Relevant bibliographies by topics / Elvis Cole (Fictional character)

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Academic literature on the topic 'Elvis Cole (Fictional character)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Elvis Cole (Fictional character)"

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Davis, Jennifer. "The king is dead: long live the king." Cambridge Law Journal 59, no. 1 (2000): 33–36. http://dx.doi.org/10.1017/s0008197300320013.

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CHARACTER merchandising is big business and any case concerning its legal protection is bound to arouse considerable interest. This is certainly true of the recent Court of Appeal decision in Elvis Presley Trade Marks [1999] R.P.C. 567, where the character concerned was “the King” himself. Earlier, in the “Ninja Turtles” passing-off case, Mirage Studios v. Counterfeat Clothing Co. Ltd. [1991] F.S.R. 145, the High Court had apparently endorsed the view that the public's awareness of merchandising practices means that it will assume that products carrying the likeness or name of a celebrity (rea
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Hastie, Amelie. "The Vulnerable Spectator." Film Quarterly 71, no. 1 (2017): 65–72. http://dx.doi.org/10.1525/fq.2017.71.1.65.

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Adapted from the Lissa Evans novel Their Finest Hour and a Half, Their Finest (Lone Scherfig, 2016) is a fictional film based loosely on historical figures and circumstances, as it tells the story of the production of a feature film by the UK Ministry of Information (MOI) in 1940. What, Their Finest quietly asks, is real? What is fake? And what does it matter, if you are at the movies? Joy is real. Tears are real. And other things, too: the tea I sip, the arm of my companion next to me, the chattering women in the row below, the sighing man who has come to the movies alone. The light is real.
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Brown, Melissa Shani, and Nichola Lucy Partridge. "‘Strangely Like a Person’: Cole and the Queering of Asexuality in Dragon Age: Inquisition." Sexuality & Culture 25, no. 3 (2021): 1005–24. http://dx.doi.org/10.1007/s12119-020-09806-5.

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AbstractIn this article we consider the representation of the character Cole in Bioware’s Dragon Age: Inquisition (Electronic Arts, San Mateo, 2014), focusing upon how his asexuality is treated by other characters and its significance within his narrative arc. As well as contributing to the discussion of the representation of sexualities and gender within games, we seek to add to the ‘representational archive of asexuality’ (Cerankowski and Milks, Asexualities: Feminist and Queer Perspectives, Routledge, Abingdon, p 40, 2014), including games as media depicting and defining asexuality through
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4

Adeleke, Emmanuel B., and Dowell I. Oba. "Simulation and Depthlessness in Postmodern Fiction: The Examples of Chimamanda Ngozi Adichie and Teju Cole." CLAREP Journal of English and Linguistics 2 (October 10, 2020): 123–39. http://dx.doi.org/10.56907/gz1n6z4t.

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This paper examines simulation and depthlessness in postmodern fiction using Chimamanda Ngozi Adichie’s Americanah and Teju Cole’s Every Day is for the Thief (Every Day henceforth) as illustrative texts. The theory employed in the paper is postmodernism with particular reference to Bennett and Royle’s postulation on simulation and depthlessness. The study finds that in Every Day, the use of the hyperreal competes with the reality of Lagos and creates a fictional form that makes it much more exciting. Simulation with the use of photographs in the novel is also employed to give a feel of the env
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Lerner, Miriam Nathan. "Narrative Function of Deafness and Deaf Characters in Film." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.260.

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Introduction Films with deaf characters often do not focus on the condition of deafness at all. Rather, the characters seem to satisfy a role in the story that either furthers the plot or the audience’s understanding of other hearing characters. The deaf characters can be symbolic, for example as a metaphor for isolation representative of ‘those without a voice’ in a society. The deaf characters’ misunderstanding of auditory cues can lead to comic circumstances, and their knowledge can save them in the case of perilous ones. Sign language, because of its unique linguistic properties and its la
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Goldman, Jonathan E. "Double Exposure." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2414.

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I. Happy Endings Chaplin’s Modern Times features one of the most subtly strange endings in Hollywood history. It concludes with the Tramp (Chaplin) and the Gamin (Paulette Goddard) walking away from the camera, down the road, toward the sunrise. (Figure 1.) They leave behind the city, their hopes for employment, and, it seems, civilization itself. The iconography deployed is clear: it is 1936, millions are unemployed, and to walk penniless into the Great Depression means destitution if not death. Chaplin invokes a familiar trope of 1930s texts, the “marginal men,” for whom “life on the road is
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Balanzategui, Jessica. "“You have a secret that you don't want to tell me”: The Child as Trauma in Spanish and American Horror Film." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.854.

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In the years surrounding the turn of the millennium, there emerged an assemblage of American and Spanish horror films fixated on uncanny child characters. Caught in the symbolic abyss between death and life, these figures are central to the films’ building of suspense and Gothic frisson—they are at once familiar and unfamiliar, vulnerable and threatening, innocent yet unnervingly inscrutable. Despite being conceived and produced in two very different cultural climates, these films construct the child as an embodiment of trauma in parallel ways. In turn, these Gothic children express the waveri
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Pugsley, Peter. "At Home in Singaporean Sitcoms." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2695.

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 The use of the family home as a setting for television sitcoms (situation comedies) has long been recognised for its ability to provide audiences with an identifiable site of ontological security (much discussed by Giddens, Scannell, Saunders and others). From the beginnings of American sitcoms with such programs as Leave it to Beaver, and through the trail of The Brady Bunch, The Cosby Show, Roseanne, The Fresh Prince of Bel Air, and on to Home Improvement, That 70s Show and How I Met Your Mother, the US has led the way with screenwriters and producers capitalising on the
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Franks, Rachel. "A Taste for Murder: The Curious Case of Crime Fiction." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.770.

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Introduction Crime fiction is one of the world’s most popular genres. Indeed, it has been estimated that as many as one in every three new novels, published in English, is classified within the crime fiction category (Knight xi). These new entrants to the market are forced to jostle for space on bookstore and library shelves with reprints of classic crime novels; such works placed in, often fierce, competition against their contemporaries as well as many of their predecessors. Raymond Chandler, in his well-known essay The Simple Art of Murder, noted Ernest Hemingway’s observation that “the goo
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Nolan, Huw, and Jo Coghlan. "Mutating a Better Man." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3170.

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Introduction Michael Gracey's Better Man (2024) presents an innovative biographical representation of British pop star Robbie Williams through a radical visual strategy—depicting its subject as a CGI primate rather than through a human actor. Filmed in Australia and partially funded by the Australian Government, the film follows a relatively standard biopic narrative tracing Williams’s trajectory from his Stoke-on-Trent childhood through his tumultuous Take That tenure to solo stardom, mapping his struggles with addiction, familial relationships, and mental health crises. What distinguishes Be
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Books on the topic "Elvis Cole (Fictional character)"

1

Crais, Robert. SunsetExpress: An Elvis Cole novel. Thorndike Press, 2001.

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Crais, Robert. Indigo slam: An Elvis Cole novel. Fawcett, 2003.

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Crais, Robert. Indigo slam: An Elvis Cole novel. Fawcett, 2003.

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Crais, Robert. Lullaby town: An Elvis Cole novel. Orion, 1998.

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Crais, Robert. Chasing darkness: An Elvis Cole novel. Pocket Books, 2009.

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Crais, Robert. Sunset express: A Elvis Cole novel. Hyperion, 1997.

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Crais, Robert. The last detective: An Elvis Cole novel. Ballantine Books, 2004.

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Crais, Robert. Chasing darkness: An Elvis Cole novel. Simon & Schuster, 2008.

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Crais, Robert. Chasing darkness: An Elvis Cole novel. Wheeler Pub., 2008.

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10

Crais, Robert. Zver £, kotoryi vo mne zhivet. "E KSMO", 2010.

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Book chapters on the topic "Elvis Cole (Fictional character)"

1

Bocarnea, M. "Celebrity-Persona Parasocial Interaction Scale." In Handbook of Research on Electronic Surveys and Measurements. IGI Global, 2007. http://dx.doi.org/10.4018/978-1-59140-792-8.ch039.

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The celebrity-persona parasocial interaction scale (CPPI) is designed to measure how media consumers form parasocial relationships with celebrities or popular fictional characters. A parasocial relationship is defined as an imaginary interpersonal relationship between a media consumer and a media persona (Horton & Wohl, 1956). Persona can be real people, such as actors, athletes, and performing artists; or they can be fictional characters, such as Susan in the television serial Desperate Housewives, a character played by actress Teri Hatcher, or Indiana Jones, a character in the film, Raid
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