Relevant bibliographies by topics / Toys – Comic books, strips, etc

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  2. Dissertations / Theses
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Academic literature on the topic 'Toys – Comic books, strips, etc'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Toys – Comic books, strips, etc"

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Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.

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AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.
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ADAMS, JIMI. "Glee's McKinley High: Following Middle America's sexual taboos." Network Science 3, no. 2 (May 13, 2015): 293–95. http://dx.doi.org/10.1017/nws.2015.16.

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Writers for popular media frequently draw on insights known about social networks in developing their plotlines and character biographies (whether in books, television, movies, etc.). Perhaps most known to network analysts in this respect, Freeman (2000) presents a collection of network concepts represented in comic strips. These depictions often are consistent with the patterns network analysts observe in real-world empirical examples. For example, the long-running sitcom Friends exhibited strong homophily (McPherson et al., 2001) or assortative mixing on race and socioeconomic status among the main characters. Other times the violation of these typical patterns can serve to generate dramatic tension or a source of comedy. For example transitivity—or the tendency of one's friends to also become friends (Holland & Leinhardt, 1972)—is absent in the movie Hush where Jessica Lange's character plots to kill the daughter-in-law she does not like. P-O-X social balance (Heider, 1948) describes the tendency for friends to share common interests, which was violated to comedic effect in the Seinfeld episode where Jerry's character simply cannot accept his date's refusal to try a taste of the pie he finds delicious, bothering him for days and ultimately leading to his ending the relationship.
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Dissertations / Theses on the topic "Toys – Comic books, strips, etc"

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Lorenz, Peter. "Maßnahmen zur Schaffung einer zukunftsfähigen Organisation der Comic-Spezialbibliothek "Bei Renate"." Berlin : Humboldt-Universität zu Berlin, 2005. http://books.google.com/books?id=SYtQAAAAMAAJ.

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Pevey, Aaron. "From Superman to superbland the Man of Steel's popular decline among postmodern youth /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04172007-133407/.

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Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Chris Kocela, committee chair; Paul Schmidt, Michael Galchinsky, committee members. Electronic text (95 p. : ill. 9some col.)) : digital, PDF file. Description based on contents viewed Nov. 16, 2007. Includes bibliographical references (p. 78-81).
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3

Herman, Janique Luschan Vogl. "An interrogation of morality, power and plurality as evidenced in superhero comic books: a postmodernist perspective." Thesis, University of Fort Hare, 2013. http://hdl.handle.net/10353/d1005646.

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The desire for heroes is a global and cultural phenomenon that gives a view into society’s very heart. There is no better example of this truism than that of the superhero. Typically, Superheroes, with their affiliation to values and morality, and the notion of the grand narratives, should not fit well into postmodernist theory. However, at the very core of the superhero narrative is the ideal of an individual creating his/her own form of morality, and thus dispensing justice as the individual sees fit in resistance to metanarrative’s authoritarian and restrictive paradigms. This research will explore Superhero comic books, films, videogames and the characters Superman, Spider-Man and Batman through the postmodernist conceptions of power, plurality, and morality.
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Young, Hiu-tung. "Problems of translating contemporary Japanese comics into Chinese the case of Crayon Shinchan /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39848863.

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Gay, Stephanye Anne. "ShieldCross an exploration of sequential art ; an honors project /." [Jefferson City, Tenn. : Carson-Newman College], 2009. http://library.cn.edu/HonorsPDFs_2009/Gay_Stephanye_Anne.pdf.

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Frail, James H. "Powers and abilities far behind those of mortal men an examination of the comic book industry and subculture through a feminist sociological perspective /." Huntington, WV : [Marshall University Libraries], 2004. http://www.marshall.edu/etd/descript.asp?ref=424.

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McCoy, Kuleen O. "The funnies are a serious business : how local newspaper editors make decisions concerning diverse and controversial comic strips /." Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-08222009-040404/.

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8

Du, Plessis Carla (Carla Susan). "Reconsidering the conventions employed in comix and comix strips." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21211.

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Young, Hiu-tung, and 楊曉彤. "Problems of translating contemporary Japanese comics into Chinese: the case of Crayon Shinchan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39848863.

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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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Books on the topic "Toys – Comic books, strips, etc"

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Freeman, Allen. Cute toy-- that destroyed the world! [Frankfort, Ky.]: Fan-Atic Press, 1985.

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David, Baldeón, ed. Marvel "Tsum Tsum": Takeover! New York, NY: Marvel Worldwide, Incorporated, 2017.

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Wengel, Doug. Comic character metal sand toys. Atglen, PA: Schiffer Pub., 2008.

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Wengel, Doug. Comic character metal sand toys. Atglen, PA: Schiffer Pub., 2008.

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Farshtey, Greg. Lego Ninjago, masters of Spinjitzu: Special edition : The challenge of Samukai! ; The mask of the Sensei. New York, N.Y: Papercutz, 2012.

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Farshtey, Greg. LEGO Ninjago, masters of spinjitzu: Comet crisis. New York, NY: Papercutz, 2014.

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Millionaire, Tony. Tony Millionaire's Sock Monkey. Milwaukie, Or: Dark Horse Books, 2004.

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1882-1956, Milne A. A., and Walt Disney Company, eds. Walt Disney's Winnie the Pooh: The surprise party. [S.l.]: Mouse Works, 1994.

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Mix & Remix. Mix & Remix 2006: Tous les dessins parus dans l'Hebdo 2005-2006 + 20 déssins parus dans le Sonntagsblick. Lausanne: Ringier Romandie, 2006.

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Farshtey, Greg. Lego ninjago. London: Titan Books, 2015.

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Book chapters on the topic "Toys – Comic books, strips, etc"

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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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Auzāne, Anna. "Benjamins un Cveigs: grāmatu krāšana kā fragmentu kopojums. Haoss, kolāža, sistēma?" In Bibliotēka un personība. Fragmentu bibliotēkas, 118–27. LU Akadēmiskais apgāds, 2023. http://dx.doi.org/10.22364/ilt.23.11.

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he intention of the current paper is to explore Walter Bendix Schönflies Benjamin’s (1892–1940) essays, especially “Unpacking My Library” (1931), in which the theorist focuses on collections, and Stefan Zweig’s (1881–1942) story “Buchmendel” / “Mendel the Book-Dealer” (1929). W. B. S. Benjamin’s views on bibliophilia, the relationship of the narrative with the fragment and other similar questions linked to the philosophy of literature are as scattered as the rare items collected by the obsessed bookworm he mentions, however, it is possible to compare them with S. Zweig’s vivid story about the bookkeeper and librarian Mendel, who memorizes “every plant, every infusoria and every star in the ever-changing and restless cosmos of the world of books”. Vladimir Nabokov’s (1899–1977) and John Robert Fowles’s (1926–2005) real and symbolic collections of butterflies, Umberto Eco’s (1932–2016) “The Infinity of Lists” and other examples serve as Ariadne’s thread that leads to the main motivation for collecting, which could be the owner’s or heir’s desire, but not solely that. Likewise, collecting can be prompted by apparent or real self-absorption, excitement, and also by old age (although children also tend to collect, of course). The hoarding individual often faces confusion, isolates himself/herself, and gradually becomes lonely. Most often, the psychological portrait of this person is, as follows: an eccentric man for the reasons mentioned above, often a typical bachelor, because he does not need to account to anyone for time and money spent outside the family. You can also notice that he has been collecting stamps, stickers, cards, tickets, different [fruit] labels, pins, magnets, comic books, vinyl records, toys or dolls, coins, rocks, seashells, herbaria (etc.) since childhood. Collecting also perfectly helps to cope with various memories or traumas; it can be compensation for failures in other spheres of life. When a collector passes away, his relatives can keep the collection intact or donate/sell it all. The works of both authors – W. B. S. Benjamin and S. Zweig – and their fragments, viewed through the prism of literature and philosophy, allow us to get to know the world of collectors in German-speaking countries and create the image of a collector as a peculiar person whose fate is “drowning” in his/her books or at least a chance to “grow into them”.
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