Wonder Woman Day 2017: The ‘Wonder Woman’ That Never Was – Joss Whedon’s Failed Script (original) (raw)
Related papers
2016
Sociologist Cory Albertson examines Wonder Woman's 2016 film debut and the attempt to connect her to the character's feminist history as well as the feminism of today
Joss is (No Longer?) Boss: Fans’ Negotiations Around the “Cancelling” of Joss Whedon
AoIR Selected Papers of Internet Research
The case of Joss Whedon, who has been subject to calls for “cancelling” in light of allegations around misconduct and abuse, is at the heart of a major cultural debate. The term ‘cancel culture’ that entered the public sphere alongside the #MeToo movement has quickly earned a contested status. The Whedon fan community has been a key site within this broader controversy, as withdrawal of support for the prominent creator began gradually in 2017 and intensified in 2021, after several allegations of harassment and abuse have been made public. This study will examine how fans perceive these allegations, how they see the status of creators and their contents in light of them, and how they navigate the ambivalences inherent in “cancelling” a previously-valued creator. This case is particularly enlightening given the fact that Whedon was celebrated for advancing feminist agendas in popular culture. In order to understand how Whedon fans perceive, evaluate and employ “cancelling,” this stud...
Women Editors in New Hollywood: Cutting Down on the Raging Bullshit
Women and New Hollywood Gender, Creative Labor, and 1970s American Cinema, 2023
Some examples of significant passages of films shaped by women editors of New Hollywood are then analyzed, briefly, to substantiate the argument that their work is creative and intellectual participation in the generation of films and to provide some detail of their specific strategies and actions in making the films on which they worked. In conclusion, I propose that an understanding of the actual work of editors allows us to see a finished film not as an expression of one man’s mind but as the distributed creative cognizing of a community of practice, in this case the community of women editors who may have, by saving various movies, actually “saved Hollywood.”
Wonder Woman Revisited: Increasing the Drama with Classical Reception in New 52’s Justice League
The DC Comics Universe: Critical Essays, 2022
This chapter examines Geoff Johns’ method of incorporating the classics into his writing stint of DC Comics’ Justice League during the New 52 era (2011-2016). This form of classical reception is successful in exposing readers to Greek history and myth from such authors as Homer and Thucydides. In addition, Johns’ approach ensures that the reader understands they are encountering “real” history and myth, as opposed to the appropriated classical names and places that have been reconfigured for Wonder Woman’s larger meta-narrative since her first appearance in comics. This approach follows in the footsteps of classical historians, poets, and playwrights who often evoke history and myth to increase the drama of the moment and add legitimacy to their stories. In addition, it is an approach that Johns’ has since taken to the big screen with films such as Warner Bros.’ Aquaman (2018).
Joss Whedon - Oxford Bibliographies (Oxford University Press)
This bibliographic essay appears in the subscription database Oxford Bibliographies (http://oxfordbibliographies.com), from Oxford University Press. It is part of the subject database Cinema and Media Studies (http://www.oxfordbibliographies.com/page/cinema-and-media-studies). The essay analyzes and critiques several hundred scholarly books, articles and web resources about the media works of Joss Whedon (https://en.wikipedia.org/wiki/Joss\_Whedon), the acclaimed director, screenwriter and producer. For full access to the article, ask your college or university library.
Shelley Cob, Adaptation, Authorship and Contemporary Women Filmmakers
2016
While statistics on the lack of women directors working in Hollywood and the issue of gender inequality in the film industry have made unprecedented headlines in the past few years, feminist media scholars like Shelley Cobb have made it part of their professional endeavors to examine the role of women working in film and its implications. Adaptation, Authorship, and Contemporary Women Filmmakers investigates the subversive authorial potential in cinematic adaptations made by women filmmakers and taken from source material from women writers.