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This book explores ways in which screen-based storyworlds transfix,
transform, and transport us imaginatively, physically, and
virtually to the places they depict or film. Topics include fantasy
quests in computer games, celebrity walking tours, dark tourism
sites, Hobbiton as theme park, surf movies, and social gangs of
Disneyland. How physical, virtual, and imagined locations create a
sense of place through their immediate experience or visitation is
undergoing a revolution in technology, travel modes, and tourism
behaviour. This edited collection explores the rapidly evolving
field of screen tourism and the affective impact of landscape, with
provocative questions and investigations of social groups, fan
culture, new technology, and the wider changing trends in screen
tourism. We provide critical examples of affective landscapes
across a wide range of mediums (from the big screen to the small
screen) and locations. This book will appeal to students and
scholars in film and tourism, as well as geography, design, media
and communication studies, game studies, and digital humanities.
This book explores ways in which screen-based storyworlds transfix,
transform, and transport us imaginatively, physically, and
virtually to the places they depict or film. Topics include fantasy
quests in computer games, celebrity walking tours, dark tourism
sites, Hobbiton as theme park, surf movies, and social gangs of
Disneyland. How physical, virtual, and imagined locations create a
sense of place through their immediate experience or visitation is
undergoing a revolution in technology, travel modes, and tourism
behaviour. This edited collection explores the rapidly evolving
field of screen tourism and the affective impact of landscape, with
provocative questions and investigations of social groups, fan
culture, new technology, and the wider changing trends in screen
tourism. We provide critical examples of affective landscapes
across a wide range of mediums (from the big screen to the small
screen) and locations. This book will appeal to students and
scholars in film and tourism, as well as geography, design, media
and communication studies, game studies, and digital humanities.
Marvel Studios' approach to its Cinematic Universe-beginning with
the release of Iron Man (2008)-has become the template for
successful management of blockbuster film properties. Yet films
featuring Marvel characters can be traced back to the 1940s, when
the Captain America serial first appeared on the screen. This
collection of new essays is the first to explore the historical,
textual and cultural context of the larger cinematic Marvel
universe, including serials, animated films, television movies,
non-U.S. versions of Marvel characters, films featuring characters
licensed by Marvel, and the contemporary Cinematic Universe as
conceived by Kevin Feige and Marvel Studios. Films analyzed include
Transformers (1986), Howard the Duck (1986), Blade (1998), Planet
Hulk (2010), Iron Man: Rise of Technovore (2013), Elektra (2005),
the Conan the Barbarian franchise (1982-1990), Ultimate Avengers
(2006) and Ghost Rider (2007).
At a time when popular solutions to the educational plight of poor
children of color are imposed from the outside-national standards,
high-stakes tests, charismatic individual saviors-the acclaimed
Algebra Project and its founder, Robert Moses, offer a vision of
school reform based in the power of communities. Begun in 1982, the
Algebra Project is transforming math education in twenty-five
cities. Founded on the belief that math-science literacy is a
prerequisite for full citizenship in society, the Project works
with entire communities-parents, teachers, and especially
students-to create a culture of literacy around algebra, a crucial
stepping-stone to college math and opportunity.
Telling the story of this remarkable program, Robert Moses draws on
lessons from the 1960s Southern voter registration he famously
helped organize: 'Everyone said sharecroppers didn't want to vote.
It wasn't until we got them demanding to vote that we got
attention. Today, when kids are falling wholesale through the
cracks, people say they don't want to learn. We have to get the
kids themselves to demand what everyone says they don't want.'
We see the Algebra Project organizing community by community. Older
kids serve as coaches for younger students and build a
self-sustained tradition of leadership. Teachers use innovative
techniques. And we see the remarkable success stories of schools
like the predominately poor Hart School in Bessemer, Alabama, which
outscored the city's middle-class flagship school in just three
years.
"Radical Equations" provides a model for anyone looking for a
community-based solution to the problems of our disadvantaged
schools.
Contributions by Jerold J. Abrams, Jose Alaniz, John Carey, Maurice
Charney, Peter Coogan, Joe Cruz, Phillip Lamarr Cunningham, Stefan
Danter, Adam Davidson-Harden, Randy Duncan, Stephen Graham Jones,
Richard Hall, Richard Heldenfels, Alberto Hermida, Victor
Hernandez-Santaolalla, A. G. Holdier, Tiffany Hong, Siegfried
Kracauer, Naja Later, Ryan Litsey, Tara Lomax, Tony Magistrale,
Matthew McEniry, Cait Mongrain, Grant Morrison, Robert Moses
Peaslee, David D. Perlmutter, W. D. Phillips, Jerod Poon, Duncan
Prettyman, Vladimir Propp, Noriko T. Reider, Robin S. Rosenberg,
Hannah Ryan, Lennart Soberon, J. Richard Stevens, Lars
Stoltzfus-Brown, John N. Thompson, Dan Vena, and Robert G. Weiner.
The Supervillain Reader, featuring both reprinted and original
essays, reveals why we are so fascinated with the villain. The
obsession with the villain is not a 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 rich tapestry of thought
regarding villains in all their manifestations, including film,
literature, television, games, and, of course, comics and
sequential art. While The Supervillain Reader focuses on the
latter, it moves beyond comics to show how the vital concept of the
supervillain is part of our larger consciousness. Editors Robert
Moses Peaslee and Robert G. Weiner collect pieces that explore how
the villain is a complex part of narratives regardless of the
original source. The Joker, Lex Luthor, Harley Quinn, Darth Vader,
and Magneto must be compelling, stimulating, and proactive, whereas
the superhero (or protagonist) is most often reactive. Indeed,
whether in comics, films, novels, religious tomes, or videogames,
the eternal struggle between villain and hero keeps us coming back
to these stories over and over again.
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Yale Verse (Hardcover)
Robert Moses, Carl Hammond Philander Thurston
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R917
Discovery Miles 9 170
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Ships in 10 - 15 working days
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This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
Retrieved after World War II from metal boxes and milk cans
buried beneath the ruins of the Warsaw Ghetto, the Oyneg Shabes
Ringelblum Archive was clandestinely compiled between 1940 and 1942
under the leadership of historian Emanuel Ringelblum. Members of
the secret Oyneg Shabes organization gathered thousands of
testimonies from natives of Warsaw and refugees from hundreds of
other localities, creating a documentary record of the wartime fate
of Polish Jewry. Now housed in the Jewish Historical Institute in
Warsaw, the archive comprises some 35,000 pages, including
documents, materials from the underground press, photographs,
memoirs, belles lettres, and much more. This first comprehensive
description of its contents is meticulously indexed to facilitate
location of documents and information. By aiding access to this
unique archival treasure, the catalog and guide advance study of
the daily lives, struggles, and sufferings of Polish Jews at a
crucial time and place in the history of the Holocaust."
In his comprehensive examination of the Lodz Ghetto, originally
published in Yiddish in 1962, historian Isaiah Trunk sought to
describe and explain the tragedy that befell the Jews imprisoned in
the first major ghetto imposed by the Germans after they invaded
Poland in 1939. Lodz had been home to nearly a quarter million
Jews. When the Soviet military arrived in January 1945, they found
877 living Jews and the remains of a vast industrial enterprise
that had employed masses of enslaved Jewish laborers. Based on an
exhaustive study of primary sources in Yiddish, Hebrew, Polish,
German, and Russian, Isaiah Trunk, a former resident of Lodz,
reconstructs the organization of the ghetto and discusses its
provisioning; forced labor; diseases and mortality; crime and
deportations; living conditions; political, social, and cultural
life; and resistance. Included are translations of the 141
documents that Trunk reproduced in his volume."
Contributions by Jerold J. Abrams, Jose Alaniz, John Carey, Maurice
Charney, Peter Coogan, Joe Cruz, Phillip Lamarr Cunningham, Stefan
Danter, Adam Davidson-Harden, Randy Duncan, Stephen Graham Jones,
Richard Hall, Richard Heldenfels, Alberto Hermida, Victor
Hernandez-Santaolalla, A. G. Holdier, Tiffany Hong, Siegfried
Kracauer, Naja Later, Ryan Litsey, Tara Lomax, Tony Magistrale,
Matthew McEniry, Cait Mongrain, Grant Morrison, Robert Moses
Peaslee, David D. Perlmutter, W. D. Phillips, Jerod Poon, Duncan
Prettyman, Vladimir Propp, Noriko T. Reider, Robin S. Rosenberg,
Hannah Ryan, Lennart Soberon, J. Richard Stevens, Lars
Stoltzfus-Brown, John N. Thompson, Dan Vena, and Robert G. Weiner.
The Supervillain Reader, featuring both reprinted and original
essays, reveals why we are so fascinated with the villain. The
obsession with the villain is not a 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 rich tapestry of thought
regarding villains in all their manifestations, including film,
literature, television, games, and, of course, comics and
sequential art. While The Supervillain Reader focuses on the
latter, it moves beyond comics to show how the vital concept of the
supervillain is part of our larger consciousness. Editors Robert
Moses Peaslee and Robert G. Weiner collect pieces that explore how
the villain is a complex part of narratives regardless of the
original source. The Joker, Lex Luthor, Harley Quinn, Darth Vader,
and Magneto must be compelling, stimulating, and proactive, whereas
the superhero (or protagonist) is most often reactive. Indeed,
whether in comics, films, novels, religious tomes, or videogames,
the eternal struggle between villain and hero keeps us coming back
to these stories over and over again.
Along with Batman, Spider-Man, and Superman, the Joker stands out
as one of the most recognizable comics characters in popular
culture. While there has been a great deal of scholarly attention
on superheroes, very little has been done to understand
supervillains. This is the first academic work to provide a
comprehensive study of this villain, illustrating why the Joker
appears so relevant to audiences today. Batman's foe has cropped up
in thousands of comics, numerous animated series, and three major
blockbuster feature films since 1966. Actually, the Joker debuted
in DC comics Batman 1 (1940) as the typical gangster, but the
character evolved steadily into one of the most ominous in the
history of sequential art. Batman and the Joker almost seemed to
define each other as opposites, hero and nemesis, in a kind of
psychological duality. Scholars from a wide array of disciplines
look at the Joker through the lens of feature films, video games,
comics, politics, magic and mysticism, psychology, animation,
television, performance studies, and philosophy. As the first
volume that examines the Joker as complex cultural and cross-media
phenomenon, this collection adds to our understanding of the role
comic book and cinematic villains play in the world and the ways
various media affect their interpretation. Connecting the Clown
Prince of Crime to bodies of thought as divergent as Karl Marx and
Friedrich Nietzsche, contributors demonstrate the frightening ways
in which we get the monsters we need.
Along with Batman, Spider-Man, and Superman, the Joker stands out
as one of the most recognizable comics characters in popular
culture. While there has been a great deal of scholarly attention
on superheroes, very little has been done to understand
supervillains. This is the first academic work to provide a
comprehensive study of this villain, illustrating why the Joker
appears so relevant to audiences today. Batman's foe has cropped up
in thousands of comics, numerous animated series, and three major
blockbuster feature films since 1966. Actually, the Joker debuted
in DC comics Batman 1 (1940) as the typical gangster, but the
character evolved steadily into one of the most ominous in the
history of sequential art. Batman and the Joker almost seemed to
define each other as opposites, hero and nemesis, in a kind of
psychological duality. Scholars from a wide array of disciplines
look at the Joker through the lens of feature films, video games,
comics, politics, magic and mysticism, psychology, animation,
television, performance studies, and philosophy. As the first
volume that examines the Joker as complex cultural and cross-media
phenomenon, this collection adds to our understanding of the role
comic book and cinematic villains play in the world and the ways
various media affect their interpretation. Connecting the Clown
Prince of Crime to bodies of thought as divergent as Karl Marx and
Friedrich Nietzsche, contributors demonstrate the frightening ways
in which we get the monsters we need.
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