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A Structure of Antipathy

Constructing the Villain in Narrative Film

Jens Kjeldgaard-Christiansen

Mainstream films brim with villains—major antipathetic characters like Anton Chigurh from No Country for Old Men (Ethan and Joel Coen, 2007), Jafar from Aladdin (Ron Clements and John Musker, 1992), and Voldemort from Harry Potter (Chris

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From Victim to Villain

Cycling, Traffic Policy, and Spatial Conflicts in Stockholm, circa 1980

Martin Emanuel

This article employs a social practice approach to analyze the boom and bust of cycling in Stockholm around 1980, in the context of broader socioeconomic trends and under the influence of new cyclists, bicycle innovation, and local traffic policy. Within a predominantly car-based city traffic regime, which rendered some mobility practice more legitimate than others, measures intended for cyclists were taken at the expense of pedestrians rather than motorists. Because of a blend of more cyclists, faster bicycles, and design choices based on the car as norm, the image of the cyclist transformed from that of the victim (of automobility) to the villain, and, for this reason, cycling was less easily supported by local politicians. Combined with the second wave of automobility in the 1980s, bicycle policy and planning lost its steam, and cycling declined.

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Coming of Age as a Villain

What Every Boy Needs to Know in a Misandric World

Paul Nathanson and Katherine K. Young

Once upon a time, coming of age as a man was simple to define. Not necessarily simple to achieve, but simple to define. A man was a male adult—someone whom other male adults had certified in a ritual context, a rite of passage, as qualified to take on responsibilities not only for his own family but also for the larger community or nation.

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Tintin and Corto Maltese

The European Adventurer Meets the Colonial Other

Dani Filc

These functions can be summarized as follows: the hero leaves to repair a lack, misfortune or misdeed. He challenges an interdiction, which confronts him with a villain, whom he eventually defeats. The initial problem is solved, and the hero returns

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Adapting Brittany

The Ker-Is Legend in Bande Dessinée

Armelle Blin-Rolland

, a newspaper published between 1941 and 1944. Moreover, the fact that the team is helped by a French police officer to evade the traps set by, and to defeat, English villain Démonax (a recurring character in Lortac’s work) resonates with the

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This issue of Transfers features five individual essays critically engaging with the promises promoted alongside new methods and purposes of mobility. Two essays, Martin Emanuel’s “From Victim to Villain: Cycling, Traffic Policy, and Spatial Conflicts in Stockholm, circa 1980” and Andrew V. Clark and colleagues’ “The Rise and Fall of the Segway: Lessons for the Social Adoption of Future Transportation,” circle around a core theme of Transfers with their fresh look at transportation, its vehicles, and its methods; two others, Noah Goodall’s “More Than Trolleys: Plausible, Ethically Ambiguous Scenarios Likely to Be Encountered by Automated Vehicles” and Gal Hertz’s “From Epistemology of Suspicion to Racial Profiling: Hans Gross, Mobility and Crime around 1900,” look at mobility’s social side. Fascinatingly consistent are the adjectives and adverbs that qualify the promises that are made for these technologies. Segways, for instance, were sustainable, enviro-friendly, shared. Smart, personalized, and robotic are some of the commonly invoked terms in the growing literature on this particular PMD (personal mobility device). Adverbial are the benefits of automated driving too: safe and liberating, both values desired by a nineteenth-century urbanized Austrian society that imagined the city as a space of settled inhabitants free of migrants and hence also free of crimes.

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Instrumentalising Media Memories

The Second World War According to Achtung Zelig! (2004)

Maaheen Ahmed

potentially polemical representations of Holocaust survivors, creatures like the Zeligs are extremely familiar to comics, as heroes and as villains. Monsters incarnate a specific bodily media memory of comics, the home par excellence of weird, impossible

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Benoît Crucifix

, Josso Hamel evokes non-narrative forms such as the collection, the list or the catalogue by arranging these fragments according to recurrent themes, such as violence, dissimulation, relationship to space and territory, villains and others. A panel from

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David Leishman

with top hat, monocle, cane and cigar; 30 a posh schoolboy villain again in a bow tie and waistcoat; 31 arch-thieves Sydney and Ghastly Gus. 32 Figure 8: ‘Cut Up Some Wood’, Fife Free Press & Kirkcaldy Guardian (9 March 1940). Reproduced with

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Torben Grodal

PANIC because it exemplifies how some humans may be psychopaths, lacking the emotions of CARE and PANIC/GRIEF. The villains manifest a superior strategic capability combined with a lack of mammalian emotions except PLAYING. The prominent use of PLAYING