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Journal articles on the topic 'Captain Marvel'

Author: Grafiati

Published: 24 June 2021

Last updated: 29 July 2025

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1

Fauzi, Nur Amir. "CAPTAIN MARVEL: Kesetaraan Gender dalam Perspektif Tokoh Superhero." spectā: Journal of Photography, Arts, and Media 3, no. 2 (2019): 73–79. http://dx.doi.org/10.24821/specta.v3i2.2957.

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Captain Marvel: Gender Equality in the Perspective of Superhero. Gender equality is something that can be a concern lately so it can be used as an issue in the creation of a work of art, because the ‘value’ of women is considered lower than men in various activities or daily activities. A big American movie studio, Marvel Studios, released a film with a female superhero named Captain Marvel. The emergence of the film made the writer want to examine about this superhero much deeper. The method employed for this paper was deconstruction approach by linking it to the phenomenon occurring in the s

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Killian, Kyle. "Captain Marvel (2019)." Journal of Feminist Family Therapy 31, no. 4 (2019): 211–12. http://dx.doi.org/10.1080/08952833.2019.1602982.

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Saputro, Lungky. "Iron Man’s and Captain Marvel’s Anxieties and Defense Mechanisms in “Civil War II”." K@ta Kita 6, no. 1 (2018): 98–104. http://dx.doi.org/10.9744/katakita.6.1.98-104.

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This thesis deals with the anxieties experienced by the leaders of superhero teams in Civil War II, Iron Man and Captain Marvel. Through their anxieties in Civil War II, I tried to reveal the causes of their anxieties and their ways to reduce these uneasy feelings. To analyze the causes of these two characters’ anxieties, I used two of the theory of anxiety, reality and moral anxiety. I found that there are two causes that make Iron Man feel anxieties which are the reaction of Captain Marvel towards Ulysses’ prophecies and his responsibility both as a superhero and as a leader to protect peopl

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Salsabila, Neysa Alya, and Ike Desi Florina. "REPRESENTASI FEMINISME MODERN DALAM KARAKTER SUPERHERO PEREMPUAN PADA FILM THE MARVELS." Publicomm 1, no. 2 (2024): 72–84. https://doi.org/10.24905/publicomm.v1i2.31.

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Feminisme modern menganggap bahwa perjuangan untuk kesetaraan gender berkaitan erat dengan isu-isu lain seperti ras, kelas, orientasi seksual, dan identitas gender. Tema feminisme sering digambarkan dalam film, dan salah satu genre yang mengalami perkembangan pesat adalah film kepahlawanan. Film “The Marvels” menampilkan superhero perempuan seperti Carol Danvers atau Captain Marvel, Monica Rambeau, dan Ms. Marvel. Penelitian ini bertujuan untuk mengetahui representasi feminisme modern dalam karakter superhero perempuan pada film “The Marvels”. Metode yang digunakan adalah semiotika Roland Bart

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Jeffries, Dru. "Captain Marvel and the Art of Nostalgia." Journal of Graphic Novels and Comics 10, no. 3 (2018): 381–82. http://dx.doi.org/10.1080/21504857.2018.1446453.

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Sasongko, Damar. "Mitos Manusia Super dalam Pieta dan The Death of Captain Marvel." Retorik: Jurnal Ilmu Humaniora 12, no. 2 (2024): 177–96. https://doi.org/10.24071/ret.v12i2.8935.

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The Pietà is a masterpiece in the world of sculpture by the renowned artist Michelangelo. Created more than five centuries ago (1497–1499), this work has often served as inspiration for artistic creations in later periods. In popular culture, the composition of the Pietà was once popularized and adapted for superhero comic book covers. Of the many comics, it is only in The Death of Captain Marvel (1982) by Jim Starlin that we find a strikingly similar likeness. This study examines the comparison between these two works and seeks to uncover the identity embedded within them. The Death of Captai

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Wulandari, Endah, and M. Thoyibi. "Educating Young Learners to Gender Equality through Movies: Wonder Woman vs Captain Marvel." AL-ISHLAH: Jurnal Pendidikan 14, no. 3 (2022): 4279–90. http://dx.doi.org/10.35445/alishlah.v14i3.1889.

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The issue of fair treatment given to males and females in the classroom discourse is currently discussed worldwide. The notion of gender equality that facilitates similar access for boys and girls to education is among the striving to achieve such conditions. This study tries to give an overview of two popular movies that can be used to disseminate the idea of gender equality to students in elementary schools. Wonder woman and Captain Marvel movies were chosen as the data of this research since the film genre is under the theme of heroism that represents women as the main characters. This rese

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Hall, William David, and Ezra Howard. "All American Messiah." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 3, no. 2-3 (2010): 131–48. http://dx.doi.org/10.1558/post.v3i2/3.3.131.

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Approaches the recent death of Captain America sideline of Marvel Comics from the perspective of political theology and philosophical messianism as these ideas appear in the works of Giorgio Agamben, Rene Girard, Walter Benjamin, and Carl Schmitt.

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Erma Ainun Maghfiroh and Koesoemo Ratih. "Exploring Apologizing Strategies in the Movie “Captain Marvel”." Jurnal Onoma: Pendidikan, Bahasa, dan Sastra 9, no. 2 (2023): 1212–25. http://dx.doi.org/10.30605/onoma.v9i2.2977.

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The study explored apologizing strategies within the movie "Captain Marvel" through the analysis of illocutionary speech acts. The research adopted a qualitative approach and utilized the framework of apologizing strategies developed by Kramer-Moore and Moore. The primary data sources were the movie and its script, with instances of apologizing transcribed verbatim, along with nonverbal cues. The analysis revealed two main types of apologies: expressive and directive. Expressive apologies, demonstrated by characters like Maria, Carol, and Coulson, conveyed genuine remorse and empathy to mainta

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Biasini, Naurissa, and Sri Wijayanti. "Representasi Feminisme Dalam Karakter Pahlawan Perempuan Captain Marvel." WIDYAKALA: JOURNAL OF PEMBANGUNAN JAYA UNIVERSITY 8 (May 31, 2021): 17. http://dx.doi.org/10.36262/widyakala.v8i0.393.

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Mau, Maria S., Marianus W. Liru, and Febe F. I. Wanggai. "SUPERNATURAL POWER IN WONDER WOMAN FILM AND CAPTAIN MARVEL FILM: A COMPARATIVE STUDY." Lantern: Journal of Language and Literature 9, no. 1 (2023): 1–8. http://dx.doi.org/10.37478/lantern.v9i1.3951.

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The aims of this study were to find out kinds of supernatural power experienced by the main character and find out the differences and similarities of supernatural in both of films. The research design was qualitative research method. This research used theory of Supernatural Power by Jonathan C. Smith and theory of Comparative Study by Robert John Clemens. The data were in the form of utterances and actions. The type of data used in this study consists of two films. The result shows that there are five kinds of supernatural power as seen in Wonder Woman film and Captain Marvel film. Kinds of

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Ayu Amalia Avina, Diyah, and Dhiesta Ardhiaputri. "Audience Interpretation of Masculine Domination of Female Superhero Characters." COMMENTATE: Journal of Communication Management 5, no. 2 (2024): 115–31. https://doi.org/10.37535/103005220244.

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This research explores how audiences interpret messages about masculine dominance in the portrayal of female superhero characters in the film Captain Marvel, emphasizing its elements of female masculinity. Employing a descriptive qualitative approach within an interpretive paradigm, the study applies Stuart Hall’s reception analysis method focusing on encoding and decoding. Audience interpretations are categorized into three hypothetical positions: dominant-hegemonic, negotiated, and oppositional. Data were gathered through in-depth interviews with six informants (three male, three female) sel

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Srul, Klaudia. "Superbohaterki w kinie przed powstaniem Marvel Cinematic Universe. Historia adaptacji kobiecych kostiumów superbohaterskich." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (2021): 274–82. http://dx.doi.org/10.14746/i.2021.38.18.

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The article focuses on changes within superhero comic book movie adaptations from 1941 (Adventures of Captain Marvel premiere) to 2008 (the creation of Marvel Cinematic Universe) in the aspect of designing female characters’ costumes. Author’s refelections are based on the article From the Top of the Cowl to the Tip of the Cape. The Cinematic Superhero Costume as Impossible by Dru H. Jeffries published in 2013 in „Cinephile: The Univesity of British Columbia’s Film Journal”. The author of the cited paper focuses on the topic of adapting male comic book characters’ costumes which is a starting

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McCleary, Keith. "Captain Marvel and the Art of Nostalgia by Brian Cremins." Inks: The Journal of the Comics Studies Society 2, no. 2 (2018): 258–61. http://dx.doi.org/10.1353/ink.2018.0016.

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Agius, Dionisius A. "Where Facts and History Meet Myth and Legend: Groups or Communities in the Marvels of India Stories Model." India Quarterly: A Journal of International Affairs 76, no. 3 (2020): 392–410. http://dx.doi.org/10.1177/0974928420936132.

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The cAja-’ib al-Hind ( Marvels of India) is a collection of sea stories allegedly compiled by Captain Buzurg Ibn Shahriya-r (d. 399/1009) which belongs to an Arabo-Islamic literary genre called the caja-’ib, containing themes of entertainment—things that are marvellous and strange. But these stories are not merely entertaining, they are an additional resource for the modern researcher because they also reflect the realities of daily life in seafaring communities of the Indian Ocean in the ninth and tenth centuries. Among the tales of the fantastic and the marvel, we find the simple humanity of

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Walsh, Cara. "Borders of Masculinity: The Hero's Journey in the Marvel Cinematic Universe." Digital Literature Review 9 (April 15, 2022): 101–11. http://dx.doi.org/10.33043/dlr.9.1.101-111.

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The Marvel Cinematic Universe has grown into one of the most popular entertainment franchises since its debut film in 2008. Even with competition rising in the superhero film industry, the MCU continues to stand out due to its unique and intricate depiction of the hero’s journey. The three foundational heroes of the MCU (Iron Man, Captain America, and Thor) illustrate how toxic expressions of masculinity create borders to their emotional development and character growth, borders that they must overcome along the hero’s journey. In his first film, Iron Man, Tony Stark begins to reevaluate the p

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Curtis, Neal. "Wonder Woman and Captain Marvel : The (Dis)Continuity of Gender Politics." Journal of Popular Culture 53, no. 4 (2020): 926–45. http://dx.doi.org/10.1111/jpcu.12942.

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Tankard, Alex. "Disruption and Disability Futures in Captain America: The First Avenger and Captain America: The Winter Soldier." Journal of Literary & Cultural Disability Studies 16, no. 1 (2022): 41–57. http://dx.doi.org/10.3828/jlcds.2022.3.

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Marvel superhero movies celebrate the transformation of disabled people into weapons. First Avenger (2011) depicts a disabled man rebuilt by military technology into a patriotic superhero. In Winter Soldier (2014), the Soviet cyborg’s brutal, non-consensual modification serves to emphasize Captain America’s wholesomely perfected body. At first glance, both films seem incapable of critiquing the historical ableism that made Captain America’s modification a desirable image of disability-free future in 1941—let alone its modern manifestations. However, rewatching First Avenger after Winter Soldie

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Jackson, Maghan Molloy. ""Reading Too Much into It": Affective Excess, Extrapolative Reading, and Queer Temporalities in MCU Fanfiction." JCMS: Journal of Cinema and Media Studies 63, no. 1 (2023): 30–52. http://dx.doi.org/10.1353/cj.2023.a910958.

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abstract: This article engages José Esteban Muñoz's concept of queer utopian temporality through the heuristic of fanfiction. Beginning with a discussion of accusations of "excessive reading" as a normalizing disciplinary tactic of media viewership, I problematize representations of LGBT+ experience in mainstream television and cinema through Muñoz's figuration of "straight time." I then turn to close readings of several fannish texts created in conversation with the 2014 Marvel Cinematic Universe film Captain America: The Winter Soldier (Anthony Russo and Joe Russo) to demonstrate fanfiction'

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Lima, Ellen Alves, and Yuri Garcia Piedade Kurylo. "I HAVE NOTHING TO PROVE TO YOU: REPRESENTATIVIDADE FEMININA EM CAPTAIN MARVEL (2019)." Revista Alterjor 28, no. 2 (2023): 240–62. http://dx.doi.org/10.11606/issn.2176-1507.v28i2p240-262.

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O presente trabalho busca problematizar questões referentes à representatividade em Captain Marvel (2019). Por meio de uma análise de aspectos narrativos e imagéticos, e dados referentes à produção, buscaremos desvelar elementos relativos à sua representatividade e relevância das produções fílmicas de histórias em quadrinhos. Ao considerar como um importante marco no processo de aumento de visibilidade de protagonistas femininas na atual tendência blockbuster, a produção é constituída de forma bem direcionada na questão de gênero. Grande parte da equipe criativa é composta por mulheres, o que

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Flores, Emil. "The Concept of the Superhero in Filipino Films." Plaridel 2, no. 2 (2005): 23–38. http://dx.doi.org/10.52518/2005.2.2-02eflrs.

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This essay examines a number of Filipino superhero films (Captain Barbell, Darna and Lastikman) and how a uniquely American creation was “Filipinized,” taking into account the cultural and social aspects of the Pinoy superhero as demonstrated in the films. For the first time in Filipino film history, three superhero films were included in the 2003 Metro Manila Film Festival. While the producers were most likely following the popular trend in Hollywood, the films Fantastic Man, Captain Barbell, and Gagamboy, still reflect the Filipino longing for a hero to look up to. All films were big box-off

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Gámez Fuentes, María José. "Breaking the logic of neoliberal victimhood: Vulnerability, interdependence and memory in Captain Marvel (Anna Boden and Ryan Fleck, 2019)." European Journal of Cultural Studies 24, no. 1 (2021): 94–106. http://dx.doi.org/10.1177/1367549420985839.

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The contemporary visibility of women’s accomplishments and popular outcry in the face of injustice and/or violence might suggest that women have achieved their aim of putting long-fought feminist principles in the spotlight and have finally earned equality. However, let us not forget that, in the face of violence, the hegemonic matrix of intelligibility has also historically defined women victims by their ‘injurability’, so, intrinsically vulnerable, thus justifying the need of the system to assist them. It is not surprising, then, that, as a response to vulnerability, empowerment is celebrate

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Black, Suzanne R. "Setting the record ‘straight’: Captain America fanfiction, museums and queer narratives." Queer Studies in Media & Popular Culture 8, no. 3 (2023): 265–79. http://dx.doi.org/10.1386/qsmpc_00105_1.

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Many of the largest and furthest-reaching media franchises today, such as the Marvel Cinematic Universe (MCU), opt not to represent a range of queer identities and relationships but instead perpetuate heteronormativity. Alternatively, an extensive site of queer historical recovery can be found in the fanfiction that is written in response to these popular media franchises. This article explores how fanfiction set in museums challenges the version of history presented in the MCU’s Captain America films by re-introducing queerness into historical narratives. I argue that while popular media fran

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Song, Yubo, and Somsak Klaysung. "Cross-cultural communication of foreign films in China: A case study of marvel film Captain American." Edelweiss Applied Science and Technology 9, no. 3 (2025): 1501–18. https://doi.org/10.55214/25768484.v9i3.5594.

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The present study aims to investigate the impact of cross-cultural communication strategies of Marvel films in China, focusing on Captain America to explore how cultural symbols and narratives are adapted and reinterpreted in a distinct sociopolitical context. Researchers used a mixed-method approach, which combined semiotic film analysis and surveys of 400 participants using stratified random sampling. For the qualitative data, researchers conducted interviews using focus groups with 15 professionals employing a purposive sampling technique. Moreover, the findings of the present study reveal

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Lee, Jung-Oak. "Female Hero Narratives in SF and Writing New Myth －Focusing on "Captain Marvel"(2019)－." General Education and Citizen 9 (January 31, 2024): 215–49. http://dx.doi.org/10.47142/gec.9.8.

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Papp-Váry, Árpád Ferenc, and Áron Rönky. "Building Brands with Superheroes, Building Superheroes with Brands: The Brands of Iron Man and Captain America in the Marvel Cinematic Universe." Businesses 5, no. 2 (2025): 19. https://doi.org/10.3390/businesses5020019.

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The use of product and service brands by popular movie characters has long been a powerful marketing tool, boosting brand awareness and enhancing brand image. Product placement—the appearance of brands in films—not only increases visibility but also provides vital financial support for film production, particularly in big-budget blockbusters. However, an interesting question arises: to what extent do filmmakers and brands align brand values with the personalities of film characters? Is the goal solely to maximize exposure, or is there a conscious effort to create authentic pairings that resona

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Nagy, Dániel. "Velázquez, Wagner and the Red Skull. Intermediality and the Genesis of Meaning in a Particular Scene of Captain America: The First Avenger." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (2021): 117–31. http://dx.doi.org/10.2478/ausfm-2021-0008.

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Abstract In the 2011 superhero movie, Captain America: The First Avenger (produced by Marvel Studios, directed by Joe Johnston) the main opponent of the title character is a Nazi officer, Johann Schmidt, who turns out to be a kind of superhuman entity, the Red Skull. Throughout the movie, viewers can follow the process of him gradually leaving behind his identity as a Nazi officer, and presenting himself as the leader of the occult-high-tech terrorist organization, the Hydra. At a certain point we can see him visited by one of the scientists working for him, Doctor Zola, whom he puts wise to h

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Blasingame, James. "Notes from the Middle Level Section: Captain Marvel and Superman: Middle Level Language Arts Teachers’ Colleagues." Voices from the Middle 27, no. 2 (2019): 62–64. http://dx.doi.org/10.58680/vm201930630.

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Ferdous Himika, Jannatul, and Sk Sabbir Ahmed. "From Sidekicks to Superheroes: The Evolution of Female Representation in the Marvel Cinematic Universe." International Journal of Research and Innovation in Social Science IX, no. III (2025): 3204–20. https://doi.org/10.47772/ijriss.2025.90300252.

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From its beginning, the Marvel Cinematic Universe (MCU) has challenged and mirrored social attitudes regarding gender roles. At first, female characters mostly appeared as second bananas: sidekicks, love interests or plot devices to advance male leads’ story lines. However as the series advanced, it embraced more complex and layered representations of women as key players with agency and power. The study follows a qualitative thematic analysis of the female portrayals within the MCU and explores progress from an era of tokenism and marginalization to a more equitable spectrum of representation

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Gransden, Elvira M. "Empowerment and Objectification: Dual Perspectives on Female Superheroes in Contemporary Cinema." Journal of Research in Social Science and Humanities 3, no. 12 (2024): 16–22. https://doi.org/10.56397/jrssh.2024.12.03.

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The rise of female superheroes in contemporary cinema reflects a significant cultural shift toward gender equity and representation. Once relegated to secondary roles, women now take center stage as symbols of empowerment, with characters like Wonder Woman and Captain Marvel redefining heroism through strength, resilience, and agency. These narratives provide vital role models for women and girls, challenging entrenched gender stereotypes and inspiring broader societal change. However, this progress is complicated by persistent patterns of objectification. Female superheroes are often portraye

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Brühwiler, Claudia Franziska. "“A Is A”: Spider-Man, Ayn Rand, and What Man Ought to Be." PS: Political Science & Politics 47, no. 01 (2013): 90–93. http://dx.doi.org/10.1017/s1049096513001674.

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In 1979, writer Tom DeFalco was paired with artist and cocreator of Spider-Man, Steve Ditko, to work on an issue ofMachine Man, one of the many superheroes populating the universe of Marvel Comics. Instead of the usual introduction and business chatter, Ditko challenged DeFalco during a first conversation: “Are you Tom? What gives you the right to write about heroes?” (Tucker 2012). By the time of this exchange, Ditko had not only (co-) created and continued numerous superhero stories, ranging from Captain Atom to Dr. Strange or the Hulk, but he had also dedicated a lot of thought to the quest

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Himika, Jannatul Ferdous, and Sk Sabbir Ahmed. "Tragic Heroes in the Marvel Cinematic Universe: A Comparative Study of Captain America, Thor, and Iron Man." International Journal of Research and Innovation in Social Science IX, no. III (2025): 3085–101. https://doi.org/10.47772/ijriss.2025.90300242.

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This paper interrogates the tragic dimensions of Captain America, Thor, and Iron Man, framing their narratives through the lens of classical and modern tragic conventions. Through examining major characters from both the novel and the film adaptation, this analysis will aim to demonstrate how these entities are kept in parallel with Aristotle’s tragic hero architecture involving, but not limited to: noble stature, hamartia, peripeteia, and anagnorisis, with additional contextual examinations of modern concepts of psychological depth, and moral complexity. Through qualitative methods like narra

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Freeman, Matthew, and Charlotte Taylor-Ashfield. "‘I read comics from a feministic point of view’: Conceptualizing the transmedia ethos of the Captain Marvel fan community." Journal of Fandom Studies 5, no. 3 (2017): 317–35. http://dx.doi.org/10.1386/jfs.5.3.317_1.

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Gonçalves, Davi Silva. "The red death: American exceptionalism and U.S.S.R. representations in Marvel’s Black Widow." Acta Scientiarum. Human and Social Sciences 44, no. 2 (2023): e62917. http://dx.doi.org/10.4025/actascihumansoc.v44i2.62917.

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The purpose of this study is to analyse U.S.S.R. representations in Marvel’s film Black Widow (Feige & Shortland, 2021). This object has been chosen because it provides us with a U.S.A. perspective upon a Soviet protagonist – who is here given a chance of telling ‘her’ story. More specifically, even though Natasha Romanoff’s (the Black Widow) narrative is the centre of the story, the analytical focus is on another character: Alexi Alanovich Shostakov, the Red Guardian (the Soviet Union’s version of Captain America). That is, although the protagonist as long as other issues related to her s

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Ridho Saputra, I. Nyoman Udayana, and I. Nyoman Sedeng. "Women’s Language Features Used by Female Main Character in Superhero Movie." ULIL ALBAB : Jurnal Ilmiah Multidisiplin 2, no. 8 (2023): 3626–32. https://doi.org/10.56799/jim.v2i8.1940.

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This study focused on analyzing women’s linguistic features used by the female main character in “Captain Marvel” movie. The theory used in this study is proposed by Lakoff, in which there are ten linguistic features of women’s speech. The data were collected by using observation and documentation methods. The descriptive qualitative approach is used to interpret the data and describe it in the form of words and sentences. The findings indicated that there were eight women linguistic features used by Carol Danvers as the female main character in the movie, such as rising intonation (10), lexic

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Kevin, Christopher. "Representasi Ras Kulit Hitam dalam Mini-Series “The Falcon and The Winter Soldier”." Scriptura 13, no. 1 (2023): 58–68. http://dx.doi.org/10.9744/scriptura.13.1.58-68.

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Isu rasisme dan diskriminasi terhadap ras kulit hitam kembali menjadi perbincangan publik Amerika Serikat, dipicu dengan gerakan #BlackLivesMatter pada 2020. Satu tahun setelahnya, Marvel Studios merilis serial pendek The Falcon and The Winter Soldier, yang menampilkan tokoh ras kulit hitam sebagai Captain America. Menariknya, ras kulit hitam merepresentasikan simbol, idealisme, dan harapan Amerika Serikat, sebuah bangsa dengan sejarah diskriminasi terhadap ras kulit hitam. Tujuan utama penelitian ini adalah mengetahui penggambaran ras kulit hitam dalam tokoh kulit hitam dan cerita mini-series

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Luczak, Tony, Reuben F. Burch, Brian Smith, John Lamberth, and Daniel Carruth. "Jumping Performance of Elite NCAA Division 1 Student-athletes: The Effect of Basketball Shoe Design – Part I." International Journal of Kinesiology and Sports Science 8, no. 2 (2020): 17. http://dx.doi.org/10.7575//aiac.ijkss.v.8n.2p.17.

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Background: Assessment of basketball shoes as personal protection equipment (PPE) at the collegiate level is unique. Objective: The purpose of Part I in this pilot study was to examine the effect of shoe design on jump height in elite male and female National Collegiate Athletic Association (NCAA) Division 1 basketball student-athletes. Method: Each team selected two pairs of AdidasTM branded shoes. The male student-athletes selected the AdidasTM Harden Vol. 3 and the AdidasTM SM Pro basketball shoes. The female student-athletes selected the AdidasTM Harden Vol. 3 and the AdidasTM Captain Marv

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Luczak, Tony, Reuben F. Burch V, Brian Smith, et al. "Perception of Comfort, Fit, and Jumping Performance of Elite NCAA Division 1 Student-athletes: The Effect of Basketball Shoe Design – Part II." International Journal of Kinesiology and Sports Science 8, no. 3 (2020): 45. http://dx.doi.org/10.7575/aiac.ijkss.v.8n.3p.45.

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Background: Assessing basketball shoe comfort and fit as personal protection equipment (PPE) at the collegiate level is unique. Objective: The purpose of Part II in this pilot study was to examine the effect of shoe design on the perception of comfort and fit after performing an acute series of jumps in elite male and female National Collegiate Athletic Association (NCAA) Division 1 basketball student-athletes. Method: A total of sixteen basketball student-athletes (six males, ten females) performed two rounds of acute series of four styled basketball jumps on two ForceDecksTM Force Platforms

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Fhima, Catherine, and Roland Lardinois. "Émile Durkheim et la sociologie des religions." Durkheimian Studies 26, no. 1 (2022): 125–58. http://dx.doi.org/10.3167/ds.2022.260106.

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Abstract This article examines Henri Hubert and Marcel Mauss's Essay on the nature and function of sacrifice, published in the second volume of L'Année sociologique edited by Durkheim. By focussing on the comparative method used by Hubert and Mauss to compare the civilisations of ancient India and Israel, we can trace how Durkheim gradually elaborated upon the sociology of religions and the subject of sacrifice. Two sociological concepts are used to analyse this intellectual exchange. First, the notion of ‘configuration’, following Norbert Elias, that is understood as a space of mutual depende

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Marantz, Eléonore. "L’architecture des cinémas en France pendant les années 1930: captation et mise à l’épreuve du concept de modernité." Apuntes. Revista de estudios sobre patrimonio cultural 31, no. 1 (2018): 84–101. http://dx.doi.org/10.11144/javeriana.apc31-1.acfp.

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Au début des années 1920, l’architecture cinématographique en est encore à ses balbutiements. Si une poignée d’architectes (Henri Sauvage, Marcel Oudin, E. Vergnes, Charles Siclis, Auguste Bluysen) et d’exploitants aspire à la naissance d’une architecture spécifique, adaptée à la projection et affranchie de toute filiation avec l’héritage théâtral, l’éclectisme des solutions mises en oeuvre – parfois même leur archaïsme – témoigne de l’effervescence de ces années de recherche. En France, il faut attendre le lancement commercial des films sonorisés, puis leur généralisation au cours des année

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Buceta, Martín. "La violencia de la mirada." Ideas. Revista de filosofía moderna y contemporánea, no. 21 (June 10, 2025): 200–224. https://doi.org/10.69498/ri.2025.21.504.

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El artículo se propone elucidar el fenómeno de la mirada desde un doble abordaje, a saber, el fenomenológico y el literario, considerando que ambos pueden constituir una metodología propia de una filosofía de lo sensible como literatura. En primer lugar, se analizará el ejercicio de la mirada que en su aproximación al mundo lo escorza y, por lo tanto, lo limita para posibilitar su aprehensión. En este apartado se apelará a los textos de Eduardo Del Estal y Alessandro Baricco y se comparará el ejercicio de la mirada con el del lenguaje con quien comparte similitudes significativas: ambos supone

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Martínez Robles, Eduardo, Salvador García Valdez, and Eduardo Uriel Rivera Zúñiga. "Afectación económica por Covid-19 en la industria del comercio electrónico, un estudio comparativo: Amazon, Mercado Libre y Shopify." Diagnóstico FACIL Empresarial, Finanzas, Auditoria, Contabilidad, Impuestos, Legal, no. 17 (April 19, 2022): 26–35. https://doi.org/10.32870/dfe.vi17.102.

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La siguiente investigación se centra en la industria del comercio electrónico y las afectaciones económicas sufridas en este sector en determinadas variables como lo son las ventas, la captación bursátil, razón de rentabilidad del patrimonio, razón de endeudamiento y razón de rentabilidad sobre activos, impulsadas por la situación sanitaria provocada por el virus SARS-CoV-2. En consecuencia, se utiliza como fuente de información los estados financieros e indicadores bursátiles de las empresas de Amazon, Mercado Libre y Shopify, con el fin de tener un panorama al sector estudiado a través de es

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Bidaud, Samuel. "Proust et Hergé : de quelques points communs entre À la recherche du temps perdu et Les Aventures de Tintin." Interlitteraria 23, no. 1 (2018): 173–88. http://dx.doi.org/10.12697/il.2018.23.1.18.

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Proust and Hergé: on some similarities between À la Recherche du temps perdu and Les Aventures de Tintin. Part I. Marcel Proust and Hergé seem to have nothing in common. Their works are indeed very different: they do not belong to the same genre, nor treat the same themes or have the same public. What parallel could be established between À la Recherche du temps perdu (In Search of Lost Time), which revolutionized the genre of the novel, and Les Aventures de Tintin (The Adventures of Tintin), a series of comic albums apparently intended only for children? A closer study reveals however that Pr

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Najar, Alberto, and Sylvie Fégar. "Rio de Janeiro, a imagem da divisão social da cidade nas emissões televisivas da França." Revista Brasileira de Estudos Urbanos e Regionais 5, no. 2 (2003): 57. http://dx.doi.org/10.22296/2317-1529.2003v5n2p57.

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O presente texto tem por objeto de análise as características dos programas da televisão francesa que abordaram a temática das favelas da cidade do Rio de Janeiro/Brasil, em documentos que foram ao ar entre abril de 1964 e maio de 2003. Não se analisarão as imagens propriamente ditas, ou seja, os aspectos particulares pelos quais as cenas e/ou quadros foram construídos, mas identificar-se-ão características próprias dos documentos audiovisuais que trataram a temática das favelas, em relação aos programas, temas abordados, duração e horário da emissão. Foram utilizadas duas bases de dados da In

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Sitepu, Yovita Sabarina, and M. Zulfikar Triadi Sucipto. "PEMAKNAAN PENONTON PEREMPUAN MENGENAI SUPERHERO PEREMPUAN DALAM FILM." KomunikA 15, no. 1 (2019). http://dx.doi.org/10.32734/komunika.v15i1.5734.

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Penelitian ini berjudul ”Pemaknaan Penonton Perempuan mengenai Superhero Perempuan dalam Film, dengan sub bab Analisis Resepsi terhadap Karakter Superhero Perempuan Dalam Film Captain Marvel Produksi Marvel Studios)”. Penelitian ini bertujuan untuk melihat bagaimana resepsi penonton terhadap karakter superhero yang ditampilkan dalam film Captain Marvel. Penelitian ini menggunakan metode kualitatif dengan pendekatan analisis resepsi. Teori dasar yang digunakan adalah teori encoding-decoding yang dikemukakan oleh Stuart Hall tentang bagaimana khalayak memproduksi sebuah pesan dari suatu teks med

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Sucipto, M. Zulfikar Triadi, and Yovita Sabarina Sitepu. "PEMAKNAAN PENONTON PEREMPUAN MENGENAI SUPERHERO PEREMPUAN DALAM FILM." KomunikA 17, no. 1 (2021). http://dx.doi.org/10.32734/komunika.v17i1.6809.

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Penelitian ini berjudul ”Pemaknaan Penonton Perempuan mengenai Superhero Perempuan dalam Film, dengan sub bab Analisis Resepsi terhadap Karakter Superhero Perempuan Dalam Film Captain Marvel Produksi Marvel Studios)”. Penelitian ini bertujuan untuk melihat bagaimana resepsi penonton terhadap karakter superhero yang ditampilkan dalam film Captain Marvel. Penelitian ini menggunakan metode kualitatif dengan pendekatan analisis resepsi. Teori dasar yang digunakan adalah teori encoding-decoding yang dikemukakan oleh Stuart Hall tentang bagaimana khalayak memproduksi sebuah pesan dari suatu teks med

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Ana-Nzinga, Weiß. "Portrayals of the Shero: a critical discourse analysis on the representation of Wonder Woman and Captain Marvel." Journal of Gender Studies, May 29, 2024. https://doi.org/10.5281/zenodo.14884466.

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Superhero films are currently the most commercially successful action films. They long relied on classical gender role divisions, representing physically strong male heroes. However, especially films published in the second decade of the 21st century have also shown women in more active roles. <em>Wonder Woman </em>(2017) and <em>Captain Marvel </em>(2019) were the first superhero films in which superheroines saved the world as protagonists. In this paper, I apply critical discourse analysis to investigate the contemporary film representations of Wonder Woman and Captain Marvel. My results sug

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Flanagan, Martin. "“Things are Complicated”: Paul Cornell at Marvel and DC." Authorship 6, no. 2 (2017). http://dx.doi.org/10.21825/aj.v6i2.7701.

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Paul Cornell’s work for the ‘Big Two’ U.S. comic publishers transfers a distinctly British (mostly English) sensibility into a field where cues normally revolve around American cultural iconography and values. The key to his authorship is Cornell’s homespun method which, unlike 1970s and 1980s efforts of Marvel’s UK wing that transplanted American characters into a postcard-like Britain, explores a British dimension of the Marvel Universe that offers a challenge to the codes of that realm. Whether working with established heroes such as Captain Britain, twists on archetypes like Knight and Squ

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Farooq, Saadia, and Anna DeGalan. "The Change is Here, and the Change is Her: Pakistani American Representation in the Disney+ Series Ms. Marvel." Journal of Underrepresented & Minority Progress 8, SI(1) (2024). https://doi.org/10.32674/j4m0nb38.

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Ms. Marvel (2022) from the Marvel Cinematic Universe (MCU), adapted from the Marvel Comics series of the same name, follows a Muslim Pakistani American teenager from Jersey City who adores her hero, Captain Marvel. This paper engages with intersectionality of Kamala Khan’s representation in Ms. Marvel through the lens of her multiple intersecting identities: as a Pakistani American, a Muslim, a teenage girl, and a superhero. We utilized José Esteban Muñoz's theory of disidentification (1999) and bell hooks' critical feminist lens (i.e., her ideas of the dysmorphic body and the deconstruction o

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Gideonse, Theodore K. "Captain Marvel Smirks All the Way to the Bank." Anthropology News 60, no. 2 (2019). http://dx.doi.org/10.1111/an.1149.

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