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Articles de revues sur le sujet « Fantastic Action movie »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

Avatara, Bintang, Festi Himatu Karima, Indri Kustantinah, and Andriamihaja Henintsoa Vatsiniaina. "Social Inequality in the Movie Fantastic Mr. Fox." Allure Journal 4, no. 2 (2024): 117–26. http://dx.doi.org/10.26877/allure.v4i2.19291.

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This research examined social inequality and the resulting conflicts in the movie "Fantastic Mr. Fox." The objectives were to identify and analyze the portrayal of social inequality within the film using Max Weber’s theory of social stratification. Using descriptive qualitative method, the study involved detailed analysis of the movie script to uncover these themes. The findings revealed that the farmers, representing the upper class, oppress the animal community, which symbolizes the lower class. This dynamic led to various conflicts, highlighting the struggles and resistance of the underpriv

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KALITAN, DAMIAN. "In Search of the Sorcerer’s Apprentice: between Lucian and Walt Disney." Journal of Education Culture and Society 3, no. 1 (2020): 94–102. http://dx.doi.org/10.15503/jecs20121.94.102.

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At fi rst glance, the movie by Jon Turteltaub entitled The Sorcerer’s Apprentice (2010) seems not to have any connections with Greco-Roman antiquity whatsoever. To fi nd the hidden connection we have to go back to year 1797 when Johann Wolfgang Goethe publi-shed his famous ballad Der Zauberlehrling (The Sorcerer’s Apprentice)Almost a century later, this work inspired a French composer Paul Dukas to write his masterpiece, the sympho-nic scherzo L’apprenti sorcier. Dukas’ music became the leitmotif of both Disney’s movies: Fantasia (1940) and Fantasia2000 (1999) whose action is based on Goethe’s

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Kazarina, Tatyana V. "Samara the fantastic." Semiotic studies 2, no. 4 (2022): 66–72. http://dx.doi.org/10.18287/2782-2966-2022-2-4-66-72.

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The article discusses three novels, where events take place in Samara (Kuibyshev). These are "Metro-2033: Bezymyanka [Underground-2033: Bezymyanka] (2010) by Sergey Paliy, "Bezymyanlag" (2016) by Andrey Olekh and "Pischeblock [Food Unit] (2018) by Alexey Ivanov. The work reveals the reasons for this localization of events that is identical for all the authors. In all the three cases, the location plays an important narrative role, which is explained in the article by both the authors' hope to get the Samara readers sympathetic attention, and the need to have specific recognizable details that

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Junguitu Dronda, Maitane. "Ipar Haizearen Erronka: A boat trip from the Basque Country to Newfoundland." Mutual Images Journal, no. 10 (December 20, 2021): 251–70. http://dx.doi.org/10.32926/2021.10.jun.iparh.

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The nature of animated cinema involves the creation of any realistic or fantastical characters, places, and situations. Animation can be used to take characters far from their hometowns on believable journeys without big budgets used on location shooting. The Basque animated feature film Ipar Haizearen Erronka (The Challenge of the North Wind), directed in 1992 by Juanba Berasategi, illustrates how animation can represent a journey and a historic reality in a plausible way. The movie depicts a Basque whale hunting vessel travelling to the wild coast of Newfoundland, Canada in the sixteenth cen

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Mandapuram, Mounika. "Visual Effects in Movies: Bridging the Imagination-Reality Divide." Asian Journal of Humanity, Art and Literature 9, no. 2 (2022): 41–52. http://dx.doi.org/10.18034/ajhal.v9i1.709.

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Visual effects, or VFX, have become essential to contemporary filmmaking. With the use of VFX, directors can take viewers to magical realms, recreate historical epochs, and give life to the wildest of their audiences' imaginations. VFX has revolutionized filmmaking, enabling directors to push the boundaries of storytelling. From otherworldly creatures to breathtaking landscapes, VFX artists bridge the gap between what the mind conceives and what the camera captures. This bridge connects the limitless realm of human imagination with the physical reality of cinematic storytelling. In this articl

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Piepiórka, Michał. "Spaces of difference. Narration in animation/liveaction hybrid films." Panoptikum, no. 26 (October 19, 2021): 189–215. http://dx.doi.org/10.26881/pan.2021.26.09.

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The aim of this paper is to focus on the ways of using animation as well as its function in live-action/ animation hybrid films. The usage of animation in narratives of such type of movies can vary. However, what connects them is the way of telling the story, based on the juxtaposition of two different realities that interact in a number of ways. The ways of combining the two worlds can be very different: animation may symbolize what is fantastic, as in pioneer McCay’s ‘Gertie the Dinosaur’, but also what is imagined, felt, thought out, once lived, dreamed of, alternative. The article describe

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Zonn, I. S. "Arctic cinema: from horror through dramas and thrillers To Action movies and fiction (Part I)." Post-Soviet Issues 10, no. 2 (2023): 185–210. http://dx.doi.org/10.24975/2313-8920-2023-10-2-185-210.

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The article considers a number of genres of Arctic films in the world cinema. Among them, some of the most common are horror films (horror), thrillers (part I), dramas, science fiction and action films (part II). The socio-political climate of the times determined the evolution of genres and influenced their semantic content and structure. Their formation and production flow has a calendar milestone. In the second half of the twentieth century, after the end of the Great Patriotic War, a cold war began between two blocs of states with different socio-economic systems led by the USSR and the US

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O.V., Halchuk. "MYTHOLOGICAL PARAMETERS OF THE BOXER PROTAGINIST ROCKY BALBOA." South archive (philological sciences), no. 84 (December 23, 2020): 152–57. http://dx.doi.org/10.32999/ksu2663-2691/2020-84-23.

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The purpose of this study is to characterize the image of the protagonist of the saga of the boxer Rocky through the prism of mythopoetics as a type of new cultural hero in the field of sports. Research methods are historical and cultural, mythopoetic, and comparative. Its application allows to outline the genetic connection of the image of the hero-boxer with the literary tradition; identify its main parameters as a mythohero; allocate the points of intersection of the author's myth with the myth of the American dream; consider the acquisition of the mytheme of Rocky the beginnings of the ide

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Cahyaningtyas, Ardelia Elvina, Ardita Wahyu Safitri, Andriani Ika Saputri, and Siti Komsiyah Yuliana. "Shareloc: An Analysis of Isekai Elements Across Different Genre and Cinematic Cultures." Radiant 6, no. 2 (2025): 82–98. https://doi.org/10.52187/rdt.v6i2.312.

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The Isekai genre stories where characters are transported from their familiar world to a fantastical or parallel reality has gained significant popularity across various media. However, its presence in films from different cultural contexts has received less scholarly attention. The objective of this research is to explore the Isekai elements found in ‘Along with the Gods: The Two Worlds’, ‘Saranjana Kota Ghaib’, ‘Spirited Away’, and ‘Jumanji: Welcome to the Jungle’. This study aims to analyze how the movie genres aligned with the Isekai elements through the characters journey. This research e

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Antsyferova, Olga Yu. "Cinematic Mirages of Theodor Dreiser." Literature of the Americas, no. 11 (2021): 248–70. http://dx.doi.org/10.22455/2541-7894-2021-11-248-270.

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The article examines the history of cinematic versions (film adaptations) of T. Dreiserʼs novel An American Tragedy, the key concept of the analysis being that of a mirage (phantasm). It is the unattainable and unconscious desire for the mirage of wealth and luxury that guides Clyde Griffiths in the novel (not accidentally one of its early titles was “Mirage”). The plotline of Dreiser’s attempts to film the novel during his lifetime is marked by the same illusory, fantasmatic character: the script by Sergei Eisenstein, approved by the author, was rejected by Hollywood, the movie by Joseph von

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Amira, Amira, Mohammad Fauziddin, and Musnar Indra. "Upaya Meningkatkan Kemampuan Motorik Kasar Melalui Pembelajaran Senam Fantasi di Taman Kanak-Kanak Darul Yaqin Koto Ranah." Jurnal Pendidikan Tuntas 1, no. 2 (2023): 78–85. http://dx.doi.org/10.37985/jpt.v1i2.197.

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This study aims to improve the gross motor skills of children aged 4-5 years through rhythmic gymnastics at TK Darul Yaqin Koto Ranah village, District Kabun, Rokan Hulu Regency. The type of research is Classroom Action Research which is carried out collaboratively between researchers and classroom teachers. This research consisted of two cycles and each cycle was conducted in two meetings. The subjects of this study were 10 children of the Darul Yaqin Kindergarten Playgroup in Koto Ranah Village, Kabun District, which consisted of 5 boys and 5 girls. Data collection techniques through observa

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Bastos, Hermenegildo José. "Viagens, memória, coleção e arquivos na narrativa de Murilo Rubião." Revista do Centro de Estudos Portugueses 20, no. 27 (2000): 109. http://dx.doi.org/10.17851/2359-0076.20.27.109-122.

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<p>Na geografia da ficção muriliana opõe-se a serra ao mar. Os personagens são ex-marinheiros ou descendentes de marinheiros. A nostalgia do mar é pelo passado de ação e bravura. No presente da narrativa, habitam cidadezinhas do interior. Deslocam-se para a cidade grande ou esperam pelos seus representantes, que vêm civilizá-los. O navio foi substituído pelo trem, representando cada um uma etapa da história do capitalismo: a expansão ibérica e a inglesa. Narrase aí a aventura colonial. A escrita fantástica revela os espectros da aventura da modernidade, que vagueiam entre o passado e o p

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Mittermeier, Sabrina. "‘What’s important is being in the room’: Ryan Murphy’s Hollywood and the politics of queer history." Queer Studies in Media & Popular Culture 7, no. 1-2 (2022): 83–94. http://dx.doi.org/10.1386/qsmpc_00070_1.

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In his 2020 Netflix miniseries Hollywood, producer Ryan Murphy presents us with an almost utopian version of Hollywood, an alternate history that centres queer and Black voices over the realities of the repressive queerphobic and racist nature of the 1940s US society. It tells the story of an ultimately Oscar-winning film project surrounding the story of the real-life suicide of silent movie actress Peg Entwistle, put together by marginalized creators. In many ways, the miniseries commits to the screen a classic narrative of the American dream, of the marginalized overcoming adversity and ‘mak

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IBRAHIM, Mowaffaq Majid, and Hikmat AL-BAIDANI. "THE AESTHETIC AND DRAMATIC EMPLOYMENT OF GROTESQUES IN FANTASY FILMS." Rimak International Journal of Humanities and Social Sciences 4, no. 3 (2022): 659–72. http://dx.doi.org/10.47832/2717-8293.17.38.

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Cinematic art has always sought to produce life according to visions and connotations that go beyond what is direct and familiar from a number of concepts, foremost of which are beauty and ugliness through its various narratives. There is a lot of beauty, even if it is built on an ugly foundation and composition through extrinsic treatments that varied in its forms and contents, as everything that is exotic and fantastic, whether it is at the level of actions or forms, places and accessories, which collectively formed the term grotesque, the first chapter of which came under the title (the met

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Corman, Lauren, Jo-Anne McArthur, and Jackson Tait. "Electric Animal An Interview with Akira Mizuta Lippit & (untitled photographs)." UnderCurrents: Journal of Critical Environmental Studies 17 (November 16, 2013): 20–22. http://dx.doi.org/10.25071/2292-4736/37679.

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Dr. Akira Mizuta Lippit, author of Electric Animal: Toward a Rhetoric of Wildlife, explores, in the context of the development of cinema, how the concept of “the animal” has become central to modern understandings of human subjectivity. Lippit considers the disappearance of real animals and their concurrent appearance in various conceptual and material uses, particularly noting the ways in which the conjoined notions of humanity and animality figure into and through cinema. The animal, he argues, haunts the foundation of western logical systems. Yet, despite the fact that humans and animals su

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Bastos, Hermenegildo José. "MAIS UMA NARRATIVA ANTES DE ACABAR O MUNDO (ENSAIO SOBRE O TEMA DA VIAGEM EM MURILO RUBIÃO)." Organon 17, no. 34 (2003). http://dx.doi.org/10.22456/2238-8915.29984.

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In murileon’s fiction geography, the mountain is opposed tothe sea. The characteres are former sailors or sailors descendents. Thenostalgia for the sea relates to the action and bravery of the past. In thenarrative’s present, they dwell in country little towns. They move to the bigcities or they wait for its representatives to come and civilize them. Thetrain was substituted for the ship, each one representing one step in capitalismhistory: the Iberian and British expansion. The narration of thecolonial adventure takes place. The fantastic writing reveals the ghosts ofthe modernity adventure,

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Ziquan Wang. "Scene Deconstruction and Plot Setting of a Silent Film." EVOLUTIONARY STUDIES IN IMAGINATIVE CULTURE, September 17, 2024, 854–68. http://dx.doi.org/10.70082/esiculture.vi.861.

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This study dissects Chaplin's method of conveying a story through visuals in his 1921 silent movie, 'The Kid,' emphasizing scene analysis and plot introduction. A detailed discussion of sequences allows the research to illustrate how Chaplin makes meaning, creates a narrative, and establishes emotion solely through visual motion without words. The study uses several theoretical approaches, including film semiotics, narrative theory, and visual composition analysis. This paper examines how Chaplin employs framing, editing, mise-en-scène, and physical comedy to construct a highly symbolic and em

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Hawley, Erin. "Re-imagining Horror in Children's Animated Film." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1033.

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Introduction It is very common for children’s films to adapt, rework, or otherwise re-imagine existing cultural material. Such re-imaginings are potential candidates for fidelity criticism: a mode of analysis whereby an adaptation is judged according to its degree of faithfulness to the source text. Indeed, it is interesting that while fidelity criticism is now considered outdated and problematic by adaptation theorists (see Stam; Leitch; and Whelehan) the issue of fidelity has tended to linger in the discussions that form around material adapted for children. In particular, it is often assume

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Piatti-Farnell, Lorna, and Lloyd Carpenter. "Intersections of History, Media, and Culture." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1323.

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For many, the very idea of ‘history’ calls into question narratives of the past, distant and disconnected from our contemporary moment, and out of tune with the media-centred world of our post-2000 popular culture. This approach to history, however, is based on profound misconceptions, and does not take into account the fact that the present is history: we experience our historical moment via multiple and multi-faceted media practices, from using social media to watching movies, from watching television to consuming food. The past is, in turn, never far removed from our contemporary and everyd

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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl

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Marshall, Kyle. "Fire and Glass by M. Chan." Deakin Review of Children's Literature 6, no. 1 (2016). http://dx.doi.org/10.20361/g2d03h.

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Chan, Marty. Fire and Glass. Richmond Hill, ON: Clockwise Press, 2016. Print.Kristina Mah finds herself in an unenviable situation at the start of grade nine: her father has abruptly abandoned Kristina and her mother, and they are forced to move from the familiarity of the suburbs to a small inner-city apartment. The transition to her new school takes some time - it’s old, rundown and all the students are addicted to their phones - but eventually she finds a new friend in Dylan, her grade’s resident iconoclast who cares little for social norms. Just when her life seems to be acquiring some sem

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Connolly, Patrick E. "Message from the Chair - "A Christmas Carol"." Engineering Design Graphics Journal 73, no. 3 (2019). https://doi.org/10.18260/edgj.v73i3.158.

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It is a privilege and an honor to be serving as the Engineering Design Graphics Division Chair for this year! We had a great time and a wonderful Midyear meeting in beautiful Erie, PA last month. The presentations were excellent and the ‘conviviality’ was (as always) outstanding. Once again, special thanks need to be extended to Kathy Holliday-Darr and Judy Birchman, who worked so hard and put in many, many hours to ensure a fantastic conference. As we continue to move forward in the Division with an eye to the future, one of the potential action items that has been discussed over the past yea

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Comerford, Chris, and Tracey Woolrych. "Becoming the Shadows." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3142.

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Introduction The dark silhouette of Batman (Robert Pattinson) emerges from the shadows on a rainy night, confronting a gang at a train station. One of their members asks, “what the hell are you supposed to be?”, before moving to attack. Batman quickly disarms the gang member, but in contrast to many of the character’s incarnations – on the screen and the comic book page – who would knock the criminal out before moving on, this Batman pummels the gang member even after he’s been knocked to the ground. With a throaty growl Batman responds, “I’m vengeance”, then proceeds to violently assault the

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Caldwell, Nick. "Seen But Not Heard." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1760.

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There are certain discourses operating in contemporary western culture that are granted tremendous power and authority to speak about those issues that cut across the racial, class, and gender boundaries of a culture. Life, death and politics are all central and legitimate categories for the discourses generated by media institutions. As we slide from the 'factual' realm (which the news media is taken to represent) into the fictional, the authority to speak of these categories steadily declines. Certain films and television dramas have this legitimacy, provided that they retain a certain veris

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Boesenberg, Eva. "Saving the Planet with Barbie?" M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3069.

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In 2019, Mattel introduced a series of Barbie dolls in connection with National Geographic which included a Polar Marine Biologist, an Entomologist, a Wildlife Photojournalist, and a mostly "made from recycled ocean-bound plastic" Barbie ("Mattel Launches Barbie Loves the Ocean") followed in 2021. One year later, the company issued an "Eco-Leadership Team" composed of a Conservation Scientist, a Renewable Energy Engineer, Chief Sustainability Officer, and Environmental Advocate. This can be understood as an attempt to introduce children to the urgency of ecological issues and communicating to

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Beyer, Sue. "Fantasyland Autofiction." M/C Journal 27, no. 5 (2024). http://dx.doi.org/10.5204/mcj.3104.

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This essay explores a return to hope and romanticism by contemporary artists looking at themes of fantasy worlds and mapping imaginary lands as a type of autofiction. These fantasylands are created in collaboration with hallucinating machine learning platforms, as a tool for contemporary art-making. Seen through the framework of Metamodernism, how does AI hallucination contribute to Metamodern structure of feeling? AI, as part of the metacrisis, places society and culture in a type of no man’s land or in-between, where rapid and unchecked advancements in machine learning and generative technol

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Dabek, Ryszard. "Jean-Luc Godard: The Cinema in Doubt." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.346.

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Photograph by Gonzalo Echeverria (2010)The Screen would light up. They would feel a thrill of satisfaction. But the colours had faded with age, the picture wobbled on the screen, the women were of another age; they would come out they would be sad. It was not the film they had dreamt of. It was not the total film each of them had inside himself, the perfect film they could have enjoyed forever and ever. The film they would have liked to make. Or, more secretly, no doubt, the film they would have liked to live. (Perec 57) Over the years that I have watched and thought about Jean-Luc Godard’s fi

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Gibson, Prue. "Machinic Interagency and Co-evolution." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.719.

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The ontological equality and material vitality of all things, and efforts to remove “the human” from its apical position in a hierarchy of being, are Object-Oriented Ontology theory (OOO) concepts. These axioms are useful in a discussion of the aesthetics of augmented robotic art, alongside speculations regarding any interagency between the human/non-human and possible co-evolutionary relationships. In addition, they help to wash out the sticky habits of conventional art writing, such as removed critique or an authoritative expert voice. This article aims to address the robotic work Accomplice

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Michael, Rose. "Out of Time: Time-Travel Tropes Write (through) Climate Change." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1603.

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“What is the point of stories in such a moment”, asks author and critic James Bradley, writing about climate extinction: Bradley emphasises that “climatologist James Hansen once said being a climate scientist was like screaming at people from behind a soundproof glass wall; being a writer concerned with these questions often feels frighteningly similar” (“Writing”). If the impact of climate change asks humans to think differently, to imagine differently, then surely writing—and reading—must change too? According to writer and geographer Samuel Miller-McDonald, “if you’re a writer, then you hav

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Ahn, Sungyong. "On That <em>Toy-Being</em> of Generative Art Toys." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2947.

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Exhibiting Procedural Generation Generative art toys are software applications that create aesthetically pleasing visual patterns in response to the users toying with various input devices, from keyboard and mouse to more intuitive and tactile devices for motion tracking. The “art” part of these toy objects might relate to the fact that they are often installed in art galleries or festivals as a spectacle for non-players that exhibits the unlimited generation of new patterns from a limited source code. However, the features that used to characterise generative arts as a new meditative genre, s

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Carty, Breda. "Interpreters in Our Midst." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.257.

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When deaf people work in professional environments and participate in public events, we are often accompanied by sign language interpreters. This usually means wonderfully enhanced access – we can learn, participate and network in ways which are difficult if not impossible on our own. But while we often try to insist that our interpreters are ‘invisible’, that we are the ones learning, engaging in dialogue and consuming services, we are regularly bemused by the public fascination and focus on our interpreters – sometimes at the expense of their attention to us. When interpreters are in our mid

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Bonner, Frances. "The Hard Question of Squishy Machines." M/C Journal 2, no. 6 (1999). http://dx.doi.org/10.5204/mcj.1785.

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Among the sub-genres of science fiction, one of the most traditional and most machine-laden is space opera. The name is dismissive and was coined in parallel with the now little recognised 'horse opera' (for westerns) in the wake of the success of the term 'soap opera' (for romantic serials). Space operas were adventure sagas across the galaxies with space ships carrying intrepid crews on voyages of discovery, into glorious battles and terrifying encounters with aliens. The 'opera' part presumably refers to their seriality and overstated melodrama. At various times during the last fifty years

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Richardson, Nicholas. "Wandering a Metro: Actor-Network Theory Research and Rapid Rail Infrastructure Communication." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1560.

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IntroductionI have been studying the creation of Metro style train travel in Sydney for over a decade. My focus has been on the impact that media has had on the process (see Richardson, “Curatorial”; “Upheaval”; “Making”). Through extensive expert, public, and media research, I have investigated the coalitions and alliances that have formed (and disintegrated) between political, bureaucratic, news media, and public actors and the influences at work within these actor-networks. As part of this project, I visited an underground Métro turning fifty in Montreal, Canada. After many years studying t

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Maxwell, Richard, and Toby Miller. "The Real Future of the Media." M/C Journal 15, no. 3 (2012). http://dx.doi.org/10.5204/mcj.537.

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When George Orwell encountered ideas of a technological utopia sixty-five years ago, he acted the grumpy middle-aged man Reading recently a batch of rather shallowly optimistic “progressive” books, I was struck by the automatic way in which people go on repeating certain phrases which were fashionable before 1914. Two great favourites are “the abolition of distance” and “the disappearance of frontiers”. I do not know how often I have met with the statements that “the aeroplane and the radio have abolished distance” and “all parts of the world are now interdependent” (1944). It is worth revisit

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Blackwood, Gemma. "<em>Roblox</em> and Meta Verch." M/C Journal 26, no. 3 (2023). http://dx.doi.org/10.5204/mcj.2958.

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Introduction In September 2022, American retail giant Walmart launched two new gaming experiences onto popular multi-platform gaming experience Roblox, entitled Walmart Land and Walmart Universe of Play. First released in 2006, Roblox is an online multiplayer programme and a virtual gaming world that is part of a rise of other similar programmes, including Minecraft (2009), Pokémon GO (2016), and Fortnite (2013). Like these other games, it is also a multi-platform program, which means that “it can be played on computers, tablets, mobiles or video consoles, thus enabling its ubiquitous access”

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Koh, Wilson. ""Gently Caress Me, I Love Chris Jericho": Pro Wrestling Fans "Marking Out"." M/C Journal 12, no. 2 (2009). http://dx.doi.org/10.5204/mcj.143.

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“A bunch of faggots for watching men hug each other in tights.”For the past five Marches, World Wrestling Entertainment (WWE) has produced an awards show which honours its aged former performers, such as Jimmy “Superfly” Snuka and Ricky “The Dragon” Steamboat, as pro-wrestling Legends. This awards show, according to WWE, is ‘an elegant, emotional, star-studded event that recognizes the in-ring achievements of the inductees and offers historical insights into this century-old sports-entertainment attraction’ (WWE.com, n.p.). In an episodic storyline leading up to the 2009 awards, however, the r

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Beare, Alexander Hudson, and Amy Brierley-Beare. "“You Know There’s No ‘It’ Right? ‘It’ Was Just Us”." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3002.

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In Showtime’s Yellowjackets (2021-present), ‘magic’ (referred to by the characters as “It”) has an overwhelming presence. Supernatural visions, clairvoyance, and occult iconography are laden throughout each episode. However, the audience is often left uncertain if magic is, in fact, ‘real’ or conjured in the imagination of the show’s characters. Yellowjackets follows a women’s high-school soccer team (named the Yellowjackets) who survive a plane crash deep in the North American wilderness. The show explores the team’s struggle for survival and the present adult lives of those who survived. In

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Herb, Annika. "Non-Linear Modes of Narrative in the Disruption of Time and Genre in Ambelin Kwaymullina’s The Interrogation of Ashala Wolf." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1607.

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While Young Adult dystopian texts commonly manipulate expectations of time and space, it is largely in a linear sense—projecting futuristic scenarios, shifting the contemporary reader into a speculative space sometimes only slightly removed from contemporary social, political, or environmental concerns (Booker 3; McDonough and Wagner 157). These concerns are projected into the future, having followed their natural trajectory and come to a dystopian present. Authors write words and worlds of warning in a postapocalyptic landscape, drawing from and confirming established dystopian tropes, and af

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Binns, Daniel. "The Allure of Artificial Worlds." M/C Journal 27, no. 6 (2024). http://dx.doi.org/10.5204/mcj.3105.

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Fig. 1: ‘Vapourwave Hall’, generated by the author using Leonardo.Ai, 2024. Introduction With generative AI (genAI) and its outputs, visual and aural cultures are grappling with new practices in storytelling, artistic expression, and meme-farming. Some artists and commentators sit firmly on the critical side of the discourse, citing valid concerns around utility, longevity, and ethics. But more spurious judgements abound, particularly when it comes to quality and artistic value. This article presents and explores AI-generated audiovisual media and AI-driven simulative systems as worlds: virtua

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Collins-Gearing, Brooke. "Reclaiming the Wasteland: Samson and Delilah and the Historical Perception and Construction of Indigenous Knowledges in Australian Cinema." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.252.

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It was always based on a teenage love story between the two kids. One is a sniffer and one is not. It was designed for Central Australia because we do write these kids off there. Not only in town, where the headlines for the newspapers every second day is about ‘the problem,’ ‘the teenager problem of kids wandering the streets’ and ‘why don’t we send them back to their communities’ and that sort of stuff. Then there’s the other side of it. Elders in Aboriginal communities have been taught that kids who sniff get brain damage, so as soon as they see a kid sniffing they think ‘well they’re rubbi

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Rose, Megan Catherine, and Patrick W. Galbraith. "Mutating Hyperfemininity in <em>Bishōjo</em>-Inspired Art." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3168.

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Introduction “With most people, you cannot tell just from looking at them that they are fighting a silent, unseen battle”, says Sugary Symbiote, a Black, disabled, and sapphic artist in the United States. “That is what a lot of my illustrations represent. The girl is surrounded by cute things that make her happy, but she still feels alone and sad” (Sugary Symbiote). Central to her work is the bishōjo, or “cute girl”, drawn from manga, anime, and related media. While scholarship has largely treated bishōjo as objects produced for and by men (Galbraith; Galbraith and Rose), artists such as Sugar

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