspective of History that puts in evidence the constructions and social reconstruction of the character, like also his continuidades and descontinuidades analysed in his trajectory in the comics, movies and television. In the personal memories of the hero on the murder of his parents in the Alley of the Crime, I look to interpret this narrative scene in the frames like benjamin‟s allegory, for in them, to scrutinize the breaks of the characterization of the character in his construction like super-hero in the century XX, in the search of adding, questioning and thinking about the possibilities to know and to think the past, in a process where it is possible to see and to extract the current thing.

abstract: Since 1939, Batman has been a staple character of the comic book industry. He has been used throughout the last 80 years as a conduit through which to portray mental health content. This thesis analyzes how mental health content has changed in Batman comic books from 1939 to today. Based on existing research, I identified that mental health content has been present in Batman comic books for as long as they have existed. According to my research results, content can be traced back to the Golden Age of comic books (1939-1956), with a decrease in content in the Silver Age of comic books (1956-1970) due to the emergence of the Comics Code Authority. In the Bronze Age of comic books (1970-1986), mental health content reached its peak. In the Modern Age of comic books (1986-Present), content once again dropped, but not as low as in the Golden and Silver Ages. Identifying how mental health representation has changed since 1939 can help researchers to better understand how comic books can be used to communicate with readers. / Dissertation/Thesis / Masters Thesis Technical Communication 2020

The purpose of this paper is to get a better understanding of how the malerole is changing over time. Masculinity and what defines a male hero seemsto be changing depending on the time we are living in. Society and normsare forming ideals for how a man should act and look. I have chosen to doan analysis on Batman because he is a hero who has a long history in ourpopular culture. I have analysed 5 different movies with 5 different actorswho have portrayed him from 1966 to 2005. The paper's method is filmanalysis and I have analysed how the actors who are portraying Batmanhave changed over time in the different Batman movies, focusing on howhis body, male role and masculinity have changed in the different Batmanincarnations. This implies paying attention to changes in muscularity, typeof masculinity and the relationship between the hero's mind and body. I amalso viewing Batman as if he is two different persons, one as Bruce Wayneand one as Batman. The result shows that the focus on the body's physicalattributes has increased gradually over time. The physical changes began inBatman's costume and slowly over time the focus has switched to his realbody.

Uppsatsens avsikt är att undersöka hur posttraumatiskt stressyndrom, PTSD, gestaltas ifilmerna Batman Begins, The Dark Knight och The Dark Knight Rises genom karaktärernaBatman och Bane. Negativa porträtteringar av psykisk ohälsa har förekommit på film genomatt det gång på gång är skurken eller offret som lider av det, däremot har Christopher NolansBatman-trilogi inte blivit kritiserad för att gestalta PTSD på ett negativt sätt. Analyserandet avdessa filmer görs därför utifrån manualen DSM-5 där olika kluster beskriver de kriterier sombehöver vara synliga för att en person ska kunna diagnostiseras med PTSD. Scenerna därBatman och Bane möjligen visar prov på dessa kriterier analyseras genom karaktärernasdialoger, handlingar och mise-en-scène. Analysen görs för att ta reda på om gestaltandet skerpå ett sådant sätt att dessa filmer kan sägas ge en rättvis bild av PTSD. Genom enkaraktärisering av Batman och Bane utifrån dessa begrepp och metoder gick det att fastställaatt filmerna förhåller sig till DSM-5. Tack vare att både skurken och hjälten gestaltar tvåmöjliga sidor av PTSD ger de tillsammans en helhet och därmed en mer rättvis bild av PTSD generellt.

No description available.

[pt] Esta dissertação analisa, a partir da trilogia cinematográfica de Batman (2005-2012), o modo como os procedimentos expressivos elaborados nas imagens constroem (ou não) a possibilidade de emancipação do espaço urbano. Inseridos no contexto pós 11 de setembro, os três filmes dialogam com o lastro iconológico da Guerra ao Terror: figuras sem-rosto, duplos, múltiplos, anônimos, imagens especulares; e ao centro das disputas, a metrópole de Gotham. O custo necessário , entretanto, para a salvação de Gotham por Batman parece ser o monopólio tanto da cidade quanto da imagem da cidade: um monopólio que serve de blindagem contra os efeitos caleidoscópicos do terror. A paisagem urbana (amálgama entre a urbe e sua imagem) se torna portanto meio privilegiado de análise. E eis a centralidade do segundo filme da trilogia na discussão que se propõe: o ataque iconoclasta do Coringa, por meio do jogo e do riso, profana o monopólio (da verdade , do bem , da ordem e da imagem) instituído pelo homem morcego. Com a invasão de uma imagem outra por entre as visibilidades do filme, rompe-se o unívoco e com ele o monopólio sobre a cidade e suas representações. / [en] This research examines, from the Batman cinematographic trilogy (2005- 2012), the way in which expressive procedures elaborated in the images can build (or not) the possibility of the urban space s emancipation. Inserted in the post 9/11 context, the three movies dialogue with the iconological traces of the War on Terror: faceless figures, doubles, multiples, anonymous, specular images; and at the centre of the dispute, Gotham metropolis. The necessary cost, however, for the salvation of Gotham by Batman seems to be the monopoly of the city as well as of the city s image: a monopoly that serves as a shield against the kaleidoscopic effects of terror. The urban landscape (an amalgam between the city and its image) thus becomes a privileged medium of analysis. And hence the centrality of the Trilogy s second movie in the proposed discussion: the iconoclast attack of the Joker, through play and laughter, desecrates the monopoly (of truth , good , order , and image) instituted by Batman. With the invasion of a different image between the movie’s visibilities, the univocal disrupts itself, and with it the monopoly over Gotham and its representation.

The focus of this thesis is to look at Geoff John's Justice League in the "New 52" universe. More specifically, the research concentrates on the relationship of the members of DC Comics "Trinity," Batman, Superman, and Wonder Woman. The three heroes have a special relationship that spans over 75 years, and now, with the "New 52," there is an opportunity to examine the relationship from its beginning to its end in the modern era of comic book history. The scope of this project will span eight graphic novels and five years of storytelling. To properly evaluate the relationship of "The Trinity" this thesis will look at research on friendship, interpersonal relationships, and management styles, all through the lens of a thorough character study on each hero. In the end, "The Trinity" will grow from uneasy allies to friends to family. They will solidify their relationship through fighting for their lives, making mistakes together, and ultimately saying goodbye to each other. This thesis will find their relationship is unique amongst comic book characters and should be considered the archetype for all the superhero teams that would come after their creation. Moving forward, to build upon this research one should take the analysis approach followed in this thesis and apply it to either the "Rebirth" version of the Justice League or the 2017 Justice League film which also will feature a version of "The Trinity"

No description available.

The goal of this thesis is to explore the way heterosexism and homophobia are present in the coding that has created an implied and monstrous queer identity for the Joker, present in many versions of the character over the past forty years. Through close readings of several of the Joker’s most iconic appearances, queer theory texts, and analytical essays on pop culture, this paper will analyze the use of queer signifiers present in the comics and the way that these portrayals of the Joker are rife with harmful and heterocentric perceptions of what comic creators have seen as necessary signifiers for queerness. Additionally, I will be using knowledge gleaned from my own preexisting work with fan and cultural studies in order to talk about the way that this portrayal of the Joker has been developed within fandom/fan communities and how it is continually replicated in superhero media.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-07-04T13:54:59Z No. of bitstreams: 1 DicksonDeOliveiraTavares_DISSERT.pdf: 86563692 bytes, checksum: ec9d734742561daa0af23361e9a66692 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-07-12T14:51:20Z (GMT) No. of bitstreams: 1 DicksonDeOliveiraTavares_DISSERT.pdf: 86563692 bytes, checksum: ec9d734742561daa0af23361e9a66692 (MD5) / Made available in DSpace on 2017-07-12T14:51:20Z (GMT). No. of bitstreams: 1 DicksonDeOliveiraTavares_DISSERT.pdf: 86563692 bytes, checksum: ec9d734742561daa0af23361e9a66692 (MD5) Previous issue date: 2017-03-20 / Nos estudos da m?dia, as trocas simb?licas entre a produ??o e a recep??o permitem compreender como funcionam as engrenagens da ind?stria cultural. Em rela??o ao personagem Batman, nascido nas hist?rias em quadrinhos nos anos 1930, este estudo busca seguir o fluxo temporal em conex?o com o universo midi?tico, mergulhado no repert?rio imag?tico e simb?lico da cultura de massa com base da singularidade de sua trajet?ria. Ao problematizar a trajet?ria midi?tica do personagem Batman, analisa sua condi??o de media??o com adapta??es para o meio televisivo e cinematogr?fico identificando os discursos narrativos em contextos hist?rico-culturais distintos, com destaque para o percurso de midiatiza??o e de transmidiatiza??o, relativizando a rela??o entre autor-obra-leitor, sob a luz dos estudos culturais de John B. Thompson, das media??es de Jes?s Mart?n-Barbero, da narratividade de Umberto Eco, do conceito da Jornada do Her?i de Joseph Campbell e Christopher Vogler e os estudos sobre as narrativas transm?dia de Henry Jenkins e Carlos A. Solari. / In media studies, the symbolic exchanges between production and reception allow to understand how the cultural industry works. Related to the character Batman, born in comic books in the 1930s, this research aims to follow the temporal flow in connection with the media universe, immersed in the imagery and symbolic repertoire of mass culture through the uniqueness of his trajectory. Discussing Batman's mediatic trajectory, it analyzes his condition of mediation through his adaptations to the television and cinematographic medium, identifying the narrative discourses in distinct historicalcultural contexts, focusing on mediatization and transmidiatization, relativizing the relation between author-work based on John B. Thompson's cultural studies, Jes?s Mart?n-Barbero's mediations, Umberto Eco's narrativity, Joseph Campbell's and Christopher Vogler's hero journey concept, and studies on transmedia storytelling of Henry Jenkins and Carlos A. Solari.