Women in Marvel Films provides the first rigorous analysis of the portrayals of women, heroic and otherwise, in films based on Marvel comics from the 1980s to the present.
The official comic book prequel to the Netflix television series, written by showrunner Kevin Smith and episode writer Tim Sheridan and featuring art by Mindy Lee (Crimson Lotus). Following a vicious Orlax attack on his father King Randor, He-Man learns the creature is linked to the origin of the sword of power. To save Randor and put an end to the chaos He-Man embarks on an epic journey that pits him against his longtime foes Skeletor and Evil-Lyn, and sees Teela take the reins of a powerful legacy. This graphic novel collects the four issue series Masters of the Universe: Revelations and features covers by Stjepan Sejic and pinups from Mike Mignola, Walt Simonson, Bill Sienkiewicz, and more! Collects Masters of the Universe: Revelation #1–#4.
Comic Book Movies explores how this genre serves as a source for modern-day myths, sometimes even incorporating ancient mythic figures like Thor and Wonder Woman’s Amazons, while engaging with the questions that haunt a post-9/11 world: How do we define heroism and morality today? How far are we willing to go when fighting terror? How can we resist a dystopian state? Film scholar Blair Davis also considers how the genre’s visual style is equally important as its weighty themes, and he details how advances in digital effects have allowed filmmakers to incorporate elements of comic book art in innovative ways. As he reveals, comic book movies have inspired just as many innovations to Hollywood’s business model, with film franchises and transmedia storytelling helping to ensure that the genre will continue its reign over popular culture for years to come.
This book explores representations of Wonder Woman and Captain Marvel in comics and film, as well as political struggles over these works, to illuminate contemporary cultural concerns about gender, sexuality, race, migration, imperialism, and war. It focuses on the only two female superheroes who have long histories grounded in feminist activism and military service, and who have starred in blockbuster origin films at a time when resurgent progressive activism has been met by an emboldened backlash against movements for equality. Interdisciplinary and intersectional, the book employs insights from political science and political economy, feminist theories, critical race theory, postcolonial theory, and queer theory to explore how these characters' feminism and militarism render them particularly appealing and profitable in contentious times. This is a concise, accessible text suitable for students and scholars in comics studies, media studies, film studies, and women's and gender studies.
Hollywood’s live-action superhero films currently dominate the worldwide box-office, with the characters enjoying more notoriety through their feature film and television depictions than they have ever before. This book argues that this immense popularity reveals deep cultural concerns about politics, gender, ethnicity, patriotism and consumerism after the events of 9/11. Superheroes have long been agents of hegemony, fighting for abstract ideals of justice while overall perpetuating the American status quo. Yet at the same time, the book explores how the genre has also been utilized to question and critique these dominant cultural assumptions.
Collects The Mighty Captan Marvel (2016) #0-4. Behold the mightiest, fightiest super hero there is! Captain Marvel returns to her helm as Alpha Flight commander with the world cheering her on. She's the biggest hero in the world - but has Captain Marvel become someone Carol Danvers no longer recognizes?
"Contains material originally published in magazine form as ollecting Women of Marvel (2021) #1, Marvel's Voices (2020) #1, and Girl Comics (2010) #1-3"--Indicia.
Since the turn of the millennium, a growing number of female filmmakers have appropriated the aesthetics of horror for their films. In this book, Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadzihalilovic and Ana Lily Amirpour, who put 'a poetics of horror' to new use in their work, expanding the range of gendered and racialised perspectives in the horror genre. Exploring themes such as rage, trauma, sexuality, family ties and politics, New Blood in Contemporary Cinema takes on avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have enlarged the general scope and stretched the emotional spectrum of the genre.
Working Girls investigates the thematic concerns of contemporary Hollywood cinema, and its ambivalent articulation of women as both active, and defined by sexual performance, asking whether new Hollywood cinema has responded to feminism and contemporary sexual identities. Whether analysing the rise of films centred around female friendships, or the entrance of pop stars such as Whitney Houston and Madonna into film, Working Girls is an authoritative investigation of the presence of women both as film makers and actors in contemporary mainstream cinema.