Oxford University Press's
Academic Insights for the Thinking World
Comics is both a medium—although some would say it’s an art form—as well as the texts produced in that medium. Publication formats and production modes differ: for instance, comics can be short-form or long-form, serialized or stand-alone, single panel or sequential panels, and released as hardcovers, trade paperbacks, floppies, ‘zines, or in various digital formats. […]
This summer’s epic blockbuster, Wonder Woman, is a feast of visual delights, epic battles, and Amazons. The young Diana, “Wonder Woman,” is, we quickly learn, no ordinary Amazon. In fact, though she is raised by the Amazon queen Hippolyta and trained to be a formidable warrior by her aunt Antiope, both of whom are regularly featured Amazons in Greek myth, she turns out to be not an Amazon at all but a god, whom Zeus has given to the Amazons to raise.
There aren’t many areas in literature where men are under-represented, but it’s safe to say that in children’s fiction, men – and fathers in particular – have been largely overlooked. And deliberately so. Adult carers with a sense of responsibility have been ousted from the action because of their exasperating tendency to step in and take control. Children’s authors don’t want competent adults interfering and solving problems.
While watching the first episode of Luke Cage, I noticed something of a minor miracle. Starting from the amazing opening credits sequence, you could actually count the minutes before a single non-black face graced the screen. Every character of consequence, heroic or villainous, was black. Not only that, they were characters well-versed in blackness, however stereotypical.
Another summer, another season of superhero movies. Big budgets, big muscles, big explosions: Each release only strengthens the genre’s domination of Hollywood—and the sense that comic-book franchises make up a contemporary mythology, and superheroes are its gods. Among this year’s offerings is X-Men: Apocalypse, which opened the last week of May.
Sure, imagination is powerful. But can it really change the world? Indeed, it is tempting to answer “no” here — to disagree with Glaude about the transformative power of imagination. After all, imagination is the stuff of fancy, of fiction, of escape. We daydream to get away from the disappointing monotony of daily life.
The screen is so unremarkable in its ubiquity that it might seem to take going out to the very limits to make us aware of the extent to which image projection has become our very condition. Take the migration of the phrase “screen time” from its place in film analysis as the descriptor for the edited duration of an action on screen.
Because nothing noteworthy occurred anywhere in the world through the month of August and the first half of September, the local news in New York City turned its attentions to a few women who have apparently been bothering people in the otherwise calm, decent section of Manhattan known as Times Square.
Among this year’s Oscar nominees for Best Picture were two films with drum scores: Whiplash, in which a highly regarded but abusive conductor molds an aspiring young jazz musician into the genius he was meant to be, and Birdman, in which an aging film actor who was never a genius at all stars in a play and possibly flies. In spite of their innovative soundtracks, neither film received an Oscar nomination for Best Original Score.
In order to spread some festive cheer, Blackstone’s Policing has compiled a watchlist of some of the best criminal Christmas films. From a child inadvertently left home alone to a cop with a vested interest, and from a vigilante superhero to a degenerate pair of blaggers, it seems that (in Hollywood at least) there’s something about this time of year that calls for a special kind of policing. So let’s take a look at some of Tinseltown’s most arresting Christmas films.
OUP author Diana Walsh Pasulka recently caught up with fellow scholar of religion and fellow OUP author, Jeffrey J. Kripal, to discuss the study of the supernatural and the paranormal within the university.
Dan W. Clanton, Jr., a Professor of Religious Studies at Doane College, has devoted much of his academic career to the intersection of religion and culture, lecturing and publishing on topics as diverse as the depictions of Hanukkah on the television show South Park and the overlap between the book of Jonah and the comic book Jonah Hex.
Back in June, we asked you to tell us your favorite superpower. After reviewing several entries, our expert panel of judges has selected Gary Zenker’s piece on “The super power I want most.
By Arthur P. Shimamura
As a child, I encountered the Man of Steel in the Adventures of Superman, the 1950s TV series that I watched as morning reruns a decade later. My Superman was “faster than a speeding bullet” and fought for “truth, justice and the American way.” My 26-year-old son, Thomas, encountered a similarly invincible superhero in Superman: The Movie, the 1978 blockbuster which starred Christopher Reeve.
By Robin Rosenberg
I like Superman—as a character, as a superhero, as an embodiment of (certain) values. I looked forward to seeing Man of Steel this summer. Although I was disappointed, I’ll start with its strengths. Warning: Spoilers ahead.
Is it a bird? Is it a plane? Is it another Superman-related blogpost to tie in with today’s release of Man of Steel? Hold on to the bulging blue bicep of Oxford University Press and prepare to gaze below in wonder as we take you on a ride over the past 80 years of Superman.