Описание: Since 1940, Captain America has battled his enemies in the name of American values, and as those values have changed over time, so has Captain America's character. Because the comic book world fosters a close fan-creator dialogue, creators must consider their ever-changing readership. Comic book artists must carefully balance storyline continuity with cultural relevance. Captain America's seventy-year existence spans from World War II through the Cold War to the American War on Terror; beginning as a soldier unopposed to offensive attacks against foreign threats, he later becomes known as a defender whose only weapon is his iconic shield. In this way, Captain America reflects America's need to renegotiate its social contract and reinvent its national myths and cultural identity, all the while telling stories proclaiming an eternal and unchanging spirit of America. In Captain America, Masculinity, and Violence, Stevens reveals how the comic book hero has evolved to maintain relevance to America's fluctuating ideas of masculinity, patriotism, and violence. Stevens outlines the history of Captain America's adventures and places the unfolding storyline in dialogue with the comic book industry as well as America's varying political culture. Stevens shows that Captain America represents the ultimate American story: permanent enough to survive for nearly seventy years with a history fluid enough to be constantly reinterpreted to meet the needs of an ever-changing culture.
Автор: Perron, Bernard (university Of Montreal, Canada) Название: World of scary video games ISBN: 1501316192 ISBN-13(EAN): 9781501316197 Издательство: Bloomsbury Academic Рейтинг: Цена: 5859.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: As for film and literature, the horror genre has been very popular in the video game. The World of Scary Video Games provides a comprehensive overview of the videoludic horror, dealing with the games labelled as “survival horror” as well as the mainstream and independent works associated with the genre. It examines the ways in which video games have elicited horror, terror and fear since Haunted House (1981). Bernard Perron combines an historical account with a theoretical approach in order to offer a broad history of the genre, outline its formal singularities and explore its principal issues. It studies the most important games and game series, from Haunted House (1981) to Alone in the Dark (1992- ), Resident Evil (1996-present), Silent Hill (1999-present), Fatal Frame (2001-present), Dead Space (2008-2013), Amnesia: the Dark Descent (2010), and The Evil Within (2014). Accessibly written, The World of Scary Video Games helps the reader to trace the history of an important genre of the video game.
Описание: Kelly Oliver examines popular culture`s fixation on representing young women as predators and prey and the implication that violence-especially sexual violence-is an inevitable part of a woman`s maturity. She discusses campus rape, the valorization of woman`s lack of consent, and the new urgency to implement affirmative consent policies.
Автор: Earle Harriet E. H. Название: Comics, Trauma, and the New Art of War ISBN: 1496812468 ISBN-13(EAN): 9781496812469 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 13794.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in waysthat are both different from and complementary to literature and film. In Comics, Trauma, and the New Art of War, Harriet E. H. Earle brings together two distinct areas of research—trauma studies and comics studies—to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in post–Vietnam War American comics, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible.Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma.Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary andvisual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms.With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. These works include Alissa Torres’s American Widow, Doug Murray’s The’Nam, and Art Spiegelman’s much lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways.
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