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Worlds will live, worlds will die myth, metatext, continuity and cataclysm in DC Comics' Crisis on infinite earths /Murdough, Adam C. January 2006 (has links)
Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains v, 152 p. Includes bibliographical references.
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Understanding Gender Identity Among Women Cosplayers of the Gotham City SirensMorrison, Amber 01 May 2015 (has links)
As popular culture has an increasing presence in America, so do its various sub-cultures. One of such sub-cultures is the world of comic book fans known as cosplayers. Cosplayers dress-up and emulate characters at comic book conventions throughout the United States and the world—a practice known as cosplay, also described as costume-play. Despite the growing popularity of cosplay, little is known about this population. In this research, I set out to answer the following research question: why are women choosing to dress-up and embody these characters (the Gotham City Sirens) when they are often viewed as oversexualized. In order to answer my research question, I focused on women who chose to cosplay characters from the Gotham City Sirens – Catwoman, Harley Quinn, and Poison Ivy – who are frequently depicted in “glamorized” or hypersexualized illustrations. My data collection included participant observation, literature review, and semi-structured interviews. Recruiting participants from local Central Florida comic book conventions, I conducted 19 in-depth semi-structured interviews with the women cosplayers about their perspectives on the characters and their cosplays. My findings derived from the analysis of the interview narratives identified three emerging dominant themes – sexuality, body image, and personal identity. Based on this research, there is a concluding realization that empowerment and self-reflection are prevalent in women cosplayers. These are important findings because they are essential to the understanding of how gender identity is perceived in cosplay. When cosplayers connect with their characters on a personal level, often empowerment and self-reflection are the outcomes; due to the connection they foster with the character for the sake of performance.
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Commodifying counterculture: William Gaines, EC Comics, Mad magazine, and the rise of the corporate anti-establishmentYanes, Nicholas Adam 01 May 2014 (has links)
Founded as Educational Comics in 1944 and rebranding itself as Entertaining Comics a few years later, EC Comics would publish several comic book titles, such as Tales from the Crypt, and the magazine, Mad. While the success of these publications can be measured by a legacy of directors, writers, comedians, and others in the entertainment industry who describe EC's properties as an early inspiration for them, the company itself cannot be seen as equally successful in the business world. Though its publications have left permanent fingerprints on American popular culture, the company represents an interesting example of a company that never became 'big.' In short, EC provides an interesting contrast to standard narratives about entertainment companies and properties.
With scholarship in this field typically analyzing how a company started off small and grew into a larger corporation, EC is an example of a company that started small and remained small as a subsidiary of a larger corporation. In addition to this dissertation functioning as a critical corporate biography of EC's evolution, it also examines how U.S. entertainment has changed as mass audiences have become increasingly fractured as new forms of entertainment technologies have emerged. Overall, this dissertation aims to show how standard humanities approaches to analyzing popular culture can be augmented by also investigating the business practices and work cultures that shaped an entertainment property.
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Hur rättvis rättskipning gestaltas genom dialog i Batman v Superman (2016) och Captain America: Civil war (2016) / How justice is portrayed by dialogue in Batman v Superman (2016) and Captain America: Civil war (2016)Hammarling, Ted January 2020 (has links)
Denna uppsats undersöker superhjältefilmers syn på rättskipning, lag och rätt och därigenom representation av relationen mellan legalitet, legitimitet och etik. De två superhjältefilmerna jag utgår från är Batman v Superman och Captain America: Civil War. Båda filmerna är väldigt lika varandra, till exempel genom att båda har uttryck för krig och att slåss mot varandra i filmtitlar. Metoden som har använts i uppsatsen är en tematisk analys av dialogerna i båda filmerna. Dialogerna som tagits upp i uppsatsen handlar om brott, rättvisa och ansvar. Det finns intressanta aspekter på rättvisa som också redovisas genom karaktärerna runt om hjälten också. Sådana karaktärer kan vara journalister, författare, flickvänner, betjänter, till och med skurkar. Alla dessa karaktärer har var sin åsikt om hur hjälten ska handla och det är slående hur de skapar en diskussion som visar hur komplexa filmerna gör frågorna som tas upp.
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Trusty Teens: Reading American Adolescence through the Superhero SidekickO'Connor, Lauren R. 22 April 2019 (has links)
No description available.
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Worlds Will Live, Worlds Will Die: Myth, Metatext, Continuity and Cataclysm in DC Comics’ <cite>Crisis on Infinite Earths</cite>Murdough, Adam C. 27 June 2006 (has links)
No description available.
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Performing the Female Superhero: An Analysis of Identity Acquisition, Violence, and Hypersexuality in DC ComicsNicosia, Matthew 02 November 2016 (has links)
No description available.
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Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic BooksSalisbury, Derek 19 September 2013 (has links)
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. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture
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¿”Únicas y diferentes” o fans “verdaderas” ? : La predominancia masculina y la participación de las fans en el fandom hispanoamericano de DC ComicsAraujo Llamocca, Claudia Mallory 11 July 2024 (has links)
Internet con el tiempo pasó a ser un espacio social caracterizado por la no
presencialidad donde se crean grupos sociales con diferentes temáticas. Para la
siguiente investigación, se escogió el caso del fandom virtual de los cómics sobre
superhéroes de DC Comics. Una característica que los distingue es ser un espacio
predominantemente masculino, en donde muchas veces se ataca, descalifica e
invisibiliza a las fans por, supuestamente, no ser fans de verdad y solo querer llamar
la atención bajo la premisa de que “son mujeres”. Así que, desde las ciencias
sociales, surge la pregunta de por qué ellas insisten en participar de estos espacios
virtuales a pesar del trato diferenciado que reciben, qué dinámicas se desarrollan y
cómo ellas las enfrentan, en qué consiste su identidad como fans (mujeres). Para
poder responder a las interrogantes de esta investigación, se realizaron entrevistas a
personas de ambos sexos (de distintas partes de Hispanoamérica) sobre su
experiencia dentro de estos espacios virtuales y sobre su identidad como fans. El
análisis se llevará a cabo desde la sociología de género, los fans studies y el análisis
estructural con la finalidad de comprobar si la situación de las fans puede deberse a
no ser consideradas como pares por los varones y también si puede darse porque
ellas tienen su propio punto de vista al apreciar los cómics, que difieren al de ellos. / Over time, the Internet became a non-face-to-face social space where different social
groups are created around different topics. To elaborate this investigation, the case
of the DC Comics superheroes’ virtual fandom was chosen. A predominant
characteristic of this fandom is being a male-dominated space, where female fans
are often attacked, harassed, disqualified and made invisible for, supposedly, not
being real fans and only being “attention seekers” because “they are women.” Hence
the question of why they insist on participating in these virtual spaces despite the
different treatment they receive, what dynamics develop and how they face them,
what their identity as fan(girls) consists of. In order to answer the questions proposed
in this research from the point of view of social science, interviews were conducted
with people of both sexes (from different Spanish speaking countries of Latin
America) about their experience within these virtual spaces and about their identity
as fans. The analysis will be carried out from sociology of gender, fan studies and
structural analysis in order to learn if the fangirls’ situation can be due to not being
considered as peers by men, also if it happens because fangirls have their own gaze
when appreciating comics, which differs from the male gaze.
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Crescendos of the Caped Crusaders: An Evolutionary Study of Soundtracks From DC Comics' SuperheroesDeGalan, Anna Jean 22 December 2020 (has links)
No description available.
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