Thematische Bibliographien / Cosplay – United States – Comic books, strips, etc

Auswahl der wissenschaftlichen Literatur zum Thema „Cosplay – United States – Comic books, strips, etc“

Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 29. Juli 2024

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Dissertationen zum Thema "Cosplay – United States – Comic books, strips, etc"

Brienza, Casey Elizabeth. „Domesticating Manga : Japanese comics, American publishing, and the transnational production of culture“. Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648154.

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Rhodes, Molly Rae. „Doctoring culture : literary intellectuals, psychology and mass culture in the twentieth-century United States /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9809139.

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Beaty, Bart H. „Good expectations : adaptation and middlebrow literacy“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104369.

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The goal of this thesis is to advance understanding of the ways in which discourses of reading, literacy and culture were used to reify class stratification in mid-twentieth-century America. This project uses the examples of The Reader’s Digest magazine and Classics Illustrated comic books to assess the adaptation and the ideologies surrounding textual form. It examines the efforts of self-proclaimed cultural elites to identify and denigrate middlebrow reading habits through dismissive critiques of texts and audiences as one moment in an on-going historical process of domination and exclusion. These avenues of exploration will reveal the complexity and variance of class definition in a pluralist democracy which, it turns out, are still very much a part of contemporary culture. [Pages 101 and 102 are missing.)
Le but de cette thèse est de faire progresser la connaissance des manières dont les contexts discursifs de la lecture, de l’alphabétisation et de la culture étaient utilisés en Amérique, au milieu du vingtième siècle, afin de réifier la stratification sociale. Des exemples tels que la revue The Reader ‘s Digest et la bande dessinée Classics Illustrated seront utilisés, dans ce projet, pour illustrer l’adaptation et les idéologies autour de la forme textuelle. Cet ouvrage examine comment ceux qui proclamés par eux-mêmes élites culturelles, ont tenté d’identifier et de dénigrer les habitudes de lecture du lecteur moyen par des critiques dédaigneuses des textes et du public, en un procédé historique persistant de domination et d’exclusion. Ces voies d’exploration révèleront la complexité et la diversité des définitions du concept de classes à l’intérieur d’une démocratie pluraliste, lesquelles, somme toute, cotinuent de faire partie intégrante de la culture contemporaine. [Il manque de pages 101 et 102.]

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Mehta, Shubham. „Adapting Manga to live action“. Thesis, 2016. http://hdl.handle.net/10539/22637.

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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

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Craft, Jason Todd. „Fiction networks: the emergence of proprietary, persistent, large-scale popular fictions“. Thesis, 2004. http://hdl.handle.net/2152/1305.

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McGuire, John. „With us or against us? : hegemony and ideology within American superhero comic books 2001-2008“. Thesis, 2014. http://hdl.handle.net/1959.7/uws:34600.

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Superhero comic books, part of American popular culture since 1938, have been recognised as a site for the reproduction of dominant ideology, however, their ability to resist dominant ideology has not been as equally considered. This study examines the narratives of DC Comics and Marvel Comics superhero characters’ Batman and Captain America, in the time period 2001-2008 to evaluate the ability of these superhero narratives to reproduce, critique, challenge and contest dominant ideological versions of the American Dream. The years 2001 to 2008 were a time of ideological upheaval in American society influenced in no small part by specific articulations of historical events; 9/11 in 2001, the invasion of Afghanistan in 2001, the invasion of Iraq in 2003, Hurricane Katrina in 2005, and the election of the first African American to the Presidency, Barack Obama, in 2008. To position the dominant ideology this study adopts the theoretical lens of hegemony as developed by Antonio Gramsci, and radicalised by Ernesto Laclau and Chantal Mouffe. Methodologically, the theory of hegemony is used to develop a sociological tool of analysis; the analysed hegemonic ideology. When this tool is applied to the ideology of the American Dream it exposes the constituted ideological components of the ideology that are subject to articulation within the process of hegemony and counter hegemony. The changing articulations, ideologies and process of hegemony from 2001 to 2008 are detailed in this study as a necessary step in analysis. When the specific constituted ideological components of the hegemonic ideology are applied to the superhero narratives of the same period, the true ideological position of the superhero narratives are exposed. The results suggest that superhero comics’ engagement and role in hegemony as a popular cultural product are extremely complex. While there is evidence of superhero narratives reproducing the ideological positions of the Right Wing hegemony that emerges after 9/11, there is also evidence of ideological resistance within the narrative and later support for the Left Wing hegemony that emerges in the Presidential campaign of Obama in 2008. In the changing landscape of hegemony in American society, superhero comics offer intelligent and detailed ideological contributions to process of hegemony and counter hegemony. This suggests both a progressive power to the concept of the American Dream and a degree of agency within the realm of popular cultural production.

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Landman, Mario. „Dream of a thousand heroes: the archetypal hero in contemporary mythology, with reference to The sandman by Neil Gaiman“. Diss., 2006. http://hdl.handle.net/10500/2444.

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Twentieth century American fiction assimilates archetypes of traditional mythologies, in particular the hero archetype, to create a contemporary mythology which relays social issues relevant to its age. This is first approached by creating a theoretical framework, which primarily consists of both Jungian theories of the collective unconscious and the model on which Joseph Campbell based his conception of the archetype in what is known as myth criticism. The theoretical framework also introduces and describes the graphic novel and its use of characterisation distinctive to post-modern fiction. The Sandman, which is the subject of this study, is then contextualised against the backdrop of the evolution of the American comic book, with its influence of folklore, mythology and visual presentation. Through an overview and analysis of The Sandman series as a whole, as well as a reading of its pivotal narrative, The Kindly Ones, this thesis explores the way in which The Sandman fulfils its purpose of integrating an archetypal hero into contemporary mythology. This is achieved by validating claims proposing the existence of a contemporary mythology through an analysis of Morpheus, The Sandman's protagonist and his unique heroic journey. The conclusion reached is that The Sandman indeed represents a contemporary mythology that contains a new form of social commentary, incorporating archetypes from traditional mythology and re-evaluating the role of the hero in this day and age.
Afrikaans & Theory of Literature
M. A. (Theory of Literature)

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Bücher zum Thema "Cosplay – United States – Comic books, strips, etc"

Lent, John A. Comic books and comic strips in the United States: An international bibliography. Westport, Conn: Greenwood Press, 1994.

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author, Puttkammer Kyle, Williams, Marcus (Comic book artist), ill, Sellers, Ryan (Graphic designer), ill, aSchultz Omaka ill und Higgins Briana ill, Hrsg. Hero cats of Stellar City: New visions. Pittsburgh, PA: Action Lab, 2017.

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ill, Alexovich Aaron, Hrsg. The first day for the rest of her life. New York: Papercutz, 2017.

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author, Waid Mark 1962, Flynn Ian 1982 author und Charm Derek, Hrsg. Jughead. Pelham, New York]: Archie Comic Publications, Incorporated, 2017.

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Robbins, Trina. From girls to grrrlz: A history of [women's] comics from teens to zines. San Francisco: Chronicle Books, 1999.

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Martell, Nevin. Looking for Calvin and Hobbes: The unconventional story of Bill Watterson and his revolutionary comic strip. New York: Continuum, 2010.

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Veronique, Grisseaux, und Merli Anna, Hrsg. Sweeties: Cherry/Skye. New York: Papercutz, 2017.

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Bob, Callahan, Hrsg. The New comics anthology. New York: Collier Books, 1991.

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Gerber, Ernst. The photojournal guide to comic books. Minden, NV: Gerber, 1989.

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Schultz, Mark. Mark Schultz. Raleigh, N.C: TwoMorrows Pub., 2008.

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Buchteile zum Thema "Cosplay – United States – Comic books, strips, etc"

Tichi, Cecelia. „Comics, Movies, Music, Stories, Art, 1V-on-1V, Etc.“ In Electronic hearth, 208–32. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195079142.003.0011.

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Abstract The TV environment ratifies itself everywhere. Cartoons, comic strips, fabric prints, sculpture, music, paintings, flip books, T-shirts, jewellry, movies, and TV itself—these, along with printed texts, have featured television prominently, often critically, both attacking television and at the same time exploiting its resources, but above all affirming and validating the TV environment. Television is by now ubiquitous in virtually every cultural format and venue in the United States. It takes shape as familial hearth, as the illuminator/corruptor of children, as the paradoxical site of sedentary activism, as the locus of a new, multivalent consciousness. It is a source of language, virtually a contemporary phrasebook, and certifies human experience in contexts ranging from sports stadiums to personal spaces where camcorder cassette tapes are played on personal screens. Every sign of it, from a T-shirt front to a refrigerator magnet reinforces the idea of the TV environment, one extending from the Magic Screen on “Pee-Wee’s Playhouse” to the video apparatus (video camera, VCR, big-screen monitor) on which the pantomime, Will Irwin, the electronic-age Charlie Chaplin, performs onstage in his one man video vaudeville act. Everywhere television is ratified as it is reified in contemporary culture.

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