Log in

Relevant bibliographies by topics / Superhero studies / Journal articles

To see the other types of publications on this topic, follow the link: Superhero studies.

Journal articles on the topic 'Superhero studies'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Superhero studies.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Geraffo, Monica. "No tights, no flights: Constructing the wardrobe of television superheroes." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 233–50. http://dx.doi.org/10.1386/ffc_00022_1.

Full text

Abstract:

Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐ examining both comic book source materials and the process of costume design through the intrinsic constraints of industry television production. Through case studies into the DC comics Arrowverse, a series of interconnected programmes aired on the CW Network, and Marvel’s Runaways, the Hulu adaptation about teenage superheroes without costumes, as well as interviews with costume designers and actors, this article recognizes strong visual similarities across programmes between pseudo-character archetypes, and presents a de facto formula for analysing civilian superhero costume design. The resulting narrative reveals a struggle within superhero civilian costume design: finding the balance between serving semiotics or characterization, and building a sense of realism and individual choice within costuming choices from within hegemonic structures.

APA, Harvard, Vancouver, ISO, and other styles

2

Burt, Stephanie. "How to Write About Superheroes." American Literary History 32, no. 3 (2020): 598–608. http://dx.doi.org/10.1093/alh/ajaa018.

Full text

Abstract:

Abstract Eighty years after the first Superman comic, scholars are catching up to the importance, and to the popularity, of superheroes in comics and in other media. Recent monographs and edited collections examine racial politics, disabilities, other identities, and reception history across a range of decades and of superhero characters. Most of these worthy works remain within the limits of critique, judging the comics on how well they handle one or another theme; the result is a picture of superhero comics that cannot do justice to the genre. To them and to their like, the academic critics of the future might add—what vernacular comics critics already contribute—additional attention to what one or another character does best, to the transformative potential of even minor superhero work, and to how commercially produced superhero comics at their best handle narrative form. One superhero symbol can work many ways, as Neal Curtis’s examination of Truth and other Captain America stories shows: Cap has repeatedly fought off right-wing doubles, alternatively costumed versions of himself who aspired to make America white again.

APA, Harvard, Vancouver, ISO, and other styles

3

Andersen, Tem Frank. "Browsing the Origins of Comic Book Superheroes: Exploring WatchMojo.com as producers of video channel content." Nordisk Tidsskrift for Informationsvidenskab og Kulturformidling 6, no. 1 (November 22, 2017): 45–62. http://dx.doi.org/10.7146/ntik.v6i1.98956.

Full text

Abstract:

This article tries to explore and explain the significance of comic book superheroes and their origin stories. The article presents an analysis of two selected case examples from the social video sharing site WatchMojo.com. The analysis focuses on four aspects or themes: Comic book hermeneutics, types of origin, subjectivization of superheroes, and user reactions. These analytical themes are based on an approach combining cultural semiotics, comic book superhero studies, studies in participatory culture, cultural studies and media user studies. The analysis provide some evidence to the claim, that superhero origin stories are of significance because its content is relevant to a dedicated number of internet users, and the video content both calls for and creates user reactions. Furthermore this interplay enacts the practice of categorizing and revitalizing as two important mechanisms vital for understanding this particular Internet video content.

APA, Harvard, Vancouver, ISO, and other styles

4

Hayes, A. D. R. "Jesus as a superhero?" Theology 117, no. 2 (February 13, 2014): 100–106. http://dx.doi.org/10.1177/0040571x13512963.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Campos, Ricardo. "Graffiti writer as superhero." European Journal of Cultural Studies 16, no. 2 (March 26, 2013): 155–70. http://dx.doi.org/10.1177/1367549412467177.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Kustritz, Anne. "Everyone has a secret: Closeting and secrecy from Smallville to The Flash, and from shame to algorithmic risk." Sexualities 23, no. 5-6 (May 30, 2019): 793–809. http://dx.doi.org/10.1177/1363460719850114.

Full text

Abstract:

This article charts changes in the representation and encoding of superhero closeting metaphors from US television programs Smallville (2001–2011) to The Flash (2014–). Many theorists have noted that superheroes’ hidden secret identities resemble closeting. However, because of legal and social changes in LGBTQ acceptance, as well as intensification of the data-driven security state, closeting on The Flash connects to a fundamentally different set of algorithmic neoliberal social processes. As a result, The Flash portrays a form of post-shame closeting wherein secrecy is a practice of necessary self-defense against mechanized necropolitical violence and social erasure based on unpredictable data markers of risk.

APA, Harvard, Vancouver, ISO, and other styles

7

Pecina, Jozef. "The Shadow and the dual-identity avenger tradition in American popular fiction." Ars Aeterna 12, no. 1 (June 1, 2020): 63–71. http://dx.doi.org/10.2478/aa-2020-0005.

Full text

Abstract:

AbstractA secret identity is one of the definitional characteristics of comic-book superheroes. However, American popular literature had been populated by characters with secret identities long before the first superhero comics appeared. The crime-fighting dual-identity vigilantes enjoyed their heyday in the 1930s and 1940s, during the golden era of pulps. Selling usually for 10 cents, pulp magazines were the best source of cheap thrills and heroics. In this era, dozens of costumed avengers appeared and the most popular was undoubtedly The Shadow. Between 1931 and 1949, Street and Smith published more than three hundred stories featuring The Shadow, most of them written by Walter B. Gibson. In the late 1930s, several of the pulp conventions, including costumed avengers, were adopted by the creators of the superhero comic books, and The Shadow served as a main inspiration for Bill Finger’s and Bob Kane’s Batman. The article discusses the evolution of crime-fighting pulp heroes with a particular emphasis on The Shadow as the most influential dual-identity avenger of the era.

APA, Harvard, Vancouver, ISO, and other styles

8

Gavaler, Chris. "The Well-Born Superhero." Journal of American Culture 37, no. 2 (June 2014): 182–97. http://dx.doi.org/10.1111/jacc.12162.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Peters, Timothy D. "Daredevil as Legal Emblem." Law, Technology and Humans 2, no. 2 (November 21, 2020): 198–226. http://dx.doi.org/10.5204/lthj.1656.

Full text

Abstract:

This article draws together two trajectories of legal scholarship: the turn to the visual in legal studies and the emergence of the subfield of law and comics, or ‘graphic justice’. It does this via an analysis of superhero comics as fitting within a particular genealogy of the ius imaginum, or law of images. This is not to argue simply that superhero comics are dominated by narratives of law, justice and legality—they are—but rather that the very theatrical figure of the superhero and its encompassing of a dual persona is a presentation of a particular political theology of the image. The article analyses the way in which this political theology is rendered visible in Charles Soule’s Daredevil: Back in Black, highlighting the image of the superhero and its connection to both sovereignty and the biopolitics of personhood.

APA, Harvard, Vancouver, ISO, and other styles

10

Aino-Kaisa, Koistinen. "Gender and the superhero narrative." Journal of Gender Studies 28, no. 6 (May 20, 2019): 743–50. http://dx.doi.org/10.1080/09589236.2019.1617967.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Archbold, Jason. "Book Review: The Myth of the Superhero." Media International Australia 150, no. 1 (February 2014): 180–81. http://dx.doi.org/10.1177/1329878x1415000130.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Baruna Ariesta, I. Gusti Bagus Bayu, Made Vairagya Yogantari, and Anak Agung Ngurah Bagus Kesuma Yudha. "KAJIAN SEMIOTIKA PADA VISUALISASI TOKOH ALL MIGHT DALAM MANGA BOKU NO HERO ACADEMIA SEBAGAI REPRESENTASI SUPERHERO AMERIKA." Jurnal Nawala Visual 1, no. 2 (October 29, 2019): 108–12. http://dx.doi.org/10.35886/nawalavisual.v1i2.40.

Full text

Abstract:

Delivering a story through visual comic characters can make it easier for readers to understand the contents and distinguish one character from another. Not only as a distinguishing element, but visualization of comic characters can represent areas where the visual is commonly used and found. In the comic titled Boku No Hero Academia (BNHA) found elements and terms that are commonly found in comics and American superhero characters in general, one of them through the All Might character. Through qualitative research methods, with data collection techniques through observation, literature, and internet studies, this paper aims to examine how the characters of All Might represent American superheroes through his visuals.

APA, Harvard, Vancouver, ISO, and other styles

13

Henry King, Lorraine. "Black skin as costume in Black Panther." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 265–76. http://dx.doi.org/10.1386/ffc_00024_3.

Full text

Abstract:

As a costume, textile and surface adornment practitioner my research focuses on how skin contributes to the reading of a costume. Black Panther’s (2018) Oscar winning costume by Ruth E. Carter conformation to whilst also breaking traditional superhero costuming tropes feeds directly into my research on reading black skin as heroic. The visual disruption to the limited and negative narratives usually embedded within black skin are subtly challenged by Carter’s use of both black primordial and superhero skin-like costumes to signify the heroic. The costuming of a black superhero and nemesis frame the black body in action away from the negative stereotypes of Bogle’s hypersexual buck. The reading of black skin as heroic underpins the practice’s explorations away from the binary of black and white skin to the many shades of brown the moniker of black represents. It is the repetition of skin as metaphor where both superhero costumed skin and primordial skin demonstrate the multiplicity between superhero, his alter-ego and Bogle’s stereotypes that form the basis of this article. Black skin as costume explores how skin colour, according to Dyer has been used to other the black body and rank it below that of the white body within postcolonial readings. Traditionally systemic racism in action films has seamlessly placed the white body and skin as inherently heroic whilst reading the equivalent black body and skin negatively. My practice explores equity of black and brown skin as strong, precious and powerful so that any costumes, textiles or surface decoration I create would read the same when placed on a black body as they would on a white body.

APA, Harvard, Vancouver, ISO, and other styles

14

Wanzo, Rebecca. "The Superhero: Meditations on Surveillance, Salvation, and Desire." Communication and Critical/Cultural Studies 6, no. 1 (March 2009): 93–97. http://dx.doi.org/10.1080/14791420802663694.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Cummings, Kelsey. "“Life Savers”: Technology and White Masculinities in Twitter-Based Superhero Film Promotion." Social Media + Society 4, no. 2 (April 2018): 205630511878267. http://dx.doi.org/10.1177/2056305118782677.

Full text

Abstract:

Drawing from social media studies and the literature on American economic decline and conceptualizations of gender and sexuality, this article asks how Twitter’s medium-specific features can be understood through an examination of its representational qualities in the context of the promotion of two contemporary superhero films. The accounts @BatmanvSuperman and @SpiderManMovie provide case studies of film promotion that uses Twitter’s particularities as a platform in order to advance distinct narratives about the films being promoted, via original tweets and retweets that, respectively, represent differing approaches to advertisement. Through this study, the article advances the arguments, first, that cultural representations are reflective of Twitter’s specificities as a social media platform, and second, that these representations work in conjunction with cultural norms of the contemporary US. One form of idealized White masculinity advanced by the latter is reliant on technology and its merging with the White man’s body. As a result, the technologies of superheroes’ suits as well as Twitter itself become representative of the present sociopolitical climate and its various aspirations and anxieties.

APA, Harvard, Vancouver, ISO, and other styles

16

Czyżak, Krzysztof. "Rozwój filmowych adaptacji komiksów – „kino superbohaterskie” jako gatunek." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 338–48. http://dx.doi.org/10.14746/i.2020.37.20.

Full text

Abstract:

This article is an attempt to consider superhero movies as a developing genre of popular cinema. The theory is based on Rick Altman’s “Semantic/Syntactic/Pragmatic” approach to genre. It tries to capture features of superhero blockbusters and their main themes – the most distinctive trait of this genre, according to the author of the text, is supposed to be the relationship between an individual, their “power” and society. The text is both an extension of and a counter-proposal to conclusions made by Tomasz Żaglewski in Kinowe uniwersum superbohaterów.

APA, Harvard, Vancouver, ISO, and other styles

17

Wickam, Samantha. "Mutants and Mystics: Science Fiction, Superhero Comics, and the Paranormal." Nova Religio 17, no. 1 (February 2013): 125–26. http://dx.doi.org/10.1525/nr.2013.17.1.125.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Dallacqua, Ashley K., and David E. Low. "Cupcakes and beefcakes: students’ readings of gender in superhero texts." Gender and Education 33, no. 1 (June 26, 2019): 68–85. http://dx.doi.org/10.1080/09540253.2019.1633460.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Kahler, Jason. "The many masks of Dr Henry Pym: Alter ego, identity, disability and personality of a founding Avenger." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 299–311. http://dx.doi.org/10.1386/ffc_00026_1.

Full text

Abstract:

The unique history of Dr Henry ‘Hank’ Pym, better known as the Marvel Comics superhero Ant-Man, and his many varied costumes and alter egos, set him apart from other characters in comic books. Pym’s costumes reflect an uncertain and unstable mental state in ways other costumes do not. Through textual analysis, Pym’s costumes can be understood to represent his personality and a slipping identity that goes beyond the usual coding of superhero costuming. Pym’s consistent remaking of his appearance and identity point to a personality struggling to understand who he is in the context of his own life, a deeper message than was originally intended upon the character’s creation but one that has been explored in his later appearances.

APA, Harvard, Vancouver, ISO, and other styles

20

Famoso, Josephine May Grace Aclan. "Pedro Penduko, Filipino Comic Superhero: comparative studies between comic and screen adaptation." BAHASTRA 41, no. 1 (April 30, 2021): 80. http://dx.doi.org/10.26555/bahastra.v41i1.19898.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Jeffries, Dru. "This looks like a blowjob for Superman: servicing fanboys with superhero porn parodies." Porn Studies 3, no. 3 (July 2, 2016): 276–94. http://dx.doi.org/10.1080/23268743.2016.1196118.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Palmer-Mehta, Valerie, and Kellie Hay. "A Superhero for Gays?: Gay Masculinity and Green Lantern." Journal of American Culture 28, no. 4 (December 2005): 390–404. http://dx.doi.org/10.1111/j.1542-734x.2005.00242.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Wilkinson, Clare M. "Power dressing: The sari in Sujoy Ghosh’s Kahaani." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 251–63. http://dx.doi.org/10.1386/ffc_00023_1.

Full text

Abstract:

The heroine of Kahaani, in taking on a powerful persona in the quintessentially female garment of the sari, represents a sharp contrast with conventional ways of dressing powerful women in western cinematic tradition. There is ample cultural and mythological precedent in India for coding action and violence as female, but Kahaani’s affinity with the contemporary superhero film emerges in an unexpected way in its treatment of costume, specifically the use of the sari as a distinct article of clothing that the heroine assumes only for the first time as she embarks upon the dispensation of justice. Demarcating an ordinary set of clothing from the ‘special’ sari mirrors the superhero division of the everyday person from the heroic one, only here the sari, which is a quotidian form of dress, performs as an exceptional one. The copious symbolic potential of the sari permits this move, while at the same time pointing to many of the tensions and contradictions of life that engage contemporary metropolitan audiences in India. The sari thus functions to help solidify the film’s complex positioning in twenty-first-century Hindi filmmaking.

APA, Harvard, Vancouver, ISO, and other styles

24

Kaur, Raminder, and Saif Eqbal. "Gendering Graphics in Indian Superhero Comic Books and Some Notes for Provincializing Cultural Studies." Communication and Critical/Cultural Studies 12, no. 4 (October 2, 2015): 367–96. http://dx.doi.org/10.1080/14791420.2015.1070956.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Gonzalez, Christopher. "Disguised as Clark Kent: Jews, Comics, and the Creation of the Superhero (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 29, no. 2 (2011): 171–73. http://dx.doi.org/10.1353/sho.2011.0067.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Romadhona, Mahimma, Aileena Solicitor El Chidtian, and Roziana Febrianita. "KAJIAN NILAI BELA NEGARA PADA DESAIN KOSTUM DAN ATRIBUT SUPERHERO PANCA SATRIA." Serat Rupa Journal of Design 4, no. 1 (January 16, 2020): 01–15. http://dx.doi.org/10.28932/srjd.v4i1.2012.

Full text

Abstract:

Defending the country is an obligation for every Indonesian, including the younger generation. The younger generation must be inculcated with the ideology of the Pancasila state so that they have strong resilience in facing the threat of terrorism and radicalism. Nationalism and national defense insight possessed by the Indonesian people are considered not high. For this reason, awareness and enlightenment are needed from an early age to foster a love of Indonesia's homeland. This can be done one of them through the application of state defense values in costume designs and superhero attributes named "Panca Satria". The application of local wisdom to costume design and attributes is an effort to preserve culture. This study uses qualitative research methods using semiotics studies. The results of this study are expected to open the discourse that local wisdom can be raised in future trends in the form of costume designs and superhero attributes that are attractive to children. So, education about the values of defending the country to children can be done effectively.

APA, Harvard, Vancouver, ISO, and other styles

27

Reblin, Iuri Andréas. "INTERSECÇÕES ENTRE RELIGIÃO E HISTÓRIAS EM QUADRINHOS: BALÕES DE PENSAMENTO A PARTIR DE UM OLHAR À SUPERAVENTURA "Intersections between Religion and Comics: thought bubbles from a look into superhero genre"." PARALELLUS Revista de Estudos de Religião - UNICAP 5, no. 10 (December 30, 2014): 161. http://dx.doi.org/10.25247/paralellus.2014.v5n10.p161-178.

Full text

Abstract:

A partir de uma abordagem bibliográfica exploratória, este texto apresenta intersecções identificadas entre religião e histórias em quadrinhos, especialmente, a partir de um olhar a superaventura. Inicialmente, o texto reitera o papel das histórias em quadrinhos enquanto representação do universo simbólico-cultural humano, para, em seguida, apresentar ilustrações sobre a religião nas histórias em quadrinhos a partir da superaventura e indicar pesquisadores e pesquisadoras envolvidas com o assunto. Uma abordagem na perspectiva da Teologia e das Ciências da Religião identifica que religião e histórias em quadrinhos se encontram especialmente de quatro maneiras: a) quadrinhos produzidos por instituições religiosas; b) quadrinhos com temas reconhecidamente e intencionalmente religiosos; c) quadrinhos com religião como ilustração contextual; d) quadrinhos como expressão das estruturas simbólicas e religiosas. Ao final, afirma que quadrinhos são sim locus revelacionis da experiência religiosa humana e reitera a importância do estudo na perspectiva da teologia do cotidiano.Palavras-chave: Superaventura. Histórias em Quadrinhos. Histórias em Quadrinhos – aspectos religiosos.AbstractStarting from an exploratory bibliographic approach, this text presents intersections identified between religion and comics, especially from a look into the superhero genre. Initially, the text reiterates the role of comics as a representation of the symbolic and cultural human background, to then display examples on religion in comics especially in superhero stories and present investigators involved with the subject. An approach of theology and religious studies identified that religion and comics intersected particularly in four ways: a) comics produced by religious institutions; b) comics with known and intentionally religious themes; c) comics with religion as contextual illustration; d) comics as an expression of symbolic and religious structures. In the end, it states that comics are a locus revelacionis of human religious experience and reiterates the importance of studying the theme under the perspective of the theology of daily life.Keywords: Superhero genre. Comics. Comics – religious aspects.

APA, Harvard, Vancouver, ISO, and other styles

28

Treat, Shaun. "How America Learned to Stop Worrying and Cynically ENJOY! The Post-9/11 Superhero Zeitgeist." Communication and Critical/Cultural Studies 6, no. 1 (March 2009): 103–9. http://dx.doi.org/10.1080/14791420802663728.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Shyminsky, Neil. "‘‘Gay’’ Sidekicks: Queer Anxiety and the Narrative Straightening of the Superhero." Men and Masculinities 14, no. 3 (August 2011): 288–308. http://dx.doi.org/10.1177/1097184x10368787.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Beaty, Bart. "Superhero fan service: Audience strategies in the contemporary interlinked Hollywood blockbuster." Information Society 32, no. 5 (September 6, 2016): 318–25. http://dx.doi.org/10.1080/01972243.2016.1212616.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Janeček, Petr. "The Spring Man of Prague." Fabula 61, no. 3-4 (November 25, 2020): 223–39. http://dx.doi.org/10.1515/fabula-2020-0012.

Full text

Abstract:

AbstractThe paper discusses the phenomenon of a well-known Czech folkloric character, the Spring Man, in its broader historical, social and pop-cultural context. This fictional hero appears in contemporary legends and anecdotes popular mostly during the Second World War; the narratives about the Spring Man represent a regional version (ecotype) of an international migratory legend about the originally English jumping urban phantom Spring-heeled Jack. Similarly to his English predecessor, the Czech Spring Man became a hero of popular culture, which, after 2002, rebranded this originally ambivalent urban apparition into the “first Czech superhero” of cartoons, comic books and movies.

APA, Harvard, Vancouver, ISO, and other styles

32

Weltzien, Friedrich. "Masque-ulinities: Changing Dress as a Display of Masculinity in the Superhero Genre." Fashion Theory 9, no. 2 (June 2005): 229–50. http://dx.doi.org/10.2752/136270405778051374.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Schubart, Rikke. "Bulk, breast, and beauty: negotiating the superhero body in Gal Gadot’s Wonder Woman." Continuum 33, no. 2 (January 29, 2019): 160–72. http://dx.doi.org/10.1080/10304312.2019.1569382.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Badertscher, John. "Review of The Myth of the American Superhero by John S. Lawrence and R. Jewett." Implicit Religion 6, no. 2-3 (April 1, 2007): 180–83. http://dx.doi.org/10.1558/imre.v6i2.180.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Cho, Hyesun, and Peter Johnson. "Racism and Sexism in Superhero Movies: Critical Race Media Literacy in the Korean High School Classroom." International Journal of Multicultural Education 22, no. 2 (August 31, 2020): 66. http://dx.doi.org/10.18251/ijme.v22i2.2427.

Full text

Abstract:

Past research on critical race media literacy (CRML) in multicultural education has primarily focused on identifying ways of fostering critical awareness of racism in the U.S. educational context. This study aims to present a situated account of a CRML pedagogy in the Korean high school classroom where students critique the racial and gender discrimination perpetuated in films. Using qualitative research data, such as teacher interviews and student presentation videos, the current study depicts ways in which Korean female high school students raise critical awareness of racism and sexism with the help of an English-speaking native teacher.

APA, Harvard, Vancouver, ISO, and other styles

36

Claverie, Ezra. "Ambiguous Mr. Fox: Black Actors and Interest Convergence in the Superhero Film." Journal of American Culture 40, no. 2 (June 2017): 155–68. http://dx.doi.org/10.1111/jacc.12712.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Maverick, Christopher. "Jessica Jones, Scarred Superhero. TimRayborn and AbigailKeyes, Eds. McFarland and Company, 2018." Journal of American Culture 42, no. 1 (March 2019): 71–72. http://dx.doi.org/10.1111/jacc.12976.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Mahler, Anne Garland. "The Writer as Superhero: Fighting the Colonial Curse in Junot Díaz'sThe Brief Wondrous Life of Oscar Wao." Journal of Latin American Cultural Studies 19, no. 2 (August 2010): 119–40. http://dx.doi.org/10.1080/13569325.2010.494928.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Wendt, S. "Aldo J. Regalado, Bending Steel: Modernity and the American Superhero (Jackson: UP of Mississippi, 2015), 288 pp." Amerikastudien/American Studies 65, no. 3 (2021): 359–60. http://dx.doi.org/10.33675/amst/2020/3/12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Francis, Fred. "‘Footnotes to Miller and Moore’: Monomyth and Transnationality in the 1986 Superhero Comics." Comparative American Studies An International Journal 14, no. 3-4 (October 2016): 289–301. http://dx.doi.org/10.1080/14775700.2016.1267347.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Stevens, J. Richard, and Burton St. John. "Corporate Affirmations of Self-Identity and Mutual Self-Help: Transmedia Rhetorics of Marvel Rising." Journal of Communication Inquiry 44, no. 4 (May 15, 2020): 376–95. http://dx.doi.org/10.1177/0196859920924383.

Full text

Abstract:

In 2018, Disney launched a Marvel Rising transmedia campaign introducing a line of female superhero dolls and supporting media narratives across Disney XD, Marvel Comics, and Hasbro toys. Utilizing textual and industry analysis, we find that the concentration of ownership and the need to attract a new clientele resulted in a “commercialized feminism” text, one that thematically supports Disney’s prosocial messaging agenda, linking its products to what it perceives as the preferred social identity for its audience. As such, this work has implications for deeper understandings of how corporations can use transmedia rhetoric to mentor children, especially young women, toward confidence and self-empowerment while also allowing the corporation to maximize marketplace revenues.

APA, Harvard, Vancouver, ISO, and other styles

42

Kilker, Robert F. "The Superhero Reader CharlesHatfield, JeetHeer, and KentWorcester, Editors. Jackson: University Press of Mississippi, 2013." Journal of American Culture 37, no. 3 (September 2014): 378–79. http://dx.doi.org/10.1111/jacc.12264.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Putri, Larisa Indriani, and Lucia Lusi Ani Handayani. "Women Emancipation and Empowerment in The Incredibles 1 and 2." Journal of Urban Society's Arts 7, no. 1 (September 20, 2020): 30–42. http://dx.doi.org/10.24821/jousa.v7i1.4356.

Full text

Abstract:

Movies represent women differently from men. Some try to raise women’s dignity, and some still impose traditional values on them. This paper studies the representation of the characters of female superhero in The Incredibles 1 and 2 which seem to support women’s emancipation. However, there are some ideas conveyed through the mise- en-scéne which still indicate that the movie series do not fully emancipate women. The Incredibles 1 and 2 movie series have been chosen as the object of the study for their typical characteristics when female superhero plays the role. The purpose of this paper is to examine how women are represented through visuals and character roles in The Incredibles 1 and 2. The movies were analyzed through a critical discourse approach. The analysis focused on the language beyond sentences and aspects outside the language, such as power relation, social context, and ideology. The result of the analysis shows that the female character in the movies still upholds traditional values, such as male domination, revealing that these movies are not emancipatory for women. Moreover, women are still degraded and objectified through their body. Therefore, these movies can be seen as a form of pseudo-empowerment, where something is seen as empowering but actually it is not. Emansipasi dan Pemberdayaan Perempuan dalam Film Incredibles 1 dan 2. Film menggambarkan perempuan dan laki-laki dengan cara yang berbeda. Sebagian mencoba untuk menaikkan derajat perempuan, dan sebagian masih menyajikan nilai- nilai tradisional. Artikel ini meneliti representasi karakter perempuan utama pada film The Incredibles 1 dan 2 yang terlihat mendukung emansipasi perempuan melalui karakter superhero. Namun, terdapat gagasan yang menunjukkan bahwa kedua film ini tidak sepenuhnya mengemansipasi perempuan. Artikel ini bertujuan untuk meneliti bagaimana perempuan digambarkan melalui visual dan peran pada setiap karakter di The Incredibles 1 dan 2. Kedua film ini dianalisa menggunakan pendekatan analisis wacana. Analisis dilakukan pada tingkat bahasa yang digunakan yang tidak terbatas pada kalimat dan aspek-aspek di luar bahasa, seperti hubungan kekuasaan, konteks social, dan ideologi. Hasil analisis menunjukkan bahwa karakter perempuan pada kedua film ini masih menjunjung tinggi nilai-nilai tradisional, seperti dominasi oleh laki-laki. Hal ini membuktikan bahwa film-film ini tidak merepresentasikan kebebasan pada perempuan. Lebih lagi, melalui tubuhnya, perempuan masih terlihat direndahkan dan dijadikan sebagai objek. Oleh karena itu, dapat disimpulkan bahwa film-film ini merupakan suatu pseudo-empowerment, yaitu ketika sesuatu terlihat seperti memberikan kebebasan namun dalam kenyataanya tidak sama sekali.

APA, Harvard, Vancouver, ISO, and other styles

44

Fernández Sarasola, Ignacio. "El género de superhéroes como herramienta docente en las ciencias jurídicas / Superhero genre as learning tool in legal studies." Magister 31, no. 1 (October 9, 2019): 31. http://dx.doi.org/10.17811/msg.31.1.2019.31-37.

Full text

Abstract:

El género de superhéroes (difundido a través de cómics, novelas gráficas, series televisivas y películas) muestra un enorme potencial para la enseñanza del Derecho. La docencia y aprendizaje de esta disciplina presenta una gran complejidad, debido tanto a su alto nivel de abstracción como al patrón de pensamiento lógico que se requiere para aplicar las reglas jurídicas. En este contexto, los superhéroes pueden emplearse como ejemplo eficaz, puesto que suelen mostrar situaciones extremas que permiten una aplicación más fácil de esas reglas por parte de los estudiantes. Una vez que esos casos evidentes se hayan desarrollado, el estudiante habrá obtenido las bases del sistema legal y podrá ser capaz de utilizarlo para resolver hechos reales y más complejos.

APA, Harvard, Vancouver, ISO, and other styles

45

Gudzovskaya, Alla. "The Identity of Schoolchildren in a Transitive Society." Social Phenomena 10, no. 1 (October 20, 2020): 52–60. http://dx.doi.org/10.47929/2305-7327_2020.01_52-60.

Full text

Abstract:

The article analyzes the current empirical studies of schoolchildren’s identities. Transformation tendencies in the identity of children are revealed. The paper focuses on several particular tendencies, including the increasing variability of components in identity structure, the decrease in the significance of customary components, and the increase in the significance of unique ones. The latter include, first of all, the identities associated with Internet activities, as well as those produced by the cinematic "superhero" culture. The article discusses the possible directions of psychological and pedagogical work that may support the constructive multiple identities of a child, such as, the development of the “achieved identity” (Marcia), the cultivation of the ability to reflect on the components of his/her identity, the actualization and realization of the identity "I'm a human being".

APA, Harvard, Vancouver, ISO, and other styles

46

Davé, Shilpa. "Book Review: Gender and the Superhero Narrative Edited by Michael Goodrum, Tara Prescott, and Phillip Smith." Gender & Society 34, no. 1 (November 1, 2019): 155–57. http://dx.doi.org/10.1177/0891243219887380.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Żaglewski, Tomasz. "Infinite Narratives on Infinite Earths. The Evolution of Modern Superhero Films." Panoptikum, no. 22 (December 17, 2019): 158–72. http://dx.doi.org/10.26881/pan.2019.22.06.

Full text

Abstract:

After almost 20 years of a succesful run of superhero films it seems that we are now entering into the fully-developed format of this kind of cinema. Through films like “Avengers: Infinity War”, “Logan” or “Spider-Man: Into the Spider-verse” the general audience all over the world is becoming familiar with strictly comics-based forms and ideas like retcon, crossover or the multiverse paradigm (that serves as a model for ‘infinite’ superhero narratives and limitless iterations of characters). Despite the fact that popular cinema had already introduced some of these elements before – like the crossover aesthetic in Universal Studios’ horrors from the 1930s and 1940s – modern superhero cinematic universes can be seen as much more demanding productions for the viewers in terms of following strongly comic books-based modes of the ‘multiverse-centric’ perception. As a result we can right now observe an emerging process of turning even the non-superheroic popular cinematic features into very ‘comic booky’ narrative patterns. In this article I’m interested in analyzing the most recent cases of superhero cinema by looking at some specific titles as a way of introducing the narrative systems and tools from superhero comics into cinema.

APA, Harvard, Vancouver, ISO, and other styles

48

Mills, Anthony R. "What is a Superhero? Robin S.Rosenberg and Peter Coogan, Editors. New York: Oxford University Press, 2013." Journal of American Culture 38, no. 2 (June 2015): 201–2. http://dx.doi.org/10.1111/jacc.12343.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Ashford, Theresa K., and Neal Curtis. "Wonder Woman: An Assemblage of Complete Virtue Packed in a Tight Swimsuit." Law, Technology and Humans 2, no. 2 (November 21, 2020): 185–97. http://dx.doi.org/10.5204/lthj.1593.

Full text

Abstract:

This paper uses actor-network theory (ANT) and Aristotelian virtue ethics to think with/of Wonder Woman as an assemblage of human and non-human actors clustered on a page. It also considers how the emerging assemblage that is Wonder Woman might be viewed as the embodiment of Aristotle’s ‘complete virtue’ or justice. As one of the ‘trinity’ of superheroes of Detective Comics (DC), which also include Superman and Batman, Wonder Woman was created to counter the sadism and tyranny of the Nazi threat during the 1930s and 1940s and has been continually published since 1941. Wonder Woman is a multidimensional icon and an exemplary model of a superhero with a different body and voice, who operates in a different way in the world. She is presented here as a case study to trace possible translations of Aristotle’s configurations of virtue and justice. Using ANT, we argue that Wonder Woman arises from an assemblage of actors that include an armoured swimsuit, a magic lasso, shiny bracelets and a star-emblazoned tiara. By problematising these technologies as actors that commonly invite objectification (the swimsuit) or subjugation (the ropes), this paper suggests possible divergent readings that reveal how virtue and justice can emerge within these relational networks. We test how the sexualised body depictions and overt bondage references in the Wonder Woman comics, and in particular, in our chosen story, George Pérez’s Wonder Woman: Destiny Calling, offer something bolder and more profound—a complex performance of justice. Additionally, this paper intimates the productive methodological powers of ANT in relation to the broader field of comics studies.

APA, Harvard, Vancouver, ISO, and other styles

50

McAllister, Matthew, Ian Gordon, and Mark Jancovich. "Block Buster Art House: Meets Superhero Comic, or Meets Graphic Novel?: The Contradictory Relationship between Film and Comic Art." Journal of Popular Film and Television 34, no. 3 (October 2006): 108–15. http://dx.doi.org/10.3200/jpft.34.3.108-115.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!