Relevant bibliographies by topics / Comic book industry, Australia

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Comic book industry, Australia'

Author: Grafiati
Published: 19 February 2023
Last updated: 20 February 2023

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Journal articles on the topic "Comic book industry, Australia"

1

Patrick, Kevin. "(FAN) Scholars and Superheroes: The Role and Status of Comics Fandom Research in Australian Media History." Media International Australia 155, no. 1 (2015): 28–37. http://dx.doi.org/10.1177/1329878x1515500105.

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Comic books, eagerly consumed by Australian readers and reviled with equal intensity by their detractors, became embroiled in post-war era debates about youth culture, censorship and Australian national identity. Yet there are few references to this remarkable publishing phenomenon in most histories of Australian print media, or in studies of Australian popular culture. This article demonstrates how the history of comic books in Australia has largely been recorded by fans and collectors who have undertaken the process of discovery, documentation and research – a task that, in any other field of print culture inquiry, would have been the preserve of academics. While acknowledging some of the problematic aspects of fan literature, the article argues that future research into the evolution of the comic-book medium within Australia must recognise, and engage with, this largely untapped body of ‘fan scholarship’ if we are to enrich our understanding of this neglected Australian media industry.
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2

Kahan, Jeffery. "The Comic-Book Industry." Paragone: Past and Present 1, no. 1 (2017): 81–103. http://dx.doi.org/10.1163/24761168-00101006.

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3

Vergueiro, Waldomiro, and Roberto Elísio dos Santos. "Comic-Book Crás!: Brazilian Comics and Publishing Industry." Matrizes 3, no. 2 (2011): 135. http://dx.doi.org/10.11606/issn.1982-8160.v3i2p135-152.

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4

Addis, Michela, and Gabriele Troilo. "Humanizing a Superhero: An Empirical Test in the Comic Books Industry." International Business Research 9, no. 11 (2016): 189. http://dx.doi.org/10.5539/ibr.v9n11p189.

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<p>One of the most firmly-established and widespread marketing policies in the comic book industry is the humanization of superheroes as a strategy to achieve success, especially for characters populating the Marvel Universe. However, there is no clear evidence of how exactly artists actually and operatively create human superheroes, and whether those variables truly affect sales of comic books. To address those two issues we run a quali-quantitative study by interviewing experts, and regressing sales on a broad range of variables of comic books gathered through content analysis and secondary data sources. Our findings show that humanization is not as powerful as expected in driving sales of comic books.</p>
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5

McAllister, Matthew Paul. "Cultural Argument and Organizational Constraint in the Comic Book Industry." Journal of Communication 40, no. 1 (1990): 55–71. http://dx.doi.org/10.1111/j.1460-2466.1990.tb02251.x.

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6

Wolski, Michał. "Type in pictures. Comic book lettering in contemporary American comics. An overview." Kultura Popularna 60, no. 2 (2020): 162–86. http://dx.doi.org/10.5604/01.3001.0013.7342.

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This paper focuses on the issue of comic book lettering in mainstream American comics with an aim to introduce theoretical and methodological framework for further analysis of comic book typography. First, it addresses numerous aspects of relations between text and image in comics and presents the brief history of lettering in American comic book industry, as it grew apart from its European counterpart in the early years of development and became much more institutionalized, in no part because of the works of Will Eisner, Gaspar Saladino and especially Richard Starkins, who introduced an affordable means of using the digital typography in early 90s' comic books. In its main part the paper presents the classification of usage of lettering in comics' communicates, which distinguishes the diegetic (graphic, verbal and mental) and non-diegetic (meta- or paratextual and narrative) communicates. This analysis was based on the research sample of over 700 comic book issues, mostly from the Ultimate Marvel imprint (2000–2015) In the final paragraphs, the author critically examines functions of comic book typography and outlines three possible fields of further study.
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7

Pilkevych, Andrii. "«Multigenre Convention» Through a Prism of US Popular Culture." Ethnic History of European Nations, no. 67 (2022): 136–41. http://dx.doi.org/10.17721/2518-1270.2022.67.18.

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The article gives a brief description of the most famous festivals and conventions of popular culture in the United States, which include Comic-Con International: San Diego, New York Comic Con, Wizard World Chicago Comic Con, AggieCon, Alamo City Comic Con, All-Con, ApolloCon, Archon, Big Apple Comic Con, Blerdcon, CarnageCon, Chattacon, Chicago Comic & Entertainment Expo, ClexaCon, CoastCon, ConCoction, ConGlomeration, ConnectiCon, CONvergence, Dragon Con, Emerald City Comic Con, Fan Expo Boston, Fan Expo Dallas, FanX, Florida Supercon, Genericon, Heroes Convention, LA Comic Con, MidSouthCon, MOBICON, MomoCon, Motor City Comic Con, Pacific Media Expo, Pensacon, Phoenix Fan Fusion, Sci-Fi Valley Con, Silicon Valley Comic Con, WonderCon, Zenkaikon. The most common thematic areas that fill the main structure of convention programs, in particular presentation of rare and latest examples of the comic’s industry, popularization of the idea of the value of collecting, providing space for novice artists to disseminate their work in the alley of artists. At the same time, with the growing dominance of the video game industry, board and card games, as well as themed collectible toys, remain widely popular. Most festivals feature cosplay competitions that reward the winners, autograph zones with invited celebrities, large-scale panels for exhibitions, where in addition to purely visual pleasure you can join workshops, thematic lectures and seminars. Events include Film Festival, cosplay and costume contests, dances, also the option of game playing. Programs include opportunities to preview the latest film industry news, anime, video game testing and sketches of leading artists from companies specializing in comic book content, exhibition panels with authentic material from the set of popular film franchises and interactions.
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8

Przywalny, Dawid. "Periodization of American Comic Book – A New Proposal." Ad Americam 22 (March 28, 2021): 45–72. http://dx.doi.org/10.12797/adamericam.22.2021.22.04.

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Periodization of American Comic Book – A New Proposal
 The article aims to present a new proposal for the periodization of the history of American comic books. The introduction deals with the problems of other propositions: the academic one created by Arthur Asa Berger and the so-called Olympic / Mainstream that is mainly used by industry artists and readers. The most critical short comings of these periodization are also listed, including them being outdated. The new proposal complements the deficiencies of the previous two: in its actuality, it focuses on the transformations of the comics genre caused by the socio-political implications of the events of September 11, 2001. Each epoch was given specific time frames, cut-off dates, events, and characteristics.
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9

Sagun, Karryl Kim Abella, and Brendan Luyt. "The industry avengers: An analysis of contemporary comic book publishers in the Philippines." Convergence: The International Journal of Research into New Media Technologies 26, no. 1 (2018): 102–15. http://dx.doi.org/10.1177/1354856517751380.

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This article provides a new perspective on comics publishing in the Philippines, particularly when compared to the cheap, mass-market image it used to carry. It also opens discussions on electronic publishing, piracy, exploring untapped markets both locally and internationally, among others. In-depth interviews were conducted in order to investigate the firsthand experiences of contemporary comic book publishers in the Philippines. We limited our study to independent publishers, noting that their experiences are also testament to the end of the monopoly of big, commercial presses in comics publishing. Findings reveal that comics publishers in the Philippines (1) belong to a close-knit community of creatives and academics; (2) benefit from comic conventions and cult followings; (3) manage to operate with insufficient support from local bookstores; and (4) use various coping strategies in the form of novel roles, products, and distribution systems.
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10

Gomes, Jeane Rosa, Francisco Alberto Severo de Almeida, and Marcelo Duarte Porto. "A economia criativa e a geração millennials no contexto da indústria cinematográfica das histórias em quadrinhos: um estudo empírico." Prisma.com 45 (2021): 3–18. http://dx.doi.org/10.21747/16463153/45a1.

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his research aimed to learn about the comic books cinematic industry in aspects of the creative economy focused on social and cultural movements, as well as the perception of the millenials generation for being the generation that best accompanied this transition from comic book sheets to movie screens. The research is of exploratory and descriptive characteristics, based on bibliographic, documentary and field research. The field research instrument, applied to 50 (fifty) people from the millenials generation, was organized and structured to measure the profile of the participants, as well as to contextualize the conditioning paradigms of the Creative Economy variables and the millennials generation indicators. Finally, it concludes that this new culture of transforming comic book pages into cinematic adaptations is a niche market that will require a great demand from the entertainment industry in the coming decades, to continue making history in the cinema and achieving box office and public records
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Dissertations / Theses on the topic "Comic book industry, Australia"

1

Mason, Paul James. "‘Page 1, Panel 1…” Creating an Australian Comic Book Series." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367413.

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What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created. This means both in the American genre and its adaptation in Australia within the context of the local scene.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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2

Chenault, Wesley. "Working the Margins: Women in the Comic Book Industry." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04232007-124907/.

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Thesis (M.A.)--Georgia State University, 2007.<br>Title from file title page. Marian Meyers, committee chair; Layli Phillips, Amira Jarmakani, committee members. Description based on contents viewed June 3, 2008. Includes bibliographical references (p. 120-123).
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3

Meade, Alayna Naomi, and Alayna Naomi Meade. "Revitalizing the Stagnating U.S. Comic Book Industry: A Historic Analysis and Creative Fusion of American and Japanese Comic Books." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625096.

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The United States and Japan both have internationally recognized comic book industries. However, their levels of financial success and social relevance differ greatly. As the United States struggles to gain new readers, Japan has made comics a staple of life for all its residents. The following research essay elaborates on this phenomenon using historical context, and suggests how the United States can make its comic industry more prosperous by analyzing the global and domestic success of Japanese comics. In conjunction with this essay is a full comic book influenced by visual, storytelling, and historic aspects of comics from both countries. This creative portion is meant to serve as an example for how American comic book artists can learn from the Japanese comic industry in terms of capturing new readers without losing their American identity.
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4

Compton, Adam Delk. "The American comic book industry, 1936-1954 : creativity in an age of conformity /." View online, 2006. http://ecommons.txstate.edu/phystad/1/.

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5

Rendace, Olivero. "New forms of cultural production, the case of the North American comic book industry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape4/PQDD_0019/MQ59198.pdf.

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6

Engel, Michael [Verfasser], and Christoph [Akademischer Betreuer] Ihl. "Social Influence, status, and entrepreneurial entry: evidence from the comic book industry / Michael Engel ; Betreuer: Christoph Ihl." Hamburg : Universitätsbibliothek der Technischen Universität Hamburg-Harburg, 2019. http://d-nb.info/1192861329/34.

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7

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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8

Sheahan-Bright, Robyn, and n/a. "To Market to Market: The Development of the Australian Children's Publishing Industry." Griffith University. School of Arts, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060127.123757.

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The aim of this study is to examine the tension between 'commerce and culture' in the dynamic development of the Australian children's publishing industry, within the wider context of international children's publishing history. It aims to refute a commonly stated 'truism' - that the conflict between the cultural value of a book and the need to market it threatens the integrity of the authors, publishers and the books themselves. Instead, it demonstrates that the tension between cultural and commercial definitions of the book publisher's role lies at the heart of the dynamism which has fuelled the development of a publishing climate, and created really innovative publishing. Publishing has too often been examined as if the sole motive of the publisher should be to produce books of quality, and though this is certainly the primary objective of the publishers which are the focus in this study, it is imperative to recognize that the dissemination of 'quality' literature and cultural product has always been dependent upon the recognition of commercial strategies which are often naively dismissed as being opportunistic and even extraneous to the publisher's purpose. As this thesis endeavours to show, the pioneering efforts of John Newbery, the Religious Tract Society, E.W. Cole, Ward, Lock & Co., and Australia's first publisher Angus & Robertson and of later publishers such as Penguin, Scholastic, Lothian, Omnibus, Allen & Unwin and others, were founded just as much upon the shrewd recognition of a viable market as they were upon the aim to enrich young readers' lives. In fact it is the symbiotic partnership between these two objectives which has fuelled their successes and their failures. It is where publishers either steer a path paved only with good intentions or one paved entirely with gold that their enterprises generally falter. The study owes a significant debt to the achievements of those who have documented Australian children's publishing 'output' so assiduously - Maurice Saxby's groundbreaking histories (1969, 1971, 1993) and Marcie Muir and Kerry White's comprehensive bibliographical tools (1982, 1992). Contrary to those endeavours, though, this study'goes back-stage' to the area where the publishing 'action' happens. Consequently it does not provide a comprehensive overview of every publication or author; it does not cover every genre and style. Rather it is concerned to document the activities of publishers which have produced books for children in Australia, in brief, and to isolate key examples of publishing enterprises within this coverage which represent 'case studies' of the different types of companies which have played a successful part in publishing development. This work is intended to be of interest not simply to either children's literature or Australian literature theorists, but to book historians, and to media, cultural studies and entertainment industry theorists. It was based on a belief that cultural histories of this nature are valuable in tracking the growth of a society and also in demonstrating that creative endeavours are never simply that. They are the result of a complex interweaving of a variety of factors, and that therefore artists approach creativity 'at their peril' without first understanding something of the world into which they are entrusting their creations. Consequently there were several objectives in the study which were to: 1. contextualize Australian children's publishing within a history of children's publishing internationally, with particular reference to early commercial beginnings in Britain and to British Empire developments, but also with appropriate reference to growth in the USA; 2. contextualize Australian children's publishing within the broader range and expansion of the book publishing industry in Australia, particularly the latter's economic growth and cultural influence since WWII, but also including an overview of foundational developments from the nineteenth century; 3. contextualize Australian children's publishing within social, educational and cultural developments, such as the development of education programs, the expansion of public and school libraries, the changes in government policy related to children and books, shifting social attitudes towards the child, and the impact of entertainment and media industries; 4. examine the roles played by various individuals, especially publishers, managers, editors, marketers, booksellers, librarians, teachers and professional commentators in the development of the Australian children's publishing industry. Their roles will be analysed in the context of various industry-particular questions such as a) the oft-remarked upon tensions that exist in publishing, between for example, 'craft-like' and bureaucratic structures; b) the interplay between 'structure and agency' in the industry; c) the shift from a 'library market' to a 'mass market' under such influences as globalization and media; d) whether publishing is necessarily more 'Australian' if it is done by independent, rather than multinational companies; and e) the influence that the 'internal' structure of publishing has had on its development, e.g. the isolation of children's publishing from the mainstream, the predominance of women as agents in its development, and so on; 5. finally, discuss the implications of globalization since the 1970s, and posit future directions in the production, marketing and consumption of children's properties. This study examines the industry from a critical perspective relying not on the evaluation of quality as opposed to mass market literature, but viewing all forms of trade literature for children as part of a dynamic whole. It therefore traces the origins of publishing in English-language countries briefly first before examining the Australian situation, and shows that from the very beginning, publications for children have been the products of both altruistic and profit-driven objectives. It concentrates on the post-WWII period, on certain key enterprises and trends which have been particularly successful, suggesting that those publishing houses and those individuals within them who 'balance' commerce and culture with the most skill, are those who succeed in making 'good' books readily accessible to those for whom they have been created. This thesis celebrates the fact that children's publishers have always demonstrated an admirable combination of opportunism and idealism, the two characteristics which are essential to a successful publishing company. Australia has been fortunate in rearing several enterprising individuals whose early publishing attempts laid the ground for the currently successful houses. Without E.W. Cole, William Steele at Ward, Lock and Co., Frank Eyre at Oxford University Press, Andrew Fabinyi at Cheshire, Barbara Ker Wilson at Angus & Robertson, Anne Bower Ingram at William Collins, the later successes of key individuals at Penguin Books Australia, Scholastic Australia, Allen & Unwin, Lothian Books and Omnibus Books and countless others may not have been planted in such fertile ground. This study predicts that the future of Australian children's publishing lies in the recognition of the essential role played by commercial instincts in shaping cultural endeavours.
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9

Sheahan-Bright, Robyn. "To Market to Market: The Development of the Australian Children's Publishing Industry." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365314.

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The aim of this study is to examine the tension between 'commerce and culture' in the dynamic development of the Australian children's publishing industry, within the wider context of international children's publishing history. It aims to refute a commonly stated 'truism' - that the conflict between the cultural value of a book and the need to market it threatens the integrity of the authors, publishers and the books themselves. Instead, it demonstrates that the tension between cultural and commercial definitions of the book publisher's role lies at the heart of the dynamism which has fuelled the development of a publishing climate, and created really innovative publishing. Publishing has too often been examined as if the sole motive of the publisher should be to produce books of quality, and though this is certainly the primary objective of the publishers which are the focus in this study, it is imperative to recognize that the dissemination of 'quality' literature and cultural product has always been dependent upon the recognition of commercial strategies which are often naively dismissed as being opportunistic and even extraneous to the publisher's purpose. As this thesis endeavours to show, the pioneering efforts of John Newbery, the Religious Tract Society, E.W. Cole, Ward, Lock & Co., and Australia's first publisher Angus & Robertson and of later publishers such as Penguin, Scholastic, Lothian, Omnibus, Allen & Unwin and others, were founded just as much upon the shrewd recognition of a viable market as they were upon the aim to enrich young readers' lives. In fact it is the symbiotic partnership between these two objectives which has fuelled their successes and their failures. It is where publishers either steer a path paved only with good intentions or one paved entirely with gold that their enterprises generally falter. The study owes a significant debt to the achievements of those who have documented Australian children's publishing 'output' so assiduously - Maurice Saxby's groundbreaking histories (1969, 1971, 1993) and Marcie Muir and Kerry White's comprehensive bibliographical tools (1982, 1992). Contrary to those endeavours, though, this study'goes back-stage' to the area where the publishing 'action' happens. Consequently it does not provide a comprehensive overview of every publication or author; it does not cover every genre and style. Rather it is concerned to document the activities of publishers which have produced books for children in Australia, in brief, and to isolate key examples of publishing enterprises within this coverage which represent 'case studies' of the different types of companies which have played a successful part in publishing development. This work is intended to be of interest not simply to either children's literature or Australian literature theorists, but to book historians, and to media, cultural studies and entertainment industry theorists. It was based on a belief that cultural histories of this nature are valuable in tracking the growth of a society and also in demonstrating that creative endeavours are never simply that. They are the result of a complex interweaving of a variety of factors, and that therefore artists approach creativity 'at their peril' without first understanding something of the world into which they are entrusting their creations. Consequently there were several objectives in the study which were to: 1. contextualize Australian children's publishing within a history of children's publishing internationally, with particular reference to early commercial beginnings in Britain and to British Empire developments, but also with appropriate reference to growth in the USA; 2. contextualize Australian children's publishing within the broader range and expansion of the book publishing industry in Australia, particularly the latter's economic growth and cultural influence since WWII, but also including an overview of foundational developments from the nineteenth century; 3. contextualize Australian children's publishing within social, educational and cultural developments, such as the development of education programs, the expansion of public and school libraries, the changes in government policy related to children and books, shifting social attitudes towards the child, and the impact of entertainment and media industries; 4. examine the roles played by various individuals, especially publishers, managers, editors, marketers, booksellers, librarians, teachers and professional commentators in the development of the Australian children's publishing industry. Their roles will be analysed in the context of various industry-particular questions such as a) the oft-remarked upon tensions that exist in publishing, between for example, 'craft-like' and bureaucratic structures; b) the interplay between 'structure and agency' in the industry; c) the shift from a 'library market' to a 'mass market' under such influences as globalization and media; d) whether publishing is necessarily more 'Australian' if it is done by independent, rather than multinational companies; and e) the influence that the 'internal' structure of publishing has had on its development, e.g. the isolation of children's publishing from the mainstream, the predominance of women as agents in its development, and so on; 5. finally, discuss the implications of globalization since the 1970s, and posit future directions in the production, marketing and consumption of children's properties. This study examines the industry from a critical perspective relying not on the evaluation of quality as opposed to mass market literature, but viewing all forms of trade literature for children as part of a dynamic whole. It therefore traces the origins of publishing in English-language countries briefly first before examining the Australian situation, and shows that from the very beginning, publications for children have been the products of both altruistic and profit-driven objectives. It concentrates on the post-WWII period, on certain key enterprises and trends which have been particularly successful, suggesting that those publishing houses and those individuals within them who 'balance' commerce and culture with the most skill, are those who succeed in making 'good' books readily accessible to those for whom they have been created. This thesis celebrates the fact that children's publishers have always demonstrated an admirable combination of opportunism and idealism, the two characteristics which are essential to a successful publishing company. Australia has been fortunate in rearing several enterprising individuals whose early publishing attempts laid the ground for the currently successful houses. Without E.W. Cole, William Steele at Ward, Lock and Co., Frank Eyre at Oxford University Press, Andrew Fabinyi at Cheshire, Barbara Ker Wilson at Angus & Robertson, Anne Bower Ingram at William Collins, the later successes of key individuals at Penguin Books Australia, Scholastic Australia, Allen & Unwin, Lothian Books and Omnibus Books and countless others may not have been planted in such fertile ground. This study predicts that the future of Australian children's publishing lies in the recognition of the essential role played by commercial instincts in shaping cultural endeavours.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Arts<br>Full Text
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10

Islam, Silvia Zia, and silvia islam@rmit edu au. "Choice of financing method with market timing and liquidity: evidence from Australia." RMIT University. Economics, Finance and Marketing, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091029.135938.

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This thesis examines the capital structure choice of Australian firms with an emphasis on the impact of market timing and liquidity considering 1438 available firms for the period, 1997 to 2005. The relationship between capital structure and its determinants is the main focus of this thesis, with four empirical analyses. These analyses are all conducted within the Baker and Wurgler (2002) and Hovakimian (2006) models with both pooled ordinary least squares (OLS) and fixed effect panel analysis. The theory of market timing introduced by Baker and Wurgler (2002) has received considerable attention in recent years. Baker and Wurgler (2002) contend that past market timing has a long lasting impact on capital structure and thus, capital structure is the cumulative outcome of the past attempts at equity market timing. This thesis examines the Baker and Wurgler (2002) argument in an Australian context. It is found that the variation in leverage was explained by the market-to-book ratio and the effect of market-to-book ratio was explained by equity issues as market timing theory implies. However, the results are sensitive to data sample choice with variation in the strength of the negative relationship observed between external finance weighted average market-to-book and leverage. This suggests that while market timing appears to affect capital structure choice, it does not support the hypothesis that past market timing decisions have a long lasting impact on Australian firm capital structure. Hovakimian ( 2006) questions the Baker and Wurgler (2002) conclusion about firm behaviour and finds evidence that past market-to-book ratio has a significant impact on current financing decisions because it contains information about growth opportunities, not captured by the current market-to-book ratio. This thesis also examines the Hovakimian (2006) argument and finds evidence to support the argument of Hovakimian (2006) that, growth opportunities provide a reasonable explanation for the past market-to-book ratio effect for Australian firms. Analysis also focuses on broad industry differences. And it is found that there are significant differences between mining and non-mining firm in the determinants of capital structure. Finally, the impact of liquidity on Australian capital structure choice is analysed within the context of the Baker and Wurgler (2002) and Hovakimian (2006) models. It is found that liquidity is important to a firm's leverage choice. There is evidence that liquid firms tend to have lower leverage. Further, while liquidity has little effect on the sensitivity of leverage to market-to-book for Baker and Wurgler (2002) filtered data, a liquidity effect is evident in a broader set of four standard deviation filtered data. It is also found that greater liquidity is associated with less sensitivity of leverage to cash flows and that the asset tangibility relation with leverage is also sensitive to liquidity. Finally, there is evidence that more liquid firms are more sensitive in their tendency to revert to some long run leverage value.
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Books on the topic "Comic book industry, Australia"

1

1941-, Brody J. A., ed. Sheep of fools: --a song cycle for five voices. Fantagraphics, 2005.

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Michael, Bodey, ed. Aussiewood: Australia's leading actors and directors tell how they conquered Hollywood. Allen & Unwin, 2004.

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Cane, Jim. Australia: Lucky for Some a Comic Book History of Australia. Intl Specialized Book Service Inc, 1986.

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Curtin, Michael, Paul McDonald, Alisa Perren, and Gregory Steirer. American Comic Book Industry and Hollywood. BFI Publishing, 2021.

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Curtin, Michael, Paul McDonald, Alisa Perren, and Gregory Steirer. The American Comic Book Industry and Hollywood. British Film Institute, 2021.

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Hassler-Forest, Dan. Roads Not Taken in Hollywood’s Comic Book Movie Industry. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.23.

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Chapter 23 approaches the phenomenon of the comic book movie as a complex and dynamic adaptation process. While superhero movies and other comics-inspired franchises now dominate the global box office, it is rare that they adapt comic books’ formal features in a meaningful way. By foregrounding three comic book movies that have largely been considered failures, the essay discusses innovative ways of adapting comics to film through a media-archaeological approach to the genre. The films Popeye (1980), Dick Tracy (1990), and Hulk (2002) can be read, each in its own way, as provocative “roads not taken” by the Hollywood film industry.
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Bendis, Brian Michael. Fortune and Glory: A True Hollywood Comic Book Story. Marvel Worldwide, Incorporated, 2010.

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Jeffries, Dru. Comic Book Film Style: Cinema at 24 Panels per Second. de Gruyter GmbH, Walter, 2017.

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Jeffries, Dru. Comic Book Film Style: Cinema at 24 Panels per Second. University of Texas Press, 2017.

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Comic Book Film Style: Cinema at 24 Panels per Second. University of Texas Press, 2017.

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Book chapters on the topic "Comic book industry, Australia"

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Gaynor, Jerome. "Excerpt from Comic Book." In Urban Australia and Post-Punk. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-32-9702-9_12.

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Palmer, David K. "The Tail That Wags the Dog: The Impact of Distribution on the Development and Direction of the American Comic Book Industry." In Cultures of Comics Work. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55090-3_16.

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"1. Incorporating Comics: A Brief Transmedia History of the U.S. Comic Book Industry." In Comic Books Incorporated. University of California Press, 2019. http://dx.doi.org/10.1525/9780520969865-004.

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"Comics Pros Go to Hollywood: The Historical Evolution of the Comics–Hollywood Relationship." In The American Comic Book Industry and Hollywood. British Film Institute, 2021. http://dx.doi.org/10.5040/9781839023156.ch-001.

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"Synergy in Theory and in Practice: Comic Books and the Contemporary Media Conglomerate." In The American Comic Book Industry and Hollywood. British Film Institute, 2021. http://dx.doi.org/10.5040/9781839023156.ch-004.

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"From Dental Floss to Dental Tape: The Strange Case of Digital Comics Distribution." In The American Comic Book Industry and Hollywood. British Film Institute, 2021. http://dx.doi.org/10.5040/9781839023156.ch-006.

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"Comic Books and the Economics of Intellectual Property Production." In The American Comic Book Industry and Hollywood. British Film Institute, 2021. http://dx.doi.org/10.5040/9781839023156.ch-002.

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"Organizational (Dis-)Integration: Publisher–Hollywood Relationships in the Twenty-First Century." In The American Comic Book Industry and Hollywood. British Film Institute, 2021. http://dx.doi.org/10.5040/9781839023156.ch-005.

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"Introduction: The More Things Change … : The American Comic Book Industry and Hollywood in the Twenty-First Century." In The American Comic Book Industry and Hollywood. British Film Institute, 2021. http://dx.doi.org/10.5040/9781839023156.ch-00i.

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"Notes." In The American Comic Book Industry and Hollywood. British Film Institute, 2021. http://dx.doi.org/10.5040/9781839023156.0005.

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Conference papers on the topic "Comic book industry, Australia"

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Brooker, Jennifer, and Daniel Vincent. "The Australian Veterans' Scholarship Program (AVSP) Through a Career Construction Paradigm." In Tenth Pan-Commonwealth Forum on Open Learning. Commonwealth of Learning, 2022. http://dx.doi.org/10.56059/pcf10.4380.

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In Australia, 6000 military personnel leave the military each year, of whom at least 30% become unemployed and 19% experience underemployment, figures five times higher than the national average (Australian Government 2020). Believed to be one of life's most intense transitions, veterans find it difficult to align their military skills and knowledge to the civilian labour market upon leaving military service (Cable, Cathcart and Almond 2021; AVEC 2020). // Providing authentic opportunities that allow veterans to gain meaningful employment upon (re)entering civilian life raises their capability to incorporate accrued military skills, knowledge, and expertise. Despite acknowledging that higher education is a valuable transition pathway, Australia has no permanently federally funded post-service higher education benefit supporting veterans to improve their civilian employment prospects. Since World War II, American GIs have accessed a higher education scholarship program (tuition fees, an annual book allowance, monthly housing stipend) (Defense 2019). A similar offering is available in Canada, the UK, and Israel. // We are proposing that the AVSP would be the first comprehensive, in-depth study investigating the ongoing academic success of Australia's modern veterans as they study higher and vocational education. It consists of four distinct components: // Scholarships: transitioning/separated veterans apply for one of four higher education scholarship options (under/postgraduate): 100% tuition fees waived // $750/fortnight living stipend for the degree duration // 50/50 tuition/living stipend // Industry-focused scholarships. // Research: LAS Consulting, Open Door, Flinders University, over seven years, will follow the scholarship recipients to identify which scholarship option is the most relevant/beneficial for Australian veterans. The analysis of the resultant quantitative and qualitative data will demonstrate that providing federal financial support to student veterans studying higher education options: Improves the psychosocial and economic outcomes for veterans // Reduces the need for financial and medical support of participants // Reduces the national unemployed and underemployed statistics for veterans // Provides a positive return of investment (ROI) to the funder // May increase Australian Defence Force (ADF) recruitment and retention rates // Career Construction: LAS Consulting will sit, listen, guide, and help build an emotional connection around purpose, identity, education and employment opportunities back into society. So, the veteran can move forward, crystalise a life worth living, and find their authentic self, which is led by their values in the civilian world. // Mentoring: Each participant receives a mentor throughout their academic journey.
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