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Articles 121 - 127 of 127
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Magic And Modernity In Tintin Au Congo (1930) And The Sierra Leone Special Court, René Provost
Magic And Modernity In Tintin Au Congo (1930) And The Sierra Leone Special Court, René Provost
Law Text Culture
Much ink has been spilled over the years on the portrayal of Africa and Africans in the second album on the adventures of Tintin, Tintin au Congo. Written by Hergé in the early 1930s, the book was revised many times in an effort to respond to critiques that is was an apology of colonialism.2 Tintin au Congo tells the story of the encounter between a young, white European and Africa, as imagined by a Belgian artist living in Brussels in the inter-war period; as such, we can understand Tintin as a depiction by its author of a particular vision of …
Spider-Man, The Question And The Meta-Zone: Exception, Objectivism And The Comics Of Steve Ditko, Jason Bainbridge
Spider-Man, The Question And The Meta-Zone: Exception, Objectivism And The Comics Of Steve Ditko, Jason Bainbridge
Law Text Culture
The idea of the superhero as justice figure has been well rehearsed in the literature around the intersections between superheroes and the law. This relationship has also informed superhero comics themselves – going all the way back to Superman’s debut in Action Comics 1 (June 1938). As DC President Paul Levitz says of the development of the superhero: ‘There was an enormous desire to see social justice, a rectifying of corruption. Superman was a fulfillment of a pent-up passion for the heroic solution’ (quoted in Poniewozik 2002: 57).
The Aesthetics Of Supervillainy, Jack Fennell
The Aesthetics Of Supervillainy, Jack Fennell
Law Text Culture
When they first appeared during the ‘Golden Age of Comics’ (1938 to 1954), ‘supervillains’ were little more than eccentric gangsters. Criminals with clear motives, they were distinguished from the norm by their use of technological gimmicks or weird costumes rather than special powers. Genuinely ‘monstrous’ supervillains such as the Joker, Two-Face and the undead Solomon Grundy were in the minority. As Mark Edward DiPaolo says, the ‘Golden Age’ Joker was a ‘sane, Moriarty figure’ (DiPaolo 2009: 205). However, the self-regulation of the American comics industry from 1954, under the auspices of the Comics Code Authority (CCA), created conditions that caused …
‘Riddle Me This…?’ Would The World Need Superheroes If The Law Could Actually Deliver ‘Justice’?, Cassandra Sharp
‘Riddle Me This…?’ Would The World Need Superheroes If The Law Could Actually Deliver ‘Justice’?, Cassandra Sharp
Law Text Culture
As an entertainment and cultural icon, the costumed superhero pervades our culture, and superhero imagery (in both literary and visual forms) is ubiquitous (Morris and Morris 2005: ix).1 Superhero stories present and explore many important and pressing concerns such as ethics, justice, crime, punishment and social responsibility. Originating in the visually stimulating form of comic books, superheroes have transitioned well into other forms of popular culture – ranging from children’s animated television series (such as Superhero Squad or Spectacular Spiderman) through to the slick special-effects laden Hollywood productions (such as Iron Man 2008, Fantastic Four 2005, The Avengers 2012) and …
'Pest' And Resource: A Legal History Of Australia's Kangaroos, Keely Boom, Dror Ben-Ami, David B. Croft, Nancy Cushing, Daniel Ramp, Louise Boronyak
'Pest' And Resource: A Legal History Of Australia's Kangaroos, Keely Boom, Dror Ben-Ami, David B. Croft, Nancy Cushing, Daniel Ramp, Louise Boronyak
Animal Studies Journal
This paper presents an investigation into the legal history of Australia’s kangaroos. It aims to provide a detailed analysis of how the law and policy governing the killing of kangaroos has evolved over time in response to changing public perceptions. This history begins with the pre-European period and traces the impact of European colonisation, early growth of the commercial kangaroo industry, and the increased role of science and regulation upon kangaroos. The paper critiques the historical designation of kangaroos as ‘pests’ that need to be ‘managed’ and argues that such an approach is inconsistent with current scientific understanding. As this …
Comic Book Mythology: Shyamalan’S Unbreakable And The Grounding Of Good In Evil, Timothy D. Peters
Comic Book Mythology: Shyamalan’S Unbreakable And The Grounding Of Good In Evil, Timothy D. Peters
Law Text Culture
‘It’s a classic depiction of Good versus Evil’ Elijah Price tells the potential buyer of a piece of art. This ‘piece of art’ is an early sketch of a battle between two characters in a comic book and is on display at Price’s art gallery, Limited Edition, in the world of M. Night Shyamalan’s 2000 film Unbreakable. Popular culture is replete with such dualities of Good and Evil – the good hero invariably battling the evil villain. One of the clearest spaces where this battle is given visual and bodily form is in the comic book superhero genre that Shyamalan …
This Animal Which Is Not One: Diasporic Giraffes In The African Puppet Play Tall Horse And J. M. Ledgard's Novel Giraffe, Wendy Woodward
This Animal Which Is Not One: Diasporic Giraffes In The African Puppet Play Tall Horse And J. M. Ledgard's Novel Giraffe, Wendy Woodward
Animal Studies Journal
Tall Horse is a play with a life-size animal puppet about a giraffe sent as a royal tribute to post-revolutionary France in the 1820s. Giraffe is a novel about a herd of giraffes taken from Kenya to a Soviet-defined Czechoslovakia in the 1970s in order to breed a new species for ‘the glory of communism’. What pulls these disparate texts into very fruitful engagement is not just the species of animals themselves but why an animal accrues symbolic significance within particular moments in history and culture. Such accruals not only reveal the constructions of human thought but, conversely, may dramatically …