scholarly journals Reflexões sobre a adaptação como fenômeno ubíquo: o filme V de Vingança

2011 ◽  
Vol 34 (1) ◽  
pp. 189-211
Author(s):  
Denise Azevedo Duarte Guimarães
Keyword(s):  
Charles Sanders Peirce ◽  
Graphic Novel ◽  
Umberto Eco ◽  
Alan Moore ◽  
V For Vendetta

Este artigo analisa o filme V for Vendetta (2006), dirigido por James Mc Teigue - uma adaptação da graphic novel de Alan Moore e David Lloyde (1988-89). O objetivo é enfatizar a dinâmica do processo tradutório e também problematizar conflitos e/ou soluções criativas nas negociações entre os dois suportes. Esta análise usa o método comparativo baseado na semiótica de Charles Sanders Peirce e em outros teóricos da adaptação, como Robert Stam, Linda Hutcheon, Umberto Eco e Júlio Plaza. São utilizadas ainda teorias sobre quadrinhos e cinema, tentando mostrar como as imagens impressas são dispostas na tela. Conclui-se que a obra analisada conseguiu integrar as exigências intersemióticas concernentes a uma adaptação fílmica bem sucedida.

Villain Becomes Hero

2019 ◽  
pp. 137-144
Author(s):  
Allan Metcalf
Keyword(s):  
Young Woman ◽  
19Th Century ◽  
21St Century ◽  
Role Model ◽  
Graphic Novel ◽  
Fascist Regime ◽  
Alan Moore ◽  
Second Coming ◽  
V For Vendetta

Another diversion is necessary to acknowledge the return of Guy Fawkes in the present day. No, it’s not his Second Coming, but there is awareness of Guy Fawkes as a role model for modern-day activists and protesters. It has come particularly from Alan Moore and David Lloyd, creators of the graphic novel “V for Vendetta,” a serial first published as a book in 1988. It imagines a ruthless Fascist regime in England in the 1990s, opposed by a lone rebel who calls himself simply V, and who always wears a mask that is a simplified adaptation of the sketches of Guy Fawkes back in the 1600s, but with a smile. The resemblance to Fawkes is emphasized at the very beginning, where unlike Fawkes he casually blows up the houses of Parliament after reciting “Remember, remember, the fifth of December” to a young woman he has just rescued from the police. The story became a movie with Hugo Weaving as V and Natalie Portman as the rescued girl Evey. The masks were used by Occupy protesters and others early in the 21st century. Rather than an arch-villain, V and the mask now signal opposition to government tyranny. This chapter briefly cites Guy Fawkes’s 19th-century adaptations and references, including the beginning of Thomas Hardy’s 1888 novel, Return of the Native.

scholarly journals A INTERTEXTUALIDADE COMO ELEMENTO FUNDADOR N'A LIGA EXTRAORDINÁRIA

2017 ◽  
pp. 204
Author(s):  
Ismael Bernardo Pereira
Keyword(s):  
Julia Kristeva ◽  
Graphic Novel ◽  
Alan Moore

O presente artigo propõe a intertextualidade como um elemento fundamental na obra de Alan Moore, presente através de diversas abordagens que resultam numa reavaliação dos elementos referenciados. Ao analisar como esse elemento se manifesta em sua obra como um todo, pretende-se igualmente argumentar que na sua graphic novel A Liga Extraordinária, em específico, a intertextualidade tem um papel de elemento fundador, devido à complexidade e diversidade de seu uso. Como bibliografia central, utilizam-se os conceitos de intertextualidade, de Júlia Kristeva, e gêneros do discurso, de Bakhtin.

scholarly journals (Anti)Fascism and Superhero Comics: An Anthropological Examination of Innovativeness in Comic Books as Exemplified by "V for Vendetta"

2020 ◽  
Vol 15 (4) ◽  
Author(s):  
Miloš Zarić
Keyword(s):  
Comic Books ◽  
Graphic Novels ◽  
Comic Book ◽  
Individual Level ◽  
Semiotic Model ◽  
The Individual ◽  
Semantic Dimension ◽  
Alan Moore ◽  
The Way ◽  
V For Vendetta

The paper analyzes the V for Vendetta comic books, written by Alan Moore and illustrated by David Lloyd. These volumes are graphic novels whose characteristics place them in the literary genre of the critical dystopia, but they have also been associated with the genre of the superhero comic, which, according to a number of authors including Alan Moore, is inextricably linked to the ideology and practice of the political right, which in its extreme form assumes the form of fascism. The way that fascism is treated in that work, as well as in two other comics discussed in the paper (Alan Moore and Dave Gibbon’s Watchmen and Frank Miller’s The Dark Knight Returns), is linked to the way in which the process of creativity/innovativeness functioned in the context of the revision/deconstruction of the superhero comic book genre in the 1980s, both on the collective (intra-genre) and the individual level, on the level of the thought structure of the British writer Alan Moore. Using the structural-semiotic model of analysis, the paper seeks to fathom the logic of this deconstruction procedure "broken down" into the three comic books discussed in the paper, with particular emphasis on the analysis of V for Vendetta, with the aim of establishing its "hidden", connotative semantic dimension. The study adopts a modern view of the comic book according to which the essence of this medium, which distinguishes it from other narrative and graphic forms of expression as well as from film, can be recognized in the specific, sequential way of combining its visual and narrative components, thus generating meanings whose interpretation depends on the intention of the author but also on the view of the reader.

Danger, Disease, and Death in the Graphic Urban Imagination

2019 ◽  
pp. 174-216
Author(s):  
Benjamin Fraser
Keyword(s):  
Disease Transmission ◽  
Buenos Aires ◽  
Graphic Novel ◽  
Alien Invasion ◽  
Urban Imagination ◽  
Alan Moore ◽  
The City ◽  
Jack The Ripper

This chapter explores how diverse storytelling modes invoke the modern discourses of urban threat. The Eternaut, created by writer Héctor Germán Oesterheld and illustrator Francisco Solano López, stages an alien invasion in the city of Buenos Aires. Dengue by Rodolfo Santullo and Matías Bergara tells a story of invasion and disease transmission in Montevideo. Urban detective literature and the mystery/occult story are fused in Jacques Tardi’s The Extraordinary Adventures of Ade`le Blanc- Sec, whose action unfolds in Paris. Created by Japanese artist Tsutomu Nihei, Blame! fictionalizes the verticality and immense scale associated with Tokyo in a visual dystopian tale. Adapting a now discredited theory on the Jack-the-Ripper serial killings, Alan Moore and Eddie Campbell’s graphic novel From Hell links the slums, architecture, and patriarchal violence of Victorian London. Fábio Moon, and Gabriel Bá’s Daytripper treads fearlessly into serial confrontations with mortality in and beyond the context of São Paolo.

Revisionism and the British Invasion (1981–1993)

2017 ◽  
Author(s):  
Chris Murray
Keyword(s):  
Alan Moore ◽  
V For Vendetta

This chapter examines the development of the revisionist trend in British comics as well as the so-called British Invasion of American comics and its afermath during the period 1981–1993. It argues that revisionism was a continuation and refocusing of the satirical reaction to the superhero genre that has been in evidence in British comics for decades. The chapter first considers Captain Britain, written by Alan Moore for Marvel UK, before discussing Marvelman and V for Vendetta, also created by Moore, this time for Warrior. It then turns to Watchmen (1986) by Moore and Dave Gibbons, one of the most influential superhero comics of all time; Paradax, a character introduced in 1985 by Eclipse Comics in Strange Days #3; Zenith (1987); and the satire Marshal Law (1987). It also analyzes publications that parody the superhero genre, including How to Be a Superhero (1990) and 1963 (1993).

Men of Steel? Rorschach, Theweleit, and Watchmen's Deconstructed Masculinity

2013 ◽  
Vol 47 (01) ◽  
pp. 104-107
Author(s):  
Mervi Miettinen
Keyword(s):  
United States ◽  
Sexual Dysfunction ◽  
Real Life ◽  
Narrative Structure ◽  
Extensive Study ◽  
Graphic Novel ◽  
Ordinary People ◽  
The Subject ◽  
Alan Moore ◽  
The Way

Watchmen(1987), written by Alan Moore and illustrated by Dave Gibbons, is a 12-part graphic novel that portrays real-life superheroes in a fictional United States of the 1980s. An alternate universe where ordinary people without superpowers were inspired by superhero comics and took on the crime-fighting in tights in the 1940s, the comic portrays an America vastly different from our reality. Since its publication more than two decades ago, the comic has been the subject of extensive study due to its breathtaking narrative structure as well as its acute deconstruction of the superhero genre itself. Indeed, one of the text's most brutal deconstructions comes from the way it addresses superheroic masculinity, from the misogynistic vigilante Rorschach to the emasculated ex-hero Nite Owl. Through its cast of male heroes,Watchmendeconstructs the superhero genre by rewriting masculine tropes such as vigilantism and patriotism and by exposing the inherent contradictions within these gender-bound tropes from the fascist undercurrents of violent patriotism to the often-hinted sexual dysfunction of the costume-fetish variety.

‘Sparks of Meaning’: Comics, Music and Alan Moore

2015 ◽  
Vol 140 (1) ◽  
pp. 121-162
Author(s):  
Tim Summers
Keyword(s):  
Popular Culture ◽  
Case Studies ◽  
Comic Books ◽  
Musical Theatre ◽  
Significant Part ◽  
Literary Texts ◽  
Musical Culture ◽  
Alan Moore ◽  
V For Vendetta

ABSTRACTComics have become a significant part of modern popular culture. This article examines the ways in which music is involved with comics, and develops methods for analysing musical moments in comic books. The output of the writer Alan Moore (b. 1953) is used as the domain for examining music and comics. This popular author's works are notable for their sophisticated use of music and their interaction with wider musical culture. Using case studies from the comic books V for Vendetta (1982–9), Watchmen (1986–7) and the second and third volumes of The League of Extraordinary Gentlemen (2002–12), the article demonstrates that the comic can be a musically significant medium (even to the point of becoming a piece of virtual musical theatre), and argues that music in comics serves to encourage readers to engage in hermeneutic criticism of musical and musical-literary texts.

Resituating the Icon: David Osmond-Smith's Contribution to Music Semiotics

2012 ◽  
Vol 9 (1-2) ◽  
pp. 177-200
Author(s):  
BEN CURRY
Keyword(s):  
Charles Sanders Peirce ◽  
Roland Barthes ◽  
Semiotic Analysis ◽  
Umberto Eco ◽  
Doctoral Studies ◽  
The University

AbstractAfter pursuing doctoral studies at the University of York (1968–70), David Osmond-Smith gained two consecutive scholarships, allowing him to research first with Umberto Eco in Milan (1970–71) and then with Roland Barthes in Paris (1971–3). One of the outcomes of his encounters with these highly influential thinkers was a series of articles subjecting musical phenomena to semiotic analysis. The principal concept deployed in these articles is that of the icon or iconism, itself borrowed from the American semiotician and pragmatist philosopher Charles Sanders Peirce and exhaustively examined, re-examined, and criticized by Eco. This article explains the principles of iconic signification and their use in Osmond-Smith's work. Central to this explanation is a consideration of Eco's work on iconism (Barthes's influence is less apparent) and the somewhat perplexing point that Osmond-Smith embraced iconism despite his awareness – and, at times, apparent endorsement – of Eco's thoroughgoing critique of the concept. Lastly, the recent resurgence of interest in Peircian semiotics will be invoked in order to propose ways of developing Osmond-Smith's application of iconism to music in line with pragmatist (or, to use Peirce's term, pragmaticist) rather than structuralist thought.

scholarly journals Histórias em quadrinhos como fonte de pesquisa: uma análise sócio-histórica acerca do graphic novel “Batman: a piada mortal”

Diálogo ◽  
2017 ◽  
pp. 55
Author(s):  
Ailton Da Costa Silva Júnior
Keyword(s):  
Graphic Novel ◽  
Alan Moore

Este trabalho propõe uma discussão acerca da utilização de histórias em quadrinhos (HQs) como fontes de pesquisa sócio-histórica. Tal debate promoverá uma análise sobre alguns aspectos referentes à criação do graphic novel Batman: A Piada Mortal de Alan Moore como ponto de referência. A criação, e sua estética e ainda uma reflexão sobre alguns personagens principais da trama exposta nesta história em quadrinhos permitirão uma observação mais detalhada da relevância existente em sua narrativa, e sua importância como fonte documental. Para este fim, será realizada uma investigação sobre a arte sequencial mediante um estudo nos campos científicos da história, com Chartier e da semiologia, com Barthes, com o objetivo de demonstrar como os aspectos visuais e “não visuais” (escrita) interligam-se na construção de diferentes sentidos.

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