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Books on the topic 'Superhero studies'

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1

Brand champions: How superheroes bring brands to life. New York: Palgrave Macmillan, 2011.

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2

Paley, Vivian Gussin. Boys & girls: Superheroes in the doll corner. Chicago: University of Chicago Press, 1986.

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3

Writing superheroes: Contemporary childhood, popular culture, and classroom literacy. New York: Teachers College Press, 1997.

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4

Tsuburaya, Hideaki. Urutoraman ga naite iru: Tsuburaya Puro no shippai. Tōkyō-to Bunkyō-ku: Kōdansha, 2013.

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5

Joseph--God's Superhero (Discover 4 Yourself® Inductive Bible Studies for Kids). Harvest House Publishers, 2002.

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6

Arthur, Kay, and Janna Arndt. Joseph-God's Superhero: Genesis 37-50 (Discover 4 Yourself Inductive Bible Studies for Kids). Tandem Library, 2002.

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7

Blood Moon's Guide to Gay and Lesbian Film (Second Edition): Smashing Barriers, the Superhero As Gay Icon (Annual Film Guides). 2nd ed. Blood Moon Productions, Ltd, 2007.

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8

Reynolds, Richard. Superheroes (Cultural Studies). B.T. Batsford Ltd, 1992.

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9

Peaslee, Robert Moses, and Robert G. Weiner, eds. The Supervillain Reader. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496826466.001.0001.

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It’s been argued that every good superhero needs an equally compelling supervillain. The Supervillain Reader sheds light on why “it’s all about the villain.” The editors have assembled a collection of both reprinted and original essays that tries to answer the question, Why are we so fascinated with the villain in our storytelling? The obsession with the villain is not some new phenomenon, and in fact one finds villains who are “super” going as far back as ancient religious and mythological texts. This innovative collection brings together essays, book excerpts, and original content from a wide variety of scholars and writers, weaving a tapestry of thought regarding villains in all their manifestations, including film, literature, television, games, and, of course, comics and sequential art. While The Supervillain Readerfocuses on the latter, it goes beyond comic studies to show how the concept of the supervillain is part our larger historical and popular consciousness. The principal goal of this reader is to collect in a single volume articles that show how the villain is a complex part of any narrative regardless of original text. The villain must be compelling, stimulating, and pro-active, whereas the superhero (or protagonist) is most often re-active. Our reader brings into clear focus the unique aspects of villainy and shows why the villain is so compelling, while also providing a theoretical foundation for villainy in numerous media. The editors have carefully curated this collection, and we hope it will be of interest to professors teaching graduate and undergraduate courses, the students they teach, and serious observers of popular culture across professions.
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10

Marvel Studios Story: How a Failing Comic Book Publisher Became a Hollywood Superhero. HarperCollins Leadership, 2020.

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11

Wetzel, Charlie, and Stephanie Wetzel. Marvel Studios Story: How a Failing Comic Book Publisher Became a Hollywood Superhero. HarperCollins Leadership, 2020.

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12

Boys and Girls: Superheroes in the Doll Corner. University of Chicago Press, 2014.

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13

Earle, Harriet E. H. Comics, Trauma, and the New Art of War. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812469.001.0001.

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Conflict is one of the most prevalent themes in comics, film and literature; we have been writing stories of war and violence since time immemorial. Comics is no stranger to such narratives and is writing them in ways that are different from (and complementary to) literature and film. This book brings together two distinct areas of research–trauma studies and comics–to provide a new interpretation of this long-standing central theme. Focusing on representations of conflict and war in post-Vietnam American comics, it claims that the comics form is able to mimic traumatic experience in order to represent the events as accurately and viscerally as possible. The textual focus spans the whole form, placing mainstream superhero comics alongside alternative and art comics. The specific comics fit a narrow set of criteria, all being published after 1975 by American creators, discussed in conversation with critical material from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. This book is structured around six key issues in conflict and traumatic representation, with close analyses of the chosen texts to consider the effectiveness of comics, both formally and thematically, in the areas of mourning, dreams, and personal identity. Comics, Trauma and the New Art of War also consider how timescales, temporality, and postmodernism affect, and are affected by, the dual focus of comics and trauma.
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14

Paley, Vivian Gussin. Boys and Girls: Superheroes in the Doll Corner. University Of Chicago Press, 1986.

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15

Comics, Marvel. Art of Marvel Studios. Marvel, 2012.

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16

Comics, Marvel. The Art of Marvel Studios. Marvel, 2011.

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17

Marvel Studios visual dictionary. DK, 2018.

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18

Coogler, Ryan, 1986- writer of foreword, Meinerding, Ryan, writer of afterword, illustrator, Lee Stan 1922-2018 creator, and Kirby Jack creator, eds. The art of Marvel Studios: Black Panther. 2018.

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19

Daniel, Stein, Thon Jan-Noël, Rauscher Andreas, Stein Daniel, and Thon Jan-Noël, eds. Comics and Videogames: From Hybrid Medialities to Transmedia Expansions. Taylor & Francis, 2021.

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20

Furr. Autograph Book : Autograph and Photo Book: Keep All Your Memories in Photographs and Collect Characters/Celebrities/Superheroes Signatures from Your Visit to Disney Land, Disney World, and Universal Studios from All over the World. Independently Published, 2020.

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