Relevant bibliographies by topics / Batman returns

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  2. Dissertations / Theses
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  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Batman returns'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Batman returns"

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Oosterbaan, Martijn. "Batman Returns." Conflict and Society 1, no. 1 (2015): 197–215. http://dx.doi.org/10.3167/arcs.2015.010115.

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This article explores the aesthetic elements of sovereignty. Building on the anthropological literature on sovereignty and on contemporary work on the politics of aesthetics, the article analyzes contemporary appearances of Batman symbols and figures in Rio de Janeiro. Despite political debate and academic discussion about the Batmen appearing in mafia-like militias and popular street protests in Rio, the question of what these appearances tell us about the relations between popular imagery and political contestation has remained untouched. This article supports the work of writers who argue that superhero comics and movies present fierce figures that operate in the zone of indistinction, at the crossroads of lawful order and its exception. However, it adds to this literature an analysis that shows in what kind of sociopolitical contexts these figures operate and how that plays itself out. To understand the contemporary appearances and force of figures of the entertainment industry better, this article proposes the concept “popular culture of sovereignty.”
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Collins, Jim. "Batman: Film, fortælling: Det hyperbevidste." MedieKultur: Journal of media and communication research 15, no. 30 (1999): 11. http://dx.doi.org/10.7146/mediekultur.v15i30.1147.

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Populærtekster har fra 1980'erne og frem udviklet sig til at være hybrid- tekster, der med udgangspunkt i mobile betydningsbærere som Batman figuren bevæger sig på tværs af diskursformer og genreskel, samtidig med at de aktivt inddrager tidligere aktiveringer af de mobile betydnings- bærere fra populærkulturens historie. 'Handlingen' kan derfor ikke ad- skilles fra dens kodificerede repræsentation, og de mange lag af inter- tekster undergraver ideen om 'teksten i sig selv.' Med eksempler fra Tim Burton's film Batman, Frank Millers grafiske roman The Dark Knight Returns og Alan Moore's Watchmen argumenterer Jim Collins i denne artikel for, at såvel forfattere som publikum til populærtekster er blevet semiotisk sofistikerede og derved hyperbevidste om populærteksternes intertekstualiteter. Dette har betydning for det generelle mediebillede, og ikke mindst for den måde vi bruger medier på.
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Walton, Priscilla L. "A Slippage of Masks: Dis-Guising Catwoman in Batman Returns." Canadian Journal of Film Studies 6, no. 1 (1997): 91–110. http://dx.doi.org/10.3138/cjfs.6.1.91.

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Joye, Stijn, and Tanneke Van de Walle. "Batman returns, again and again: An exploratory enquiry into the recent ‘Batman’ film franchise, artistic imitation and fan appreciation." Catalan Journal of Communication & Cultural Studies 7, no. 1 (2015): 37–50. http://dx.doi.org/10.1386/cjcs.7.1.37_1.

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Schumaker, Lou. "“[Well] Met By Moonlight”: The Gynocentric Worlds of Batman Returns and A Midsummer Night’s Dream." Film Matters 3, no. 3 (2012): 18–21. http://dx.doi.org/10.1386/fm.3.3.18_1.

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Edgar, Grace. "Queers of Steel: Camp in John Williams's Superman (1978) and Jerry Goldsmith's Supergirl (1984)." Journal of the Society for American Music 15, no. 3 (2021): 321–44. http://dx.doi.org/10.1017/s1752196321000201.

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AbstractWhen Richard Donner's blockbuster Superman arrived in theaters in 1978, critics praised the filmmakers for avoiding camp in their adaptation of the comic book, comparing the film positively to the Batman television series (1966–68) of the previous decade. Several sequels later, critics attributed the series’ diminishing financial returns to its growing investment in camp, an investment that peaked in Jeannot Szwarc's Supergirl spinoff (1984), a critical and commercial misfire. Drawing on the work of camp theorists Susan Sontag, Moe Meyer, and Andrew Ross, I argue that critics have misrepresented the place of camp within the franchise, a misunderstanding stemming from their neglect of the film scores. There are two different yet overlapping forms of camp operating within these films. In their reviews, critics expressed disdain for pop camp, a highly legible form of camp, characterized by overblown performances, that the Batman show popularized in the 1960s. My analyses of Superman and Supergirl center on a subtler camp aesthetic present from the very start that critics celebrated: a playful mismatching of gender signifiers and an undercutting of heteronormative romantic relationships that I refer to as queer camp. I offer queer readings of John Williams's and Jerry Goldsmith's leitmotivic scores for Superman and Supergirl—supposedly the least campy and the campiest films in the franchise—to bring into focus the overlooked political work the series accomplishes. In a bold reclamation of the comic books’ suppressed queer legacy, the films’ queer camp aesthetic subverts the heteronormativity of the protagonists to construct Superman and Supergirl as queers of steel.
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Niemi, Albert W. "Industrial Profits and Market Forces: The Antebellum South." Social Science History 13, no. 1 (1989): 89–106. http://dx.doi.org/10.1017/s014555320001628x.

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There have been several important contributions to the recent literature concerned with profits in antebellum southern manufacturing (Bateman et al., 1975; Bateman and Weiss, 1975a, 1975b, 1976, 1981; and Vedder and Gallaway, 1980). Much of what we know about industrial profits during this era stems from the pioneering work of Fred Bateman and Thomas Weiss. In their work, these authors estimate rates of return to manufacturing investment for the South and the nation as a whole. They find that the rates of return in manufacturing were unusually high compared to returns in alternative investments in the decade preceding the Civil War. In fact, their estimates suggest that the financial returns in manufacturing were roughly twice as great as the financial returns to investment in agriculture. With these large sectoral differences in rates of return, Bateman and Weiss question why the South was so slow to industrialize and why the antebellum southern economy continued to be dominated by plantation agriculture.
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Widiana, Alfi, and Rahmawati Hanny Yustrianthe. "Pengaruh Kinerja Keuangan Terhadap Return Saham Perusahaan Badan Usaha Milik Negara." Jurnal Ilmiah Akuntansi Kesatuan 8, no. 3 (2020): 425–34. http://dx.doi.org/10.37641/jiakes.v8i3.382.

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Abstract
 This objective of this research is to investigate the influence of current ratio, cash ratio, debt ratio to stock returns. The sample is selected by purposive sampling method, ie sampling technique using a certain considerations that are relevant to the selected sample research purposes. The number of samples obtained are 20 BUMN companies listed on the Indonesia Stock Exchange. The results of this study indicate that the current ratio and cash ratio as a measurement of financial performance have a positive and significant effect on stock returns. While the debt ratio has a negative and insignificant effect on stock returns.
 Keywords : Financial Performance, Financial Ratios, Stock Return.
 
 Abstrak
 Penelitian ini bertujuan untuk menganalisa pengaruh current ratio, cash ratio, debt ratio terhadap return saham. Penentuan sampel dilakukan dengan menggunakan metode purposive sampling, yaitu teknik sampling dengan menggunakan pertimbangan dan batasan tertentu sehingga sampel yang dipilih relevan dengan tujuan penelitian. Jumlah sampel yang diperoleh sebanyak 20 perusahaan BUMN yang terdaftar di Bursa Efek Indonesia. Data dianalisis dengan analisis deskriptif dan analisis regresi berganda. Hasil dari penelitian ini mengindikasikan bahwa current ratio dan cash ratio sebagai pengukuran kinerja keuangan memiliki pengaruh positif dan signifikan terhadap return saham. Sedangkan debt ratio berpengaruh negatif dan tidak signifikan terhadap return saham.
 Kata Kunci : Kinerja Keuangan, Rasio Keuangan, Return Saham.
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PEDEN, G. C. "The return to Keynes - Edited by Bradley Bateman, Toshiaki Hirai, and Maria Cristina Marcuzzo." Economic History Review 64, no. 1 (2011): 317–18. http://dx.doi.org/10.1111/j.1468-0289.2010.00567_11.x.

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Kalima, Titi, and Marfu'ah Wardani. "Potensi Jenis Dipterocarpus retusus Blume di Kawasan Hutan Situ Gunung Sukabumi." Buletin Plasma Nutfah 19, no. 2 (2016): 102. http://dx.doi.org/10.21082/blpn.v19n2.2013.p102-110.

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<p>Potential of Dipterocarpus retusus Blume Species in Situ Gunung Forest, Sukabumi. Titi Kalima and Marfu'ah Wardani. Analysis of the potential of Dipterocarpus retusus Blume species in Situ Gunung forest, Sukabumi, West Java, carried out in 2010 in a village location Kadudampit, Kadudampit districts, with the goal of uncovering potential and habitat conditions D. retusus in Situ Gunung forest. Data collection using the Systematic Sampling Strip with units such examples observation of 50 m x 20 m. The results showed that D. retusus recorded five induvidu stems of tree, the saplings (four individu) and seedlings (11 individu) at an altitude of 864-865 m above sea level, slope of 45%, and the soil pH from 6.0 to 6.9. The potential of D. retusus diameter rods >10 cm are 50 stems per ha with 35,061 volume m3/ha. The level distribution D. retusus low, grow clustered and sparse. Abundance values for trees 2.50 stems/ha, 2.00 stems/ha for sapling and 2.20 seedling/ha.</p><p> </p><p><strong>Abstrak</strong></p><p><strong><br /></strong>Analisis potensi jenis Dipterocarpus retusus Blume di kawasan hutan Situ Gunung, Sukabumi, Jawa Barat dilakukan pada tahun 2010 di lokasi Desa Kadudampit, Kecamatan Kadudampit, dengan tujuan mengungkap potensi dan kondisi habitat D. retusus di kawasan hutan Situ Gunung. Pengumpulan data dengan menggunakan metode Systematic Strip Sampling dengan unit contoh berupa jalur pengamatan 50 m dan lebar 20 m. Hasil penelitian menunjukkan bahwa D. retusus tercatat lima induvidu batang tingkat pohon, tingkat pancang empat batang, dan semai diperoleh 11 batang pada ketinggian 864- 865 m dpl, kemiringan 45%, dan pada pH tanah 6,0-6,9. Potensi D. retusus berdiameter batang >10 cm adalah 50 batang/ha dengan volume pohon sebesar 35,061 m3/ha. Tingkat persebaran D. retusus rendah, tumbuh mengelompok dan jarang. Nilai kelimpahan untuk pohon 2,50 batang/ha, pancang 2,00 batang/ha, dan semai 2,20 batang/ha.</p><p> </p>
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Dissertations / Theses on the topic "Batman returns"

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Nilsson, Kristina. ""... because I'm Batman" : En undersökning av maskulinitet i Frank Millers Batman: The Dark Knight Returns." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-121451.

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I detta arbete kommer jag att undersöka hur maskulinitet gestaltas i Frank Millers Batman: The Dark Knight Returns. Det jag vill fokusera på är de olika maskulina drag som går att urskilja i serien. Warner Bros. Animation gav 2012 ut den första delen av en animerad filmatisering av Millers Batman-serie, som senare följdes av den andra och avslutande delen 2013. I min undersökning kommer jag även att ta hjälp av de båda animeringarna för att se på vilka sätt maskuliniteten gestaltas hos de olika manliga huvudpersonerna i såväl filmerna som den berättelse de bygger på. Med undersökningen hoppas jag kunna lyfta fram de maskulina ideal, som tycks vara styrande för gestaltningen i serien respektive filmerna. De frågeställningar som mitt arbete kommer att utgå ifrån är: Hur gestaltas maskuliniteten hos Batman/Bruce Wayne och de andra huvudkaraktärerna i serien? Finns det några likheter eller skillnader mellan "de goda" och "de onda" personernas maskulinitet? Skiljer sig gestaltningen av maskulina ideal åt mellan serien och filmatiseringen och i sådana fall varför?
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Tiellet, Bárbara Coufal. "O imaginário estético moderno e pós-moderno no filme hollywoodiano: Batman Returns (1992) de Tim Burton." Pontifícia Universidade Católica do Rio Grande do Sul, 2009. http://hdl.handle.net/10923/2170.

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Made available in DSpace on 2013-08-07T18:46:40Z (GMT). No. of bitstreams: 1 000411995-Texto+Completo-0.pdf: 17620441 bytes, checksum: be95b8aa5e9ca5a11cbb81cd8ad6e9b7 (MD5) Previous issue date: 2009<br>The aim of this study is to identify Aesthetics as a discipline pertaining to Philosophy, Modern Art and the Contemporary visualities that permeate the film image of Hollywood work. The aesthetic parallelism between the 1992 Tim Burton’s movie Batman Returns and the German Expressionism becomes evident as this study develops. It is through categories and in the identification of new aesthetic transitions which approximate works said modern, silent movies, of a production here considered post-modern. The analysis of the data follows methodology (Thompson, 2002) the Depth Hermenetics, considered in this paper for qualitative research.<br>Esse estudo tem como objetivo identificar a Estética, disciplina da Filosofia, a Arte Moderna e as visualidades contemporâneas que permeiam a imagem fílmica da obra hollywoodiana. O paralelo estético entre a obra de Batman, o Retorno (Batman Returns) de 1992, dirigida por Tim Burton, e o Expressionismo Alemão torna-se estreito no decorrer do estudo. É através de algumas categorias e da identificação de novas transições estéticas que aproximam-se a obra moderna da pós-moderna. Para tal segue-se a metodologia da Hermenêutica de Profundidade proposta por Thompson (2002), aqui considerada pela pesquisa qualitativa.
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Tiellet, B?rbara Coufal. "O imagin?rio est?tico moderno e p?s-moderno no filme hollywoodiano : Batman Returns (1992) de Tim Burton." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2009. http://tede2.pucrs.br/tede2/handle/tede/4372.

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Made available in DSpace on 2015-04-14T14:40:55Z (GMT). No. of bitstreams: 1 411995.pdf: 17620441 bytes, checksum: be95b8aa5e9ca5a11cbb81cd8ad6e9b7 (MD5) Previous issue date: 2009-03-30<br>Esse estudo tem como objetivo identificar a Est?tica, disciplina da Filosofia, a Arte Moderna e as visualidades contempor?neas que permeiam a imagem f?lmica da obra hollywoodiana. O paralelo est?tico entre a obra de Batman, o Retorno (Batman Returns) de 1992, dirigida por Tim Burton, e o Expressionismo Alem?o torna-se estreito no decorrer do estudo. ? atrav?s de algumas categorias e da identifica??o de novas transi??es est?ticas que aproximam-se a obra moderna da p?s-moderna. Para tal segue-se a metodologia da Hermen?utica de Profundidade proposta por Thompson (2002), aqui considerada pela pesquisa qualitativa.
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Barnett, Katrina. "Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in Film." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707290/.

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The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.
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Books on the topic "Batman returns"

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Daniel, Waters, and Hamm Sam, eds. Batman returns. Little, Brown, 1992.

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O'Neil, Dennis. Batman returns. DC Comics, 1992.

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Gardner, Craig Shaw. Batman returns. Warner Books, 1992.

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Al, Barrionuevo, and Pina Javier, eds. Batman: Hush returns. DC Comics, 2006.

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Miller, Frank. Batman, the Dark Knight returns. DC Comics, 2000.

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Klaus, Janson, and Varley Lynn, eds. Batman: The dark knight returns. Titan, 1986.

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Miller, Frank. Batman: The Dark Knight returns. DC Comics, 1986.

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Miller, Frank. Batman: The Dark Knight returns. DC Comics, 1986.

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Miller, Frank. Batman, the Dark Knight returns. DC Comics, 2002.

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Batman: The Dark Knight Returns. DC Comics, 1996.

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Book chapters on the topic "Batman returns"

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Siegel, Carol. "Tim Burton’s Popularization of Perversity: Edward Scissorhands, Batman Returns, Sleepy Hollow, and Corpse Bride." In The Works of Tim Burton. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137370839_12.

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Reid, Danielle. "Apotheosis of the Batman? Symbolism and Allegory in Batman: The Return of Bruce Wayne." In Comics - Bilder, Stories und Sequenzen in religiösen Deutungskulturen. Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-01428-5_6.

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"7. The Homeless Strike Back: Batman Returns." In Home in Hollywood. Columbia University Press, 2004. http://dx.doi.org/10.7312/bron12176-010.

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"The classical film score forever? Batman, Batman Returns and post-classical film music." In Contemporary Hollywood Cinema. Routledge, 2013. http://dx.doi.org/10.4324/9780203349847-18.

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Goldstein, Melvyn C., Dawei Sherap, and William R. Siebenschuh. "The Return to Batang." In A Tibetan Revolutionary. University of California Press, 2004. http://dx.doi.org/10.1525/california/9780520240896.003.0012.

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Casey, Steven. "The Return." In The War Beat, Pacific. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190053635.003.0011.

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MacArthur finally returned to the Philippines in October 1944, accompanied by fifty-eight correspondents—the largest number to join a Pacific invasion at that stage of the war. Initially, the campaign to retake the island of Luzon did not go well, but a combination of MacArthur’s optimistic communiqués and a major naval victory in the Battle of Leyte Gulf ensured that his return contributed to Roosevelt’s reelection victory a month later. After the invasion of Leyte in January 1945 led first to the liberation of the camps containing Bataan death march survivors and then to the bloody slaughter during the battle for Manila, the home front’s animosity toward Japan hardened.
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Proctor, William. "A Dark Knight on Elm Street: Discursive Regimes of (Sub)Cultural Value, Paratextual Bonding, and the Perils of Remaking and Rebooting Canonical Horror Cinema." In Film Reboots. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451369.003.0015.

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This chapter analyses A Nightmare on Elm Street as a remake of the 1984 film and a reboot to the Elm Street franchise. Part of this rebooting entailed establishing a complex authorial identity for the film, aligning it with Christopher Nolan’s work with the Batman reboots and Wes Craven, whose own status as auteur had changed since directing the original Elm Street film. Further, Proctor shows how paratexts situate the reboot as a return to the scariness of the original Elm Street film, disavowing the later more comic films in the series, in such a way that likewise aligns the reboot with Nolan’s Batman films.
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"11. The Return to Batang." In A Tibetan Revolutionary. University of California Press, 2019. http://dx.doi.org/10.1525/9780520940307-017.

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Leupin, Alexandre, and Édouard Glissant. "‘Separating from the place of speech, the better to return to it’." In The Baton Rouge Interviews. Liverpool University Press, 2020. http://dx.doi.org/10.2307/j.ctv12pntr3.12.

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"6. From Intelligence Officer in Bataan to the Return of Ignacio Javier." In The Diplomat-Scholar. ISEAS Publishing, 2017. http://dx.doi.org/10.1355/9789814762434-010.

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Conference papers on the topic "Batman returns"

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Hakim, A., D. Hanggraeni, and O. Ragawino. "Forecasting risk and return to provide electricity in Batam, Indonesia by using Efficient Frontier." In 2015 5th International Youth Conference on Energy (IYCE). IEEE, 2015. http://dx.doi.org/10.1109/iyce.2015.7180761.

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