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A study of the history of how Superman came to be identified with Jesus Christ. / This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. This thesis argues that the connections between Superman and Jesus were not integral to the character as he was originally created, but were imposed by later writers over time and mainly for cinematic adaptations. There is a notable difference between how Superman is portrayed in the comics and the films because the films are aimed at a broader audience and have different marketing aims. Superman turned into a Christ figure for financial reasons in many ways. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists because discussions of authorial intention are necessary for the narrative that this thesis pursues. The connection between Superman and Jesus was not inevitable and cannot be seen wholly as a byproduct of the changes in the surrounding American culture because this connection was a product of specific artistic decisions by particular creators—who were not necessarily Christians themselves. / Thesis / Master of Arts (MA) / This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists.

This thesis explores how U.S. newspapers framed the death of Captain America. Specifically, the presence of various frames and their classifications was determined via a content analysis of 139 newspaper articles. Additionally, this thesis explores relationships between frame substance and other frame classifications. Generic/recurring frames were more prevalent than issue-specific/recurring frames. Frames tended to be episodic more often than thematic. Frames were also most likely to be neutral in valence, though differences from this overall trend emerged in some individual frames. Frames tended to be ambiguous rather than substantive. No relationship emerged between frame substance and the classification of generic/issue-specific frames, nor did one emerge between frame substance and the episodic/thematic frame classification. However, frames possessing negative valence were more likely to be ambiguous than frames possessing positive valence. Implications for framing theory and the news coverage's treatment of Captain America's death as an indicator of post-9/11 American identity are also discussed. Limitations of this study and opportunities for future research are acknowledged. / Master of Arts

姚偉雄. / "2002年7月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 419) / 附中英文摘要. / "2002 nian 7 yue" / Yao Weixiong. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 419) / Fu Zhong Ying wen zhai yao. / Chapter 上卷 --- (正文) / 導論 --- p.1 / Chapter I. --- 批判漫畫批判 --- p.1 / Chapter II. --- 《龍虎門》是什麼？ --- p.5 / Chapter III --- .尋找香港文化一尋找香港文化結構 --- p.9 / Chapter IV --- .如何閱讀〈分析三部曲〉？ --- p.11 / 文獻回顧 --- p.14 / Chapter I. --- 漫畫在學術研究的窘困 --- p.14 / Chapter II. --- 重申文本分析：兩種主流文獻之間的空隙 --- p.17 / Chapter III. --- 漫畫研究在香港一忽視文本所產生的問題 --- p.22 / Chapter IV. --- 由「意識」到「無意識」的新路線 --- p.29 / 方法論 --- p.39 / Chapter 第一節 --- 必須研究流行文化的「無意識」層面 --- p.39 / Chapter 第三節 --- 李維史陀與巴特：神話學的「虎鶴雙形拳」 --- p.49 / Chapter 第三節 --- 文本符號研究詳述 --- p.66 / 分析部份 --- p.76 / （前傳） / 《龍虎門》的世界觀 --- p.76 / Chapter I. --- 結構層次上的世界觀 --- p.76 / Chapter II. --- 「穩定」的五六十時代世界 --- p.77 / Chapter III. --- 黑´ؤ白´ؤ灰：不穩定的六七十時代世界 --- p.78 / Chapter IV. --- 動蕩中的「社會觀」：由大染缸中向上流動到「小流氓」起源神話 --- p.80 / Chapter V. --- 「江湖觀」´Ø「全球觀」的奇妙邏輯：從獨行俠到群英會的功夫歷險延績 --- p.86 / Chapter VI. --- 小結 --- p.93 / 〈首部曲〉 / 龍虎群英與香港的文化想像：不在地組織的在地投射 --- p.94 / Chapter I. --- 不是小夾縫，而是大夾心：「黑一灰一白」三角形 --- p.96 / Chapter II. --- 《小流氓》時期的命名模式一正/邪人物的符號任意性 --- p.100 / Chapter III. --- 《龍虎門》時期：由外地建構在地 --- p.109 / Chapter IV. --- 小結：Big Mac雙層夾心結構與開放社會 --- p.122 / 〈二部曲〉 / 被社會壓抑的尚武思維：漫畫《龍虎門》的技擊符號結構 --- p.125 / Chapter I. --- 肉搏.赤膊一獷悍「公仔」的時代意義 --- p.127 / Chapter II. --- 武勇歷險的基本圖式 --- p.129 / Chapter III. --- 經過深思的拳來腳往：功夫語言系統初探 --- p.135 / Chapter IV. --- 象形拳術與理性的平民抗暴 --- p.138 / Chapter V. --- 鐵鑽、電鑽、毒龍鑽一科技的異化與拿捏 --- p.141 / Chapter VI. --- 小結：由功夫英雄到驟變社會的兩難式 --- p.151 / 〈二部曲〉附圖集 --- p.154 / 〈三部曲〉 / 群雄殉道錄：社會的定型與現代武勇理念式微 --- p.165 / Chapter I. --- 八十年代一群雄義勇模式之失落 --- p.167 / Chapter II. --- 孤星宿命論令世界觀逆動 --- p.173 / Chapter III. --- 小結：電視´Ø電影´Ø漫畫的連環透視 --- p.180 / 〈三部曲〉附圖集 --- p.189 / 結論 --- p.194 / Chapter I. --- 倒後的瀏覽 --- p.194 / Chapter II. --- 從文化「無意識」探出社會新浪潮的「內情」 --- p.196 / Chapter III. --- 一種對流行文化的態度 --- p.198 / Chapter IV. --- 王小虎，你為何不死？ --- p.201 / 參考書目 --- p.205 / Chapter 下卷 --- (附錄專輯：《龍虎門》故事簡介) / 龍虎門故事簡介 --- p.215 / 形式解說 --- p.216 / 《小流氓》時期 --- p.218 / 小流氓的起源 --- p.219 / 第1至37期：降龍十八腿的傳授 --- p.221 / 第38至66期：十字追魂棍的發明 --- p.228 / 第67至73期：李小龍之死 --- p.233 / 第74至78期：王家恩仇 --- p.236 / 第79至98期：羅刹教第一役(上） --- p.239 / 《龍虎門》時期 --- p.247 / 羅刹教系列(羅刹教第一役(下)） --- p.247 / 第99至148期：金銀銅鐵四大護法 --- p.248 / 羅刹教系列(羅刹教第二役） --- p.255 / 第149至174期：香港大毒梟 --- p.256 / 第175至203期：五毒門 --- p.261 / 第204至217期：自創雷電神腿 --- p.270 / 第218至233期：天下武功出少林 --- p.277 / 第234至245期：棍妖´Ø瘋妖 --- p.286 / 第245至261期：新四大護法 --- p.293 / 第262至279期：右密使黑鷹 --- p.303 / 第280至304期：左密使白鷲 --- p.314 / 第305至319期：逍遙派 --- p.329 / 第320至337期：宇內三痴 --- p.338 / 白蓮教系列 --- p.346 / 第475至478期：〈白蓮教終結篇> --- p.347 / 羅刹教系列(羅刹教第三役） --- p.356 / 第561至571期：〈羅刹教終結篇〉 --- p.357 / 通天教系列 --- p.365 / 第572至590期：〈捕虎擒龍篇〉 --- p.366 / 第591至600期：〈閻王索命篇〉 --- p.375 / 第601至615期：〈殲歿閻王篇〉 --- p.378 / 第616至635期：〈叛變〉 --- p.382 / 第635至645期：〈虎威〉 --- p.392 / 第646至655期：〈東山復出〉 --- p.395 / 第656至665期：〈冤家路窄〉 --- p.399 / 老祖宗系列 --- p.403 / 第702至711期：〈死神無敵篇〉 --- p.404 / 第900至905期：聚龍一擊.神話破滅 --- p.408 / 第1012至1015期：殺性回歸.身世之謎 --- p.414 / 參考資料 --- p.419

Thesis (M. Phil.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 240-250).

Thesis (B.A.)--Haverford College, Dept. of English, 2006. / Includes bibliographical references.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree of Master of Arts in Film and Television. / For this research project, I search for an approach to adaptation theory that may be better suited to adapting Manga (Japanese comics) to film. The American comic book adaptations in the last eight years have met with resounding success, and their increased number has also prompted a shift in what audiences and producers qualify as a successful adaptation. For example, 19 films that have been made by Marvel, Sony and Fox since 2008, were adapted from Marvel comics, but followed plot lines that varied greatly from that of the comics (IMDB.com, n.d). However, Manga adaptations have not met with the same level of success, and as such, I propose that a different approach might be necessary when it comes to adapting them. To do so, I discuss how Japanese Manga has been adapted by Hollywood in the past, and why those attempts have been considered a failure, the key example being that of ‘Dragonball Evolution’ (James Wong, 2008), which was based on the famous series, ‘Dragon Ball’, created by Akira Toriyama in 1984. To conclude, I propose my approach to adapting Manga and support it with a short film adaptation. / MT2017

Media theorists have identified five models explaining media content: reflection, media routines, personal characteristics, extrinsic forces and manipulation. This study looks at diversity and controversy in newspaper comic strips to test the models that 1) media content is determined by personal characteristics of the decision maker; and 2) media content is determined by forces extrinsic to the decision maker. It was found that in the majority of cases the personal characteristics of the newspaper editor were more important in determining which diverse and controversial comic strips he/she will publish. However, it was found that no single model completely explains how editors make decisions concerning controversial and diverse material, but instead a variety of decision making models, including reflection, media routines, personal characteristics, and extrinsic forces, influence editor’s decision making. / Master of Science

Thesis (M.Phil) -- University of Stellenbosch, 2000 / 230 leaves printed single pages,numbered pages 1-230.Includes bibliography.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner. / ENGLISH ABSTRACT: Anton Kannemeyer and Conrad Botes have been publishing Bitterkomix,, their comics magazine, for nearly a decade in South Africa. These comics are a structured satyrical attack on the South African and specifically Afrikaans culture. Both artists employ different narrative strategies to convey their sometimes shocking message. The reaction on their writing and drawing shows an unwillingness in certain academic circles to analyse their texts critically. As a result Bitterkomix has drawn very little academic attention. This unwillingness is a product of the modernist approach to the comic as "low" literature. Modernists didn't regard comics as worthy material for critical analyses. The literary paradigm shift towards popular culture, and therefore comics, and the pluralistic reading strategy ofpostmodemism make it possible for an academic approach towards this previously ill-treated art form. This thesis is an attempt to suggest an approach strategy to Bitterkomix as a South African underground comics magazine. As a backdrop the study looks at the development of comics in general, as well as the changes that took place in the traditional approach strategies to the modem comic. It also focusses on selected texts by Kannemeyer and Botes to demonstrate how Bitterlwmix functions as an underground comic in the changing South African society. The writers draw upon methods and strategies used by underground comix artists in the United States during the sixties. Their specific employment of the drawing styles and narrative contents of artists like Robert Crumb, S. Clay Wilson and also the Belgian artist, Herge, makes intertextuality one of the strongest postmodemist aspects of Bitterlwmix. Botes's and Kannemeyer's combined use of intertextuality and other postmodemist metafictional narrative strategies gives Bitterlwmix a literary value that requires an academic approach. / AFRIKAANSE OPSOMMING: Anton Kannemeyer en Conrad Botes se strokiestydskrif Bitterkomix verskyn reeds bykans 'n dekade in Suid-Afrika. Hulle strokies, wat van 'n akademiese en literere uitgangspunt getuig, is 'n berekende satiriese aanval op die Suid-Afrikaanse samelewing en meer spesifiek die Afrikanerdom. Beide skrywers span 'n verskeidenheid vertelstrategiee in om hulle somtyds skokkende boodskap oor te dra. Die reaksie op hulle skryf- en tekenwerk spreek egter van 'n onvermoe ofonwilligheid by die akademici om die tekste op kritiese wyse te analiseer. Gevolglik het Bilterkomix tot dusver min akademiese aandag gekry. Hierdie onvermoe stam myns insiens moontlik uit 'n modemistiese miskenning van die strokie as kunsvorm. Strokies is as "lae" literatuur gekategoriseer en is volgens modemiste dus nie geskikte materiaal vir 'n diepsinnige bespreking me. Die literere paradigma ten opsigte van populere kultuur en dus strokies het egter intussen verander en die pluralistiese leesstrategie van 'n postrnodemistiese benadering maak dit moontlik om akademiese aandag aan hierdie voorheen miskende kunsvorm te skenk. Die tesis is 'n poging om 'n benaderingswyse voor te stel tot Bitterkomix as Suid-Afrikaanse underground-strokiestydskrif. As agtergrondstudie ondersoek dit die ontstaan en ontwikkeling van die strokie in die algemeen, asook die veranderinge wat plaasgevind het in die tradisionele benaderingswyses tot die modeme strokie. Daama fokus die bespreking op geselekteerde tekste uit die oeuvres van Botes en Kannemeyer om te probeer aantoon hoe Bitterkomix as underground-strokie binne die veranderende Suid-Afrikaanse samelewing funksioneer. Die skrywers gebruik onder andere uitgangspunte en strategiee van die underground-strokie, soos dit veral in die sestigerjare in Arnerika gevind is. Hulle doelbewuste inspeling op beide die tekenstyle en verhaalinhoude van skrywers soos Robert Crumb, S. Clay Wilson asook die Belgiese Herge maak intertekstualiteit een van die sterkste postmodemistiese kenmerke van Bitterkomix. Botes en Kannemeyer se gebruik van intertekstualiteit, metafiksionaliteit, en ander postrnodemistiese vertelstrategiee verleen aan Bitterkomix 'n literere kwaliteit wat om 'n akademiese benaderingswyse vra. / Instituut vir Navorsingsontwikkeling van die Raad vir Geesteswetenskaplike Navorsing

Thesis (MPhil (Visual Arts))--Stellenbosch University, 2008. / This thesis considers the author's project submission, a comic-book entitled The Number One Game, as production of a local heroic myth. The author will show how this project attempts to engage with mythic and archetypal material to produce an entertaining narrative that has relevance to contemporary Cape Town. The narrative adapts previous incarnations of the hero, with reference to theories of archetypes and mythic patterning devices that are derived from the concept of the “mono-myth”. Joseph Campbell's conception of myth as expressing internal psychic processes will be compared to Roland Barthes' reading of myth as a special inflection of speech that forms a semiotic “metalanguage”. The comic-book is a specific form of the language of comics, a combination of image and text that is highly structured and that can produce a rich graphic text. Using the Judge Dredd and Batman comic-books as models it will be shown how The Number One Game adapts traditions of representation, such as in genre references, to local perspective to create a novel interplay of archetypes. It will be shown that this interplay in the author's project work and the rich potential of the comic-book as a site for mythic speech makes the mythic a useful paradigm for considering the expression of ideology in the heroic comic-book.