Critically appraising the superman Essay Example | Topics and Well Written Essays - 750 words

Critically appraising the superman - Essay Example A different kind of hero, however, is also frequently found in the comic books, graphic novels, and silver screens of the world-the "not-so-super hero." Some heroes, such as DC Comics' Batman, have no super powers at all. Rather, they combat injustice and fight on in the war against crime by more conventional means. Batman, for instance, is a well-trained fighter whose powers are derived from his unwillingness to give up, his uncommon, but not impossible, physical capabilities, and his commitment to righting the wrongs that cost him his own parents. Heroes such as Batman are just as alluring for the avid comic book reader, the graphic novel enthusiast, and the average dreamer because his success in crime fighting, his superheroism, in fact, is absolutely attainable. This hint of reality and touch of hope has put millions upon millions of children and adults squarely in Batman's corner as he persists against the injustices in Gotham City to protect the innocent. Two specific graphic novels, both released by DC Comics, present both the super and non-super version of comic book heroes for the enjoyment of fans everywhere. The first graphic novel, Moore and Gibbons' Watchmen (1995), is a collection of comic books about a world on the edge of nuclear warfare, where superheroes have ceased to enjoy the public support of the past. In fact, in this story, superheroes are distrusted and dismissed as untrustworthy, especially since it is difficult to keep them in check and watch for suspicious behavior among them. As such, the heroes in the book, who are notably without real superpowers-Dr. Manhattan is an exception to this rule-find themselves distrusted and practically underground since public sentiment removes them so far from their favor. This graphic novel masterfully exposes the human aspects of the superheroes, including their struggles with the same issues grappled with by the average human being. Public distrust of the heroes is magnified with graffiti written on the walls throughout the book posing the question "who watches the watchmen" (Hughes 546). It is important to point out that, in The Watchmen, thought bubbles were not used at all, leaving only an objective perspective for the reader and eliminating the thought bubble clarification style that is so common in comic books. While this is more widely used today, this piece was seminal in its use of such a technique. All the superheroes in this story experience real-world problems throughout the unfolding of the plot, and several are captured, even succumbing to psychiatric testing. As the doomsday clock continues to tick toward the end, the heroes' ability to tap into the ordinary in the realist piece of comic history sets the story apart from so many of the average superhero comics and graphic novels that are available for readers to devour. The other graphic novel for consideration, Wade and Ross' Kingdom Come (1997), involves a surprising similar set of themes as those found in Moore and Gibbons' work. Like The Watchmen, this graphic novel deals with a situation in which many people believe the Apocalypse is imminent. The story is full of a new type of superhero. These superheroes are younger, less moral, and more willing to do whatever is necessary to

Quantitative Analysis of Cinematic Statistics Research Paper

Quantitative Analysis of Cinematic Statistics - Research Paper Example Table 1, Appendices A shows total numerical values used for this analysis. The related trend between cinemas and screens as shown in Chart 1 Appendices A is that the number of screens increased over time in correlation with the number of cinema sites; however, as cinema sites tapered off, screens maintained a slight increase. The index number inferences, shown in Index A and B, Appendices A, describe a relative increase for screens of 5.5 percent in 2004 based on 1994, but only 0.3 percent for cinemas. Admissions revenue based on 1994 delivered a price relative average increase of 3.8%, and based on 1999 the price relative was only 2.8% as related in Index C, Appendices A. Furthermore, Chart 2 Appendices A describes the relative increase of admission revenue which can be correlated to the amount of screen increase per cinema. This infers that the more screens per cinema, the higher revenue increase. This is a good indicator for management staff that more revenue is generated the higher the concentration of screens, and for the customers this allows more mo vie options in a singular location, further increasing admissions revenue. Chart 3 Appendices A shows the sharp increase of admission revenue as cinemas increase, which induces the trend of a positive relationship. Using the linear regression equation y = 5.6951x - 3722.7, it can be derived that there is a trend of increase in admission revenue in relationship to cinemas sites. The correlation coefficient equals 0.877, which is a high value which infers a positive relationship between increase in admission revenue and cinema sites. The forecasted admission value for 2005 is 780.6082 m provided that 772 cinemas are built. Admissions and Cinema Screens Chart 4 Appendices A demonstrates a dramatic slope accession of admissions revenue as screens increase/ Linear equation Linear equation y = 7.3519x - 502.72 trends at a higher correlation between admission revenue and screens that noted in admissions and sites, the correlation coefficient with screens is 0.98486, intuitive of an impressive positive growth relationship between these factors. The forecast for admissions in relationship to screens in 2005 would be 25229.1m, provided that 3500 screens are built and the market can support that amount of cinematic screens, if 350 screens are built, the 2005 forecast would be 2070.45m, a more plausible plan of action. Gross Box Office (GBO) and Cinema Sites Chart 5 Appendices A plots the relationship between GBO and cinema sites, showing a sharp increase in GBO in relation to the increase in sites. The linear equation y = 0.0361x = 651.7 concludes to this positive relationship with a correlation coefficient of 0.892993 further demonstrates the solid positive increases in GBC as it relates to cinema sites. Forecasting for 2005 with 772 cinema sites-meaning that one cinema is inoperable-would bring a GBO of 3221.81 m, a slight decrease from 2004, but significant of the relationship between the number of cinemas and GBO. Gross Box Office (GBO) and Cinema Screens GBO and cinema screens also have a correlative relationship as visualised in Chart 5 Appendices A. This chart signifies powerful growth as the number of