In the world of comic book movies, there are several types of viewers: those who know the comics so well that they are hypercritical of events that stray too far from the originals, those who know ...the comics really well and enjoy looking for where a movie or television show deviates or sprinkles in references, and, in the case of an extended "cinematic universe," those who know the movies and television shows and are only marginally familiar with the comic source texts, if at all, and some who may watch the occasional movie but not be very familiar with the overall storyline. Episode four gives us insights into what is happening outside of Westview and knowledge that this series takes place five years after Thanos, immediately after everyone has been brought back. Since fans know that Vision died during those earlier events, and was not brought back when everyone else was, this leaves the question of how he came to be in Westview, a question that is not solved until the final episode. All of this could have been standard comic book movie fare, but Elizabeth Olsen's portrayal in quiet moments of love and grief elevate it beyond filler.
Mulan Guyant, Valerie L
Femspec,
01/2021, Volume:
21, Issue:
1
Journal Article, Book Review
Peer reviewed
Nostalgia, a wistful emotionally charged yearning for happiness that is connected to a former time or place is a generally accepted marketing practice that works best when it targets an age ...demographic with a disposable income on an emotional level. Walt Disney Corporation, which clearly understands this marketing strategy, has always engaged in a relatively consistent recirculation and reinvention of their films; beginning with the use of fairy tales that people remembered as bedtime stories and reinventing them for a new medium. following with rereleases on video cassette and (eventually) DVD and, more recently, through re-imaginings of animated films into live action undertakings. The basic plot line still exists, of course - Muían, who does not easily meet expectations for fulfilling her role as a daughter. takes her father's place when the Emperor issues a conscription decree in order to keep him safe, a portion of the film is spent on the training, during which Mulan's secret is nearly discovered, a battle ensues and then a rush to the Imperial palace to save the Emperor, Muían is offered a place of honor but requests permission to return home, and her family welcomes her back.
...there are also examples of mothers and mothering in speculative fiction that more closely reflect our own cultures and concerns within a speculative framework: for instance, Sarah Connor, who has ...to balance being a mother with the knowledge that her son is the only hope for humanity, although some might argue that she stereotypically lets her maternal instinct rule all of her decision making (the Terminator films and television series); Helen Parr/Elastigirl who uses her amazing stretching ability to wrangle her children at the dinner table, protects her children, worries about them "fitting in" and still helps save the world from Syndrome (Disney Pixar's The Incredibles), and Molly Weasley, who raises seven children to be responsible adults, essentially adopts Harry Potter, and protects her family when necessary. ...we offer a review of Susan Kim's graphic novel, City of Spies.
Many critics read vampire literature as inflexible and confining in its attitudes toward women. The issue of social commentary in vampire literature is far more problematic than such a reductive ...analysis suggests. Female characters and female bodies are often used in these texts as tools for questioning existing patriarchal practices and expressing social concerns relevant to specific ages. Women throughout Western history have had more stringent social expectations placed upon them than have men, especially regarding their freedom of sexual expression and the fulfillment of "traditional" gender roles. In the eighteenth and nineteenth centuries, when vampire literature became popular, women with "inappropriate" sexual proclivities were categorized as deviant or criminal. Given the obviousness of negative images of women in the genre—as victims, as vampires, and as sexualized objects who are preyed upon—and the ambiguity that vampire literature often embraces, one should consider the possibility for an empowering message within the texts discussed here. Tracing the classical connections among blood, sex, women, and vampire lore, specifically through representations of Lamia and Lilith, establishes the importance of this confluence of concepts. The very reason that the sucking of blood now has sexual connotations is because of earlier beliefs in the necessity of blood in order to procreate. The ancient Greeks, who believed that blood created all body fluids, and early Christians, who appear to have believed that the blood and the soul (or life force) of a person were inextricably linked, created the first female blood drinkers in Western civilization. Understandably, the importance women hold in the vampire mythos has evolved over time, but the ways in which women, sexuality, and blood are linked has been an ever present aspect of vampire literature. This dissertation examines several works which utilize female characters in the ways that I am addressing: John William Polidori's The Vampyre , Elizabeth Grey's The Skeleton Count or the Vampyre Mistress , Joseph Le Fanu's Carmilla, Bram Stoker's Dracula, Anne Rice's The Vampire Chronicles series, and Laurell K. Hamilton's Anita Blake: Vampire Hunter series. The eighteenth- and nineteenth-century works appear, on the surface, to have used female characters as a means of reinforcing patriarchal precepts and mandating the role of the "angel in the house" as the only viable option for women who wish to survive unscathed. A reinforcement of patriarchal precepts, however, is not all that these works have to offer. The vast majority of vampire literature addresses, investigates, and problematizes issues of female agency and sexuality. Over time, the vampire genre has reinforced, brought to light for examination, and has finally, with Laurell K. Hamilton's work, gone through and beyond the confining framework of categorizing women as only vixen, virgin, or vamp. Therefore, the behaviors of women, as well as the behaviors toward women in each of these works comments on and reacts to societal attitudes toward women and female sexuality and also offer potential avenues of social change.
The erotic storylines increased, Anita became nearly invincible as she caught multiple strains of lycanthropy and accepted her skill as a necromancer as well as her role as a succubus. Anita is under ...a time-crunch not only because warrants of execution are supposed to be carried out within a set time frame, but also because several of the police and the victim's family arc all pushing for Bobby's murder. Adaptation: Media and The Evil Dead" (2019) and "What or Who Is 'Matska' in Carmillal (2014), "Shakespeare's Adaptations of the Fae and a 'Shrewd and Knavish Sprite': A Midsummer Night's Dream as Adaptive Invention" (2021), "Middle Ground: The Twilight Zone as Social Criticism" (2021) and was a contributor for The Companion to Victorian Popular Fiction (2018)
When The Haunting of Hill House, created by Mike Flanagan and produced by Amblin Television and Paramount Television, was released in 2018 and proved to be immensely popular, it was nearly inevitable ...that a sequel season of some sort would be forthcoming. Unlike that first season, a spooky adaptation of Shirley Jackson's novel of the same name, The Haunting of Bly Manor is primarily an adaptation of Henry James Turn of the Screw, the thirty fifth time such an adaptation has happened, including a modernized version called The Turning (2020) that was released in theaters just a few months before The Haunting of Bly Manor was released. ...a week before the series became available, the episodes were listed only by number.
No Victorian vampire story overshadows the impact of Bram Stoker's Dracula; however, Sheridan Le Fanu's Carmilla, one of five stories from In a Glass Darkly, comes closest. One critic referred to the ...horror tale about the eponymous female vampire as "the peak, the blood divine in all vampiric literature." As with many early vampire tales, there are a number of sinister moments,meant to inspire a sense of dread. However, unlike Dracula or numerous other texts with vampires, which clearly identify who should be feared, Carmilla complicates such a straight forward reading. Therefore, Carmilla is "the blood divine" only if readers question to whom or what "Matska" refers.
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In addition to a glossary, index, and suggested reading list, the text is divided into eight parts: "The Founding Mothers," "Haunting Tales," "Cult of the Occult," "The Women Who Wrote the Pulps," ..."Haunting the Home," "Paperback Horror," "The New Gothic." and "The f uture of Horror." The final section glosses roughly twenty years of "The New Weird," "The New Vampire," "The New Haunted I louse," "The New Apocalypse," and "The New Serial Killer" hitting highlights in those genres but missing numerous worthwhile authors along the way. Adding to the pleasure of the text are fun small illustrations scattered throughout, whole pages dedicated to single pull quotes from books that have been mentioned, and an easy-to-follow layout that includes subcategories under each author of "Not to Be Missed" (which gives a synopsis of what Kroger and Anderson consider the essential works everyone should read by the author in question), "Also Try" (additional works by the author that are less well-known but still worthwhile), and "Related Work" (other authors who are similar in style or theme).
Fragile X-associated tremor ataxia syndrome (FXTAS) is defined by FMR1 premutation, cerebellar ataxia, intentional tremor, and middle cerebellar peduncle (MCP) hyperintensities. We delineate the ...clinical, neurophysiologic, and morphologic characteristics of FXTAS.
Clinical, morphologic (brain MRI, (123)I-ioflupane SPECT), and neurophysiologic (tremor recording, nerve conduction studies) study in 22 patients with FXTAS, including 4 women.
A total of 43% of patients had no family history of fragile X syndrome (FXS), which contrasts with previous FXTAS series. A total of 86% of patients had tremor and 81% peripheral neuropathy. We identified 3 electroclinical tremor patterns: essential-like (35%), cerebellar (29%), and parkinsonian (12%). Two electrophysiologic patterns evocative of non-length-dependent (56%) and length-dependent sensory neuropathy (25%) were identified. Corpus callosum splenium (CCS) hyperintensity was as frequent (68%) as MCP hyperintensities (64%). Sixty percent of patients had parkinsonism and 47% abnormal (123)I-ioflupane SPECT. Unified Parkinson's Disease Rating Scale motor score was correlated to abnormal (123)I-ioflupane SPECT (p = 0.02) and to CGG repeat number (p = 0.0004). Scale for the assessment and rating of ataxia correlated with dentate nuclei hyperintensities (p = 0.03) and CCS hyperintensity was a marker of severe disease progression (p = 0.04).
We recommend to include in the FXTAS testing guidelines both CCS hyperintensity and peripheral neuropathy and to consider them as new major radiologic and minor clinical criterion, respectively, for the diagnosis of FXTAS. FXTAS should also be considered in women or when tremor, MCP hyperintensities, or family history of FXS are lacking. Our study broadens the spectrum of tremor, peripheral neuropathy, and MRI abnormalities in FXTAS, hence revealing the need for revised criteria.
