Iron Man

The goal is to propose an achievable roadmap for creating AI systems that feel as accessible as fictional portrayals, while grounded in present technological and social realities. Summary of Contributions 1. Bridging Fiction and Reality-mapping "Jarvis" from pop culture into technically viable AI functions.

Based on the author's doctoral thesis, this book is part of the prestigious Edinburgh University Press Film, Media and Cultural Studies series, which includes previous books on American independent cinema (Tzioumakis, 2017; Rogers, 2015). Historically, the role of the independent film-maker was understood to rest on a daring, innovative form of film-making, emerging in the 1970s and 1980s, which operated outside of and in opposition to the aesthetic norms and commercial objectives of the Hollywood mainstream. Independent filmmakers sought to minimise their aesthetic and economic dependence on the major Hollywood studios. By the late 1990s, independent cinema had been consolidated as a cinematic sub-field with its own institutions, aesthetic norms, forms of financing, distribution and exhibition, embedded in speciality divisions of the major studios. With the 2008 financial crash, the major studios began closing or cutting back on their involvement in specialty production, refocusing on the production of event films and franchises. The advent of platforms, streaming, and the "cinematization" of television by the long-form series resulted in a global expansion in the demand for audiovisual products. This was followed by the expansion in small-to medium-size studios supplying sub-cultural niche markets, which were hoping to break into the global value chains controlled by conglomerate Hollywood and streaming platforms such as Amazon and Netflix (Parker and Cox, 2013; King, 2016, McDonald and Wasko, 2008). The success of streaming platforms encouraged the major studios to cultivate an elite of indieauteurs. This intervention restructured the independent sector into three modes of production: "Indie" low-cost and digital film making that departs from established Hollywood genres and film conventions; "Indiewood" film productions that stay within the aesthetic paradigms of the Hollywood cinema in order to make "quirky" modest budget features with the potential to crossover to a mass market; and the upper echelon studio-based big budget event films that aim to exploit the global market and its associated merchandising spin offs (Tzioumakis, 2014). These developments call for the reconsideration of traditional ideas concerning the nature of authorship and creative autonomy in Hollywood. Taking what is defined as a production of culture approach, the primary purpose of this book is to track the power dynamics between the major film studios and independent film makers in the era of media convergence, deregulation and neoliberal

For my poster presentation at the APA Division 10 Conference, I explored the conceptualization of complex trauma through Tony Stark with an emphasis on the susceptibilities and comorbidities it entails. The poster differentiates simple PTSD, C-PTSD, and complex trauma while discussing treatment challenges for complex trauma. It examines how Stark's experiences in the Marvel Cinematic Universe illustrate the complexities of trauma, pre-existing susceptibilities, comorbidities, and treatment challenges. The poster highlights the need for further development and research in holistic complex trauma therapies outside of the pre-existing measures of EMDR and CBT while showing how cinematic films could be used for trauma informed psychotherapy.

In his documentary film Herbaria (Argentina, 2022), Leandro Listorti traces an original and relational audiovisual itinerary between two forms of record and conservation not evidently related: botanical museums and the film´s archives. Thorough a transdisciplinary and transcontinental dialogue extended from the XIX century up to the present, Listorti crosses diverse stories, experiences and interviews carried out in some archives in Argentina (Museo de Ciencias Naturales Bernardino Rivadavia, Museo del Cine, Buenos Aires) and Germany (Botanischen Garten und Botanischen Museum, Deutsche Kinemathek, Berlin), revealing the colonialist logics implied in its constitutions. Moreover, this documentary film compares the vegetal raw material with  film  through its process of preservation and  construction of alternative cultural memories; undertakings which manifest the certainty of the current extinction of both material universes, in times of planetary catastrophes (Stengers, 2017). “More than 500 plant species have disappeared from Earth In recent history. Never will we know them. More than half of  sound films made on film material have been lost and more than 90 % of silent films cinema too”: from this comparative diagnosis, the documentary film explores -in an insightful and creative way- the politics of preservation of natural and artistic heritage. For all that has been said, this presentation invites us to think critically about the role played by the modern classificatory enterprise and its criteria of knowledge and collecting, in the fields of science and art, from a materialist and postnaturalist perspective.

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American national identity has received much attention from multidisciplinary fields of research. Thus, this research deals with the role of heroes and villains in reflecting on post-9/11 events—specifically in Captain America: The First Avenger (2011). The focus is directed toward the symbolic meanings of the main characters in the chosen movie. Through cinematic representations, this research highlights the nexus between heroization, villainization, and the American national identity. The confrontations between American heroes and foreign villains in entertainment reflect America’s global positioning as a superpower fighting “evil.” I chose a qualitative research method to prove this hypothesis. I conducted a thematic analysis that involves decoding the main characters by examining their binary opposition and representation of the U.S. and the foreign enemy and their connotations within the broad context of reasserting and repositioning the U.S. as a global power after 9/11. I als...

Series-based films are another form of film that is deliberately made in a series of several short films that break the plot as a whole into several episodes. As it is known today as "The Avengers". Captain America, which was originally held by Steve Rogers, is now taken over by Sam Wilson or commonly called Falcon. The story of Sam Wilson who eventually transformed into Captain America is told in the form of a series titled The Falcon and Winter Soldier. The method used in this study is the theory of visual culture according to Nicholas Mirzoeff in a book by Margaret Dikovitskaya, 2005. This paper aims to show that the issue of racism is still a social issue that is intensively fought, because differences should not be a problem for every human being to continue to support each other. Anyone deserves respect no matter what their background, and appearance. In this series, which has a superhero theme with six episodes, it depicts how a person struggles to believe in himsel...

On the one hand, there have started into life industrial and scientific forces, which no epoch of the former human history had ever suspected. On the other hand, there exist symptoms of decay, far surpassing the horrors of the later times of the Roman Empire. In our days everything seems pregnant with its contrary. Karl Marx, Speech at the Anniversary of the People's Paper Nun muss sich alles, alles ändern. [Now all, all has to change] Ludwig Uhland, Frühlingsglaube [Spring Belief, also lied by Schubert]

The history of superheroines is one of tensions, contradictions and difficulties. Squirrel Girl is no stranger to these, and her journey through the last twenty years of Marvel comic books has not been easy. In her debut in Marvel Super-Heroes #8 (S. Ditko and W. Murray, 1992), Squirrel Girl failed to become Iron Man's sidekick even though she saved him from Doctor Doom. Despite initial success, at least in terms of the narrative, Squirrel Girl disappeared for over ten years. When she reappeared in 2005, Squirrel Girl was in rather less illustrious surroundings-outside continuity. This article tracks the career of Squirrel Girl, focusing on strategies of narrative and visual representation and the relationship of the character to the structuring principle of continuity. Squirrel Girl demonstrates the ability to wield considerable power outside continuity but even here, where the victories of a woman can be easily disavowed thanks to their structural position within the Marvel universe, Squirrel Girl is still problematic. Various strategies of containment are implemented and this article will engage with these, demonstrating continuity and discontinuity in these policies as Squirrel Girl is ultimately drawn into continuity. Through a close critical reading of Squirrel Girl's appearances, then, this article will provide initial insights into how powerful women are simultaneously promoted and contained by superhero narratives.

This research discusses how superhero and supervillain characters in the film Iron Man 3 (2013) shows a power relation as a form of superhuman superiority. The power relation that occur through the conflict between characters are seen as an establishment of social stratifi cation among superhuman and normalhuman / society as cultural study. This study is conducted thematically through characterizations analysis method by comparing the defi nition and ideology on the superhero and supervillain in superhero characters, Iron Man and the Iron Patriot, and supervillain character, Mandarin. This study aims to fi nd the root of power relation to the establishment of class structures in the society. By reviewing the defi nition and ideology on these characters, this study is expected to give a broader view of superhuman characters and help the reader to understand the value delivered from superhero character. As a conclusion, the potrayals of the superhero and supervillain characters in the...

This research discusses how superhero and supervillain characters in the film Iron Man 3 (2013) shows a power relation as a form of superhuman superiority. The power relation that occur through the conflict between characters are seen as an establishment of social stratifi cation among superhuman and normalhuman / society as cultural study. This study is conducted thematically through characterizations analysis method by comparing the defi nition and ideology on the superhero and supervillain in superhero characters, Iron Man and the Iron Patriot, and supervillain character, Mandarin. This study aims to fi nd the root of power relation to the establishment of class structures in the society. By reviewing the defi nition and ideology on these characters, this study is expected to give a broader view of superhuman characters and help the reader to understand the value delivered from superhero character. As a conclusion, the potrayals of the superhero and supervillain characters in the...

Résumé :
Le Marvel Cinematic Universe (MCU) est à ce jour la plus importante franchise cinématographique du groupe Disney (Studio Marvel), mettant en avant la vie des super-héros dans une architecture de ville et des décors de cinéma à la fois ordinaires et à grand spectacle comme les expositions universelles new-yorkaises. Dans ce contexte, les éléments d’une archifiction se déclinent au service de la narration scénaristique, mais aussi du marketing des loisirs. Un lien indissociable se fait jour entre le cinéma et les expositions universelles à travers les décors d’architecture comme un élément de mise en scène et en récit de la ville dans une scénographie au service du divertissement et des scénarios. L’histoire et la géographie des expositions universelles se recoupent avec l’histoire et la pratique cinématographique - télévisuelle (animation et comics) de notre monde contemporain. De plus, le cinéma et ses dispositifs nous aident à penser et à voir les villes du MCU à travers deux temporalités complémentaires : la diégèse et l’imaginaire des films de super-héros et l’histoire avérée des expositions universelles tenues aux États-Unis. Enfin, le transmédia et l’architecture des expositions universelles sont intimement liés à une culture et architecture des parcs d’attraction du groupe Disney offrant aux développeurs (imagineers) un univers facilement transposable et identifiable pour les consommateurs, dans un marketing et une communication savamment réfléchis allant de la conception des films à la post production.

Mots-clés : architecture, transmedia, super-héros, marketing, exposition universelle.

Abstract: The Marvel Cinematic Universe and the architecture of the World's fairs, a new urban design between fiction and reality
The Marvel Cinematic Universe (MCU) is the Disney group's largest film franchise (Studio Marvel) worldwide to date, showcasing the lives of superheroes in city-style architecture and movie sets, both ordinary and with great spectacles like New-York world’s fairs. In this setting, the effects of an archifiction are available in the service of script storytelling, but also of leisure marketing. An inseparable link emerges between cinema and world’s fairs through architectural decors as an element of staging and narration of the city in a scenography at the service of entertainment, scenarios and leisure. Moreover, the history and geography of the world's fairs intersect with the history and practice of film - television (animation and comics) of our contemporary world. But the cinema and its devices help us think about and see the cities of the MCU through two additional temporalities: the diegesis and the imaginaryof superhero films and the proven history of world’s fairs held in the United States. Finally, transmedia and the architecture of world’s fairs are intimately linked to the culture and architecture of the Disney group's amusement parks, offering developers - imagineers a universe that is easily transposable and identifiable for consumers in a carefully thought-out marketing and communication, ranging from film design to post production.
Keywords: architecture, transmedia, superheroes, marketing, world’s fair.

Citer cet article : Ballester, Patrice, «Le Marvel Cinematic Universe et l’architecture des expositions universelles. Un nouveau design urbain entre fiction et réalité », archifictions futurs#1, épisode 9, 1er juin 2022. 33p. https://archifictions.org/

L'objectif de cette thèse est de montrer le déclin de la figure du superhéros dans les films américains après le 11 Septembre. Les films de superhéros n?ont jamais été si nombreux. Jamais le moral du superhéros n'a été si bas. Ce paradoxe trouve sa meilleure illustration dans l'image double de Batman relégué au ras du sol, alors que le symbole commercial de la chauve-souris brille au firmament de Gotham City. La marchandise culturelle transcenderait donc un superhéros considérablement amoindri. Ce travail se concentre sur trois domaines en particulier : la perte de masculinité du superhéros à la fin du siècle dernier, qui amène à une confrontation symbolique entre le quarterback et la majorette, ou entre Superman et un hypothétique Everyman, et la réémergence d'un monomythe réactionnaire après 2005 ; les errances d'un Surmoi freudien affaibli, et sa relation fluctuante avec un Ça très séduisant, incarné par le superméchant du vingt-et-unième siècle ; la toile de ...

Joker merupakan film psychological thriller yang rilis pada tahun 2019. Film ini dibuat berdasarkan komik DC dan dibintangi oleh Joaquin Phoenix sebagai sang Joker. Film ini mengisahkan seorang badut ditahun 1981 yang sangat menyukai stand-up komedi, namun berujung menjadi seorang kriminal yang memulai revolusi dengan cara kekerasan yang melawan ekonomi politik kota Gotham. Film ini berisikan cukup banyak tindakan kekerasan yang terlihat sangat realistis dan kejam, mulai dari penembakan hingga kekerasan benda tajam. Film ini juga tergolong unik karena mengangkat isu psikologi dan gangguan mental pada tokoh utama nya yang mana masih jarang ditemukan pada film-film action lainnya.

The article contains an analysis of comics from Marvel Comics, published between the second half of 2001 and the end of 2004. With the mixed methods approach (quantitative and qualitative research), the criterion for the analysis is appearance of and references to the socio-political dilemma of the conflict between ensuring national security and respecting civil liberties. It was one of the most important topics of debate for American society after the terrorist attacks of 9/11 in the sphere of politics and law in the US. The analysis aims to discover the number of comics that dealt with the subject of this post-9/11 dilemma, as well as to categorize individual stories, with the use of Jonathan Culler’s over-interpretation, as supporting the priority of national security or advocating for the importance of civil liberties. With these data, it will be possible to determine the political tone of individual comics, as well as to establish the views of the artists working for Marvel Com...

With Superhero Masculinity, we find that modern myths called Superheroes offer us a way of "connecting with the story" as ordinary men with extraordinary goals for ourselves. Modern parables of such Superheroes offer us the idea of an "alter ego"-men who… have to "pull out the special powers" for challenges they face. Enter the Superhero instincts. In this program you are going to see eight remarkable stories, eight Superheroes, and eight or more male instincts that you cannot do without in everyday life as a man."-Men's Psychology.com advertising a course on "Superhero masculinity" Released for the summer 2012 box office season, The Avengers made billions of dollars, garnered a gargantuan fan base, and has been labelled (not without controversy) a groundbreaking feminist superhero film (Hearns 2012). Directed by feminist Joss Whedon, The Avengers recalls Whedon's previous "gender blind" casting in the Buffy the Vampire Slayer television series (Hearns 2012). As Scott Mendelson notes, "the women in The Avengers are absolutely equals to the respective men in their fields, and Whedon knows that this is not something that needs to be noted or explained." (Mendelson 2012) For example, the fact that Black Widow, the only female Avenger superhero, is as capable as her male superhero peers, and that Agent Maria Hill is high in the ranks of the spy agency S.H.I.E.L.D., is taken for granted as an unremarkable equality between men and women. Whedon also nonchalantly populates half of the S.H.I.E.L.D. roster with women, who are not stereotyped as overly sexual or masculine (as are most female characters in action, spy, or superhero films) (Mendelson 2012). Whedon thus

The Captain America trilogy exemplifies American ideals: individuality, democracy, liberty, equality, and patriotism through the life and identity of its protagonist Steve Rogers. From the blatant display of American cultures to American values to the artistic imitation of American policies, the Captain America trilogy incorporates all mentioned elements and presents the world the compelling stories where heroes are created, sacrifices are made, damages are done—all for the protection of humanity. As the curtain closes, superheroes always emerge as the saviors—to all. The assertion of power, as the trilogy demonstrates, is no longer through the brutal force of military power but wielded through soft power, namely culture, values, and policies. Only through careful analysis of the storyline, character traits, dialogues, and images, one may discover hidden messages in the art that imitates life. As stated by Joseph Nye (1990), a political scientist, “the best propaganda is not propaga...

This paper examines media-propagated orientalism and Western hegemony in relation to the Middle East. There are countless films that portray Arabs as monodimensionally evil villains. One such film is the 2008 blockbuster Iron Man. This paper analyzes orientalism and hegemonic constructs in Iron Man and some of the effects and messages that Iron Man promotes.

Kemarahan merupakan emosi negatif yang dimiliki manusia. Kemarahan timbul karena perlakuan atau tindakan buruk yang orang lain lakukan kepada seseorang. Kemarahan digambarkan dalam film dengan representasi yang berbeda-beda.Salah satu film yang merepresentasikan kemarahan yaitu The Foreigner. Tujuan penelitian ini untuk melihat tahap kemarahan pada tokoh Minh Quan di film The Foreigner. Pendekatan penelitian ini menggunakan pendekatan kualitatif dan paradigma konstruktivisme, dengan metode analisis isi Segitiga Makna oleh Semiotika Charles Sanders Peirce (sign, object, interpretant) dan teori yang digunakan adalah teori Konstruksi Realitas Sosial di media massa. Hasil penelitian ini menunjukkan bahwa kemarahan yang di representasikan dalam Film The Foreigner pada tokoh Minh Quan merupakan contoh kemarahan yang tidak terkontrol dengan baik. Kemarahan tersebut dilampiaskan kepada orang yang telah menyakitinya melalui cara bicara, gesture tubuh, hingga melakukan tindakan agresi berupa ...

The Marvel Cinematic Universe (MCU) now spans dozens of films, TV shows, and web series, dating back to 2008’s Iron Man. The enormous success of that film provided a sort of template that Marvel has followed almost to the letter in most of its successors, especially in regards to its flippant tone and wise-cracking main character. As Stephen Kearse observes, humor has become one of the defining characteristics of this immensely-popular and long-running media franchise: “As Marvel has produced more sequels and standalone spinoffs, comedy has become more essential to introducing characters and giving the universe a sense of history.” As in Iron Man, this humor often takes the form of ironic or sarcastic remarks given at a rapid-fire pace by the main characters; regardless of how dire or incredible the situation may seem, someone is always ready to lighten the mood with a quick joke or muttered aside.

In this essay, I plan to focus on irony in the MCU, especially as manifested by Tony Stark / Iron Man (who is portrayed by Robert Downey, Jr. in all of the films). Whether facing a personal crisis or world-threatening event, there is no situation Tony cannot bring himself to laugh at, in an attempt to either reduce the stakes or bolster his own courage to face it. Accordingly, there is very little he ever comes to take seriously, resulting in a detached, ironic attitude that permeates the rest of the franchise. The series’ reliance on humor is, I believe, symptomatic of a larger, and very worrying, trend in modern society to look upon all things supernatural or fantastic with skepticism and wry bemusement. Just as Iron Man—and the rest of the Avengers—cannot face a dangerous or terrifying situation without trying to diminish it, through irony, into something less serious or real, so, too, do modern humans often respond to encounters with the Good, Beautiful, or Truthful.

A wide variety of studies has identified a significant correlation between the income of a film and its genre. Unveiling that with newer genres and new audiences, certain movies experience more success than others. Here the researcher institutes a content analysis in which 12 live-action ‘superhero’ films are viewed and evaluated based on a sophisticated code. The films are viewed multiple times and other ‘outside’ codes are also recorded by the researcher. The research results in a found correlation between economic success and the superhero genre is identified along with a greater understanding of the impact that the films have on audiences. Not only is the impact revealed, but also some methods are evaluated along with their effectiveness on the amount of income generated.

Popular fiction is a work that can not be released from the audience and special formulas so that it can be a place of escape from all human fatigue in all forms of activity. This research aimed to find the phenomenon of escaping lackness trough popular fiction. By using a popular fiction approach Cawelty (1976) and Adi (2011) combined with the concept of psychoanalysis, the researchers tried to explore the passion and emptiness in popular iron man 3 movie through characters, settings, and plots in the story. By using the audience analysis approach in descriptive qualitative method, there were several factors that form the formula in this action iron man 3 story to fill the audience's dreams and fill the emptiness in the audience so that the achievement of popularity can be achieved. The results of this study showed that Stark as the protagonist was described as a special genius who could develop knowledge and technology to respond to natural phenomena that had not yet occurred....

Can World's FAIRS WORLD EXPO serve as a backdrop for Hollywood blockbusters based on the myth of conquering America and the adventures of superheroes? In this case study, the cinema and its devices help us to think and see the city or cities of the MCU through two complementing temporalities: the imaginary urban temporality of superhero films and the proven temporality of the world exhibitions held at the United States. The films that we analyze are the witnesses, even the propaganda of a Western world allowing itself to recreate a fictitious chronology with the sole aim of including in the scenario of a Hollywood blockbuster an element of mass culture, known as pop culture that can be used. setting and decor for a whole panel of spectators. The World's Fairs are used as common references in the United States by the traces of memory of the major events in New York, Chicago and Seattle which are added to the memories of the giant festivals in Paris, London or Asia. A first look at the scriptwriting facilities creating urban legends is analyzed by the representations of progress and its pangs for heroes like Tony Stark, while recalling the close links between cinema, architecture and universal exhibition (I.), allowing to 'glimpse the creation of a fictional World Expo timeline as a unifying element of a fantasy story for the masses as part of the Marvel Studio (II.) franchise. Finally, the city is an environment that offers important counterpoints to the MCU scenario with in particular the disappearance of more than half of the planet's population, a disaster city, city of battles, city of co-presence between the life, death and its disappearances (III.).

Extrait de
Ballester, P., (2021, 15 mars), Le Marvel Cinematic Universe (MCU) et la ville simulacre. La Furia Umana, 40, Tracer les villes, Track the cities, 34.
http://www.lafuriaumana.it/index.php/74-lfu-40/986-patrice-ballester-le-marvel-cinematic-universe-mcu-et-la-ville-simulacre

Une hypothèse se fait jour, les liens entre le cinéma et les images véhiculées par la mondialisation changent notre perception du monde, une marvelisation des villes s’observent, à savoir :
a/ sur des bases de culture populaire et de film, série ou autres supports, la ville devient une scène pour des appareillages multiples,
b/ de grands groupes financiers ou du divertissement déclinent cette expression populaire dans les villes,
c/ cela s’inscrit dans des parcs, des hôtels, des quartiers, des murs de ville avec des publicités officielles, des bâtiments ou des tags,
d/ les grandes métropoles mondiales sont des sources d’inspirations visuelles, une uniformisation se perçoit à l’échelle du monde, le digital contribue à créer des univers ou représentations parallèles.

Ballester, P., (2021), 15 march, The Marvel Cinematic Universe (MCU) and the simulacre city. La Furia Umana, 40, Track the cities, Tracer les villes, 33.
http://www.lafuriaumana.it/index.php/74-lfu-40/986-patrice-ballester-le-marvel-cinematic-universe-mcu-et-la-ville-simulacre

Is the MCU perpetuating the city's vision of utopian and chaotic possibilities and simulacra that comic book writers wanted to share with their reading audiences? Beyond that, does the marvelization of cities exist through the MCU and its twenty films? In addition, is Marvel-Disney's image of the city not reduced to contemporary architecture and the uniformity of urban behavior audible and visible around the world and not just in the West? This is a cultural studies essay which aims to be both by the method a census of cities and images of the city in the MCU to know, perceive and analyze the function and representations of cities in order to glimpse a kind of transposition between films and leisure parks, but also public spaces and major infrastructures such as hotels in New York and Las Vegas becoming receptacles for both tourism and culture (pop culture) of the most profitable. Between a complex approach linking pop culture, mass culture, Disney super productions and above all the desire by certain cultures to transpose from cinema to the city or from the city to cinema a simplified and / or heroic vision of the urban gesture , we will approach the superhero as a simple reflection of the city or conversely a reversed identity of the city defining him, even caricaturing him?
I. THE FRAMEWORK OF SUPERHUMAN AMBITIONS: CITY, CHAOS AND URBAN UTOPIA
Technological city, city of fear, city of mysteries, utopian city.
II. THE RECORDING IN OUR CONTEMPORARY WORLD OF THE FILMIC ELEMENTS OF THE MCU
The example of Wakanda and green city Birnin Zana and the environment of Iron Man, factory, international exhibition and contemporary house.
III. THE MARVELIZATION OF WORLD CITIES: FROM FILM TO REALITY, LEISURE PARK & TOURISM
Hotel infrastructures, contemporary house - the map, the territory and the film - tourist routes linked to the films, the Marvel leisure parks.

Ballester, P., (2021, 15 mars), Le Marvel Cinematic Universe (MCU) et la ville simulacre. La Furia Umana, 40, Tracer les villes, Track the cities, 35.
http://www.lafuriaumana.it/index.php/74-lfu-40/986-patrice-ballester-le-marvel-cinematic-universe-mcu-et-la-ville-simulacre

Le MCU est-il en train de perpétuer la vision de la ville des possibles et des simulacres utopiques et chaotiques que les auteurs de comics ont voulu faire partager avec leur public de lecteurs ? Au-delà, la marvelisation des villes existe-t-elle à travers le MCU et sa vingtaine de films ? En outre, l’image de la ville par Marvel-Disney n’est-elle par réduite à l’architecture contemporaine et à l’uniformité des comportements urbains audibles et visibles dans le monde entier et non pas uniquement en Occident ? Il s’agit d’un essai de cultural studies qui se veut à la fois par la méthode un recensement des villes et des images de la ville dans le MCU pour connaitre, percevoir et analyser la fonction et les représentations des villes afin d’entrevoir une sorte de transposition entre les films et les parcs de loisirs, mais aussi les espaces publics et grandes infrastructures comme les hôtels de New York et de Las Vegas devenant des réceptacles à la fois touristique et culturel (pop culture) de la franchisse cinématographique la plus rentable. Entre une approche complexe mettant en lien la pop culture, la culture de masse, les super production Disney et surtout la volonté par certaines cultures de transposer du cinéma à la ville ou de la ville au cinéma une vision simplifiée et/ou héroïque du geste urbain, nous aborderons le super-héros comme un simple reflet de la ville ou à l’inverse une identité renversée de la ville le définissant, voire le caricaturant ?
I. LE CADRE DES AMBITIONS SURHUMAINES : VILLE, CHAOS ET UTOPIE URBAINE
Ville technologique, ville de la peur, ville des mystères, ville utopique.
II. LA RETRNSCRIPTION DANS NOTRE MONDE CONTEMPORAIN DES ELEMENTS FILMIQUES DU MCU
L’exemple du Wakanda et green city Birnin Zana et de l’environnement d’Iron Man, usine, exposition internationale et maison contemporaine.
III. LA MARVELISATION DES VILLES MONDIALES : DU FILM A LA REALITE, PARC DE LOISIRS & TOURISTIFICATION
Infrastructures hôtelières, maison contemporaine - la carte, le territoire et le film - parcours touristiques en lien avec les films, les parcs de loisirs Marvel.

16 वीं शताब्दी का पूर्वाद्ध भारतीय इतिहास में बहुत उथल पुथल के घटनाचक्र से गुजरा था। यह वह दौर था जब दिल्ली सल्तनत पतन की और अग्रसर थी, महाराणा सांगा के नेतृत्व में मेवाड़ शक्तिशाली राज्य बनकर उभर रहा था तथा पश्मित्तर में बाबर हिन्दुस्तान के दरवाजे पर दस्तक दे रहा था। इस प्रकार के घटनाचक्र के मध्य दिल्ली के दक्षिण एवं मेवाड़ के उत्तरपूर्व में मेवात नाम का एक छोटा सा राज्य स्थित था जहां खानजादा वंश के हसन खां मेवाती का शासन था। हसन खां मेवाती ने अपनी तलवार के बल पर मेवात को इतना शक्तिशाली बना दिया था कि तत्कालीन सभी शक्तियों का ध्यान उसकी तरफ आकर्षित हुआ तथा सभी उससे सहायता की अपेक्षा रखने लगे। हसन खां  अपनी जेहन में जात-पात, धर्म के बन्दनों से उपर देश हित को सर्वोपरि रखता था। बाबर के विरूद्ध होने वाले युद्धों में वह शत्रु के किसी भी प्रलोभन में न आकर देश हित में अपने प्राण न्यौछावर कर दिये।  प्रस्तुत शोध आलेख का उद्देश्य हसंन खां मेवाती की वीरता एवं देशभक्ति के कार्यों की महŸा को सिद्ध करते हुए उसके योगदान को इतिहास में उचित जगह दिलाना है।

भारत और बांग्लादेश के बीच कूटनीतिक सम्बन्धें का नया युग बांग्लादेश के स्वाध्ीन होते ही आरम्भ हो गया था। दोनों देश एशिया के राजनीतिक क्षितिज पर प्रगाढ़ मैत्रा के साथ उभर कर आये। 5 जनवरी 1972 को 4 दिन की राजकीय यात्रा पर भारत आये बांग्लादेश के विदेशमंत्रा अब्दुस समद ने कहा कि ‘‘हमलोग इस महाद्वीप पर एक उत्तम वातावरण बनाकर, ऐसी आर्थिक और राजनीतिक परिस्थितियों का निर्माण करेगें, जिससें हमारे देशवासी अपना बहुमुखी विकास कर सकेंगे। सहयोग, भाईचारा और भातृत्व हमलोगों के बीच में जो महान आदर्शां के स्तम्भ हैं पाकिस्तान सहित समस्त विश्व के लिए दैव्यिमान ज्योति के रूप में होगा।

‘गायत्री-परिवार’ की स्थापना श्रीराम शर्मा आचार्य जी ने मथुरा में आयोजित 1958 के सहस्त्रकुण्डी गायत्री महायज्ञ से हुआ बताते हैं, जिसमें धर्म-तंत्र के माध्यम से लोकमानस को विचार-क्रान्ति प्रक्रिया के प्रवाह में ढ़ालने की घोषण कर विधिवत गायत्री-परिवार की स्थापना कर दी गयी। आत्म-निर्माण, परिवार-निर्माण, समाज-निर्माण की त्रिविध कार्यपद्धति इस मिशन की बनायी गयी।

नरमपंथी स्वराज को अव्यवहारिक कपोल कल्पना समझते थे। वे धर्म और सामाजिक मामलों में ही नहीं वरन् राजनीति में भी सुधारवादी थे। जैसा कि लैंसडाउन ने 1891 में स्वीकार किया कि उनके अधिकांश ’उचित’ थे उनका स्वर संयत था’’ तथा उनका संबंध ऐसे प्रश्नों से था जिन्हें भारत सरकार कभी न कभी बहस का विषय मानती रही है।1 एलिन जानता था कि फिरोजशाह मेहता जैसे लोग क्रान्तिकारी नहीं हो सकते।2 लार्ड जार्ज हेमिल्टन जैसे शक्की व्यक्ति ने भी स्वीकार किया कि अभी प्रशासनिक सेवा के स्वार्थ में भारत का शोषण हो रहा है तथा काँग्रेस का आन्दोलन अंग्रेजी राज के विरूद्ध नहीं बल्कि आंग्ल भारतीय नौकरशाही के विरूद्ध भारत के देशी लोकमत का विस्फोट है।

भीमराव रामजी आंबेडकर, डॉ0 बाबा साहब अम्बेडकर नाम से लोकप्रिय, भारतीय बहुज्ञ विधिवेŸा अर्थशास्त्री राजनीतिज्ञ और समाजसुधारक थे। उनहोंने दलित बौद्ध आंदोलन को प्रेरित किया और अछूतों से सामाजिक भेदभाव के विरूद्ध अभियान चलाया था। श्रमिकों किसानो और महिलाओं के अधिकारो का समर्थन भी किया था।

इतिहास लेखन की दृष्टि प्राचीन भारत में वैदिक साहित्य में अन्र्तनिहित थी। वैदिक इतिहास लेखन की चिन्तन दृष्टि की अवधारणा, विधा तथा शैली पाश्चात्य इतिहास लेखन से पूर्णतः भिन्न थी। वैदिक इतिहास लेखन काल एंव स्थिति के साथ प्रकृति तथा आत्म चिन्तन के अनुरूप सतत् अनवरत् प्रवाहमान रही है। जिसमे कालानुक्रमानुसार परिर्वतन दिखलायी पड़ता है। वैदिक इतिहास लेखन आत्मानुपरक अध्यात्मिक मनीषी आर्ष चिन्तको की उन्मीलित दृष्टि से निर्गमित हुआ।

केन्द्र शासित प्रदेश बना दिया गया तथा कश्मीरियों की अस्मिता कहे जाने वाले अनुच्छेद 370 के खण्ड 2 और 3 को निष्प्रभावी कर दिया गया जिससे उत्पन्न हो रहे विभिन्न जन विरोधों को नजरअंदाज नही किया जा सकता। कश्मीर और उसकी परिस्थिति को समझने के लिए हमें मुख्य रूप से जून 1947 से नवम्बर 1948 तक के विभिन्न घटनाक्रमों को समझना पड़ेगा। कुछ विद्वानों का मानना है कि अनुच्छेद 370 समाप्त करने की प्रक्रिया लोकतांत्रिक नही थी क्यांेकि जम्मू-कश्मीर में निर्वाचित सरकार अस्तित्व में नही थी और वहां पर राज्यपाल शासन था। जम्मू-कश्मीर की जनता ने अनुभव किया कि राज्य को विभाजित करके एवं विशेष राज्य का दर्जा समाप्त करके केन्द्र सरकार ने उनके साथ धोखा किया है। प्रस्तुत लेख में भारतीय राजनीति में कश्मीर मुद्दे के महत्व एवं प्रभाव के साथ-साथ धारा 370 के समाप्त होने से भारतीय राजनीति पर पड़ने वाले दीर्घकालिक प्रभाव का विश्लेषण करने का प्रयास किया गया है।

The dissertation is focused on how American movies portray cultural fears and anxieties, as well as positive national stereotypes, by analysing the Marvel character of Iron Man.
The decision of concentrating on this hero resulted from a personal interest on Marvel films reinforced by the Anglo-American culture course held by Professor Vallorani.
In the first chapter, it's showed how heroes can be used as cultural tools for sharing values and symbols in a national group; not surprisingly, in order to do so, movies are exploited and they play an important communicative role.
It is mainly focused on the United States, on the network of shared meanings for American people at the moment and on the common frame of reference they have been sharing in the last few years; as a result, it's examined the turning point on heroes after 9/11: from powerful and naive to ambiguous and intelligent.
In the second chapter, it is analysed how these fears are presented through some key points in the first Iron Man film (2008). Some current topics tackled here are xenophobia, arms smuggling, illegality, corruption, secrets, and terrorism, all of them springing from the anxiety of feeling unprotected. it is also underlined how the medias’ storytelling process plays a crucial role in determining power by amplifying or distorting information, and as a result, it was meant to describe the distrust people feel towards official sources. This is because of the evidence between facts and fiction, as the producer himself declared it in an interview, and the whole path I present is supported by real events.
In the last chapter, the focus is on national talents and positive skills such as the American Know-how and can-do spirit, especially in technological and energy field, which have reached an important role in human application. These positive points were useful to the public, because they furnished a direct connection to describe all sort of dreams connected to the potential application of these attributes, not only in everyday life, but on human bodies as a strength. While walking this line, it is emphasised the fact that those goals were reached not alone, but by the joined effort of multidisciplinary skills of the struggles PMCs, with all their productive work-ethic attitude, an external help from collaborators and allies, or in other words, other super heroes and countries.
As a conclusion, we can assert that in the process of building a film, while some bad events are used to connect with a specific public, there is nothing better than a hero to help us believe in who we are, and what we can achieve.

Este libro recoge una amplia selección de los trabajos que se expusieron en las distintas sesiones del II Congreso Internacional de la Asociación Española de Teoría de la Literatura, organizadas en torno a tres grandes secciones que con-forman el volumen: «Metamorfosis genéricas y nuevos contextos de cultura: nuevas formas dramáticas, líricas, narrativas y mixtas»; «Escritura y transme-dialidad: cine, cómic, novela gráfica, series televisivas, etc.» y «Literaturas de consumo en la sociedad global: nueva novela policiaca, sentimental, gótica, épi-ca, erótica, de ciencia-ficción…». La novedad de los temas tratados no erosiona la identidad literaria de la disciplina de teoría de la literatura, lo que es perfectamente compatible con el reconocimiento de una apertura de la poética, no solo a la retórica, por cuanto la literatura es una práctica verbal entre otras, sino también, en cuanto es una prác-tica artística entre otras, a la estética y más precisamente a la que se ocupa de las artes de la ficción. Basta pensar en las obvias aportaciones de la narratología al estudio del relato fílmico. El desbordamiento de la poética por esta orilla puede fertilizar unos estudios culturales más disciplinares y más seriamente fundamentados. En cualquier caso, recordemos que la poética primigenia, o sea, la de Aristóteles, rebasaba ya en mucho el ámbito estrictamente literario de la creación verbal.

Resumo: A contribuição de Stan Lee para o cenário quadrinístico e a cultura pop na segunda metade do XX e início do XXI é inquestionável. Entretanto, ao pensarmos o seu lugar social nos EUA durante a Guerra Fria, verificaremos que os seus personagens representavam ideais alinhados aos interesses de sua nação em oposição ao “avanço socialista pelo mundo”. Nesse cenário, Stan Lee produziu discursos e os representou por meio dos super-heróis que criou e/ou ajudou a criar com a Marvel Comics, os quais obedeciam aos pressupostos de sua comunidade discursiva. Sendo assim, objetivamos analisar a sua contribuição para o desenvolvimento e a difusão do capitalismo e da liberdade estadunidense por meio da primeira aventura do Homem de Ferro, a qual pretendia fomentar a luta contra a “tirania e a opressão” do socialismo na Guerra do Vietnã, em meados da década de 1960.

Abstract: Stan Lee was one of the most important persons to graphic
novel and popular culture universes between the second half of 20 th and the begining of 21th centuries. However, when we think about his social place in the USA during Cold War, we verify that his characters represented ideals from his nation in opposition to “the socialist advance around the World”. In this context, Stan Lee created and represented his discourses through his superheroes at Marvel Comics. Nevertheless, Stan Lee’s discourse and his superheroes representation obeyed his discoursive community. Thus, our objective is analyze Stan Lee’s contribution for the development and diff usion of the USA’s ideals of capitalism and freedom in the mid-1960s during Vietnam War, through Iron Man’s first adventure.

Acerca de Watchmen, primera parte En 2009 decidí ir al cine cuando proyectaban, entre otras películas, Watchmen (Vigilantes). Yo opté por otra que estaba en cartelera, y que no estuvo nada mal, pero al tiempo volví a toparme con Watchmen, en internet, así es que finalmente la vi, y al darme cuenta de lo buena que estaba, me arrepentí por no haberla preferido para la pantalla grande, y así, desde una butaca, ahí al medio y al medio, donde dicen que es la mejor ubicación para ocupar en un cine, disfrutar lo más posible de ese sonido envolvente y esos efectos especiales que lo hacen sentir por un rato especial a uno también, inmerso en esa oscuridad tan placentera que te abstrae de todo lo que no tenga que ver con lo que sucede dentro de la sala. Hasta la música estaba genial, porque durante las mejores escenas de la película sonaban canciones que son joyas de la música y que, así mezcladas, las canciones y las escenas se potencian mutuamente. La historia transcurre en un 1985 alternativo. Los superhéroes han sido prohibidos por el Presidente de los Estados Unidos en 1977. Walter Kovacs se coloca una máscara con manchas que se mueven y es Rorschach (en alusión al test creado por el psiquiatra suizo Hermann Rorschach). Nite Owl II (Búho Nocturno II) es Dan Dreiberg, un fan del Búho Nocturno original. Silk Spectre II (Espectro de seda II), es la hija de la Espectro de Seda original. Algunos, como The Comedian (El Comediante) y el Dr. Manhattan siguen en actividad trabajando como agentes secretos de las autoridades. Estos superhéroes no son más que personas comunes disfrazadas, hasta que en 1959 el doctor Jon Osterman sufre un accidente que le otorga la capacidad de manipular la materia y el tiempo. Así, se convierte en Dr. Manhattan, y lo usan para ganar la Guerra de Vietnam, y para que el Presidente Richard Nixxon sea reelecto más de una vez, lo que aumenta la tensión entre los EE.UU. y la Unión Soviética, entonces la Guerra Fría se extiende en el tiempo y aumenta el riesgo de que se convierta en una guerra nuclear. El Comediante acaba de ser asesinado. Rorschach, Nite Owl II y Silk Spectre II se encuentran semi retirados, pero se reúnen para investigar la muerte de su compañero. Poco a poco irán descubriendo una conspiración, que consiste en fingir un ataque extraterrestre en la Tierra, para que las potencias mundiales dejen de enfrentarse y le teman a algo mayor y se unan para combatirlo, y así evitar que la Guerra fría se transforme en un conflicto nuclear. Adrian Veidt, un ex vigilante llamado Ozymandias, es el hombre más inteligente del mundo y sus capacidades físicas sólo son superadas por las del Dr. Manhattan. Mientras avanza la trama, el papel de Veidt se torna cada vez más clave.

Cet article étudie les représentations ambivalentes que la trilogie Iron Man (2008, 2010, 2013) propose du rapport entre masculinité et technologie en les replaçant dans le contexte états-unien du tournant des années 2010. Il s’agit de montrer en quoi le mélange de technophobie et de technophilie qui caractérise ces films, s’enracine dans les contradictions générées par le développement spectaculaire des technologies militaires et l’usage qui en a été fait par l’armée américaine dans le cadre des guerres d’Afghanistan et d’Irak suite aux attentats du 11 septembre

The proposal of the following article is to analyze, through Fairclough`s discourse analysis, the representation of the United States through the marvel's superheroes, Captain America and Iron Man and the images each one adopts. Focusing on the discourses they represent in the cinematographic adaption from the comics, Captain America: Civil War, using the movie's poster as principal object of the analysis.