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Full-Text Articles in Social and Behavioral Sciences
"Yeah? Well, My God Has A Hammer!": Myth-Taken Identity In The Marvel Cinematic Universe, Jeff Massey Ph.D., Brian Cogan Ph.D.
"Yeah? Well, My God Has A Hammer!": Myth-Taken Identity In The Marvel Cinematic Universe, Jeff Massey Ph.D., Brian Cogan Ph.D.
Faculty Works: ENG (1995-2016)
With box office returns of well over a billion dollars worldwide, The Avengers (2012) clearly struck a chord with audiences beyond Marvel's loyal comic book fan-base. The script is tight, the action intense, the production values high, and the casting stellar, but are these elements enough to warrant the insane popularity of one superhero film amidst a Hollywood landscape already saturated with spandex-clad do-gooders and four-color villainy? As many film critic has lamented of late, we currently live in an age of superhero cinema. Combined, the "Big Two," Marvel and DC, have overseen more than 30 live-action superhero films featuring …
The Power Of Virtual Space, Katherine G. Schmidt Ph.D., Derek C. Hatch
The Power Of Virtual Space, Katherine G. Schmidt Ph.D., Derek C. Hatch
Faculty Works: TRS (2010-2022)
The following essay emerges from the consultation of Evangelical Catholics and Catholic Evangelicals at the 2016 convention of the College Theology Society, which brings together Catholica and Protestant voices concerning a shared topic. In 2016, the theme of liturgy and contemporary social and communications media was in focus. As panelists, we offered complementary papers that have become two sections of this essay. In the first section, Katherine Schmidt provides a theological account of media from a Catholic perspective. Through reflections on the mediatory character of the incarnation, she argues that para-liturgical or extra-liturgical spaces are integral to the Eucharistic assembly …
How 9/11 Changed The Movies: The Tony Scott Barometer, E. Deidre Pribram Ph.D.
How 9/11 Changed The Movies: The Tony Scott Barometer, E. Deidre Pribram Ph.D.
Faculty Publications: Communication
In an essay written some years ago on the 1945 film, Mildred Pierce, Linda Williams raises the intriguing question, why does the narrative frequently allude to but refrains from ever specifically mentioning World War II (22)? Williams’ assessment is that certain films are capable of addressing the most significant political events of the era in ways they could not have had they chosen to use direct depictions (24). Released in October 1945, following the end of U.S. involvement in the war, Mildred Pierce coincided with a period of demobilization and the economic and social reintegration of the returning American, largely …
Seduction, Control, & The Search For Authenticity: Madonna's Truth Or Dare, E. Deidre Pribram Ph.D.
Seduction, Control, & The Search For Authenticity: Madonna's Truth Or Dare, E. Deidre Pribram Ph.D.
Faculty Publications: Communication
Maddonnas' 1991 film Truth or Dare, based on her 1990 “Blond Ambition” tour—itself a combination of pop music and performance art— defies easy categorization. It is a “docudrama” of sorts: part documentary, part concert film, part dramatic enactment. By combining various filmic styles and traditions. Truth or Dare recreates certain long-standing cultural dichotomies between, for instance, onstage and offstage, public and private, reality and appearance, or truth and artifice. The film replicates such oppositions only to then question their continuing validity. Binary distinctions in Truth or Dare prove more apparent than real, more fleeting than differentiating. Ultimately, I believe, …