Popular Art Research Paper Introduction  The term popular art is loosely used to describe the kind of literature, music, painting, architecture, and other cultural matter that is produced for mass consumption. Some popular art sometimes turns out to be very sophisticated (Charles Dickens’s novels, for instance), but most popular art is designed to reaffirm and comfort popular attitudes and tastes, not challenge or examine them. Examples of twenty-first-century popular art include television programs, feature films, popular music of many kinds, video games, and many other kinds of media. AssignmentFor this paper, choose a relatively “unsophisticated” form of popular art for analysis. When you choose a type, or genre, be sure that it is a coherent genre; not “popular music” but, say, “sentimental love songs of the 1950s” or “goth rock of early 1980s”; not “comic books” but “Disney comics” or “monster comics” or “superhero-type comics.” Popular art exists in almost all areas, for all kinds of specialized interests. Be sure to select a form of popular art in a field of specialized interests. Be sure to also select a form of popular art in a field you find interesting to begin with. You can choose a topic from a wide variety of material—from comic books and horror movies to TV shows and bumper stickers and magazines, from Nancy Drew and Hardy Boys to 50 Shades of Grey, from plays by Neil Simon and Sam Shepard, to Hayao Miyazaki’s animated films and Haruki Murakami’s novels. Your object will be to explore the relationship between your chosen piece of popular culture and some social issue such as age, race, gender, class, religion, immigration, etc. You will be forming an argument about this relationship, a central thesis that will be supported by your evidence. Evidence for your argument will come from analysis or descriptions of the popular art as well as from credible research sources you select. One requirement of the paper is that you use of at least five research sources; at least three of those sources have to be peer-reviewed academic texts. Please keep in mind this is not a report. You are to add to the conversation by making a claim about your chosen topic. Focus on the development of ideas rather than on the accumulation of quotes.How to find topics? Read reputable news media (websites such as NPR, BBC, ABC, Time Magazine, The Guardian, NYTimes)Think about how the popular culture (film, music, literature, radio, video games, etc.) you consume engages in some social issues.  Do some preliminary research to narrow down your topic to a particular piece of popular culture and a particular social issue.Some sample research questions:Do Breaking Bad and similar television crime dramas make people afraid of Latin American immigrants?Are female rappers of the 2020s–for instance, Cardi B. and her associates–modern-day feminists or pornographers?Do first-person shooter video games contribute to violence in our society?Do military-themed video games portray Middle Easterners unfairly?Do “white trash” reality shows slander Americans who live in rural parts of the country?Was “Gangsta Rap” in the 1990s a valid form of protest against living conditions in the inner city? Additional sample research topics:Comic books and civil rightsClimate anxiety and video gamesHorror film and gender issuesTV shows depiction of LGBTQ+ experienceCelebrity culture and the American dreamNarcocorridos and misogynyPortrayal of the Chicano in American filmRap music and black cultureAlternative music and economic inequalityRepresentation of people of African descent in visual artPortrayal of European immigrants as gangsters in 1930s cinemaJamaican Americans and rap in the 1970sCyberpunk and Asian American zines in the1990sScience fiction and exploration of “otherness  Requirements A well-researched, academic argument that adds a new perspective to the existing conversation about your topicA clear thesis statement that advances a specific, substantial, arguable pointStrong supporting evidence from your secondary researchIn-text citation of at least FIVE different secondary sources (at least THREE academic sources)A careful evaluation of relevant counterpointsA coherent organizational structure that enhances the argument and effectively portrays the researchAn identifiable audienceA clear ethos4-6 double-spaced pages (1,000-1,500 words)Works Cited (MLA)Meticulous proofreading and proper formattingDon’t Do It!No dropped quotes (always provide the author’s name)No more than one block quoteNo changing topics at the last minute. I will only accept papers on proposed topics.                                     Essay SampleA Marvellous Secret to SuccessThe transmedia conglomerate that is the Marvel legacy has generated a fanbase of global proportion, reaching people of all ages, genders, races and nationalities. Avengers: Infinity War, the latest Marvel movie involving the Avengers lineup, broke dozens of records in terms of popularity, box office sales, screenwriting, acting expertise, etc (McClintock). The movie franchise, coined the Marvel Cinematic Universe, or the MCU for short, has cemented itself in history and in the superhero genre as a force to be contended with. But parallel to the MCU grew Marvel-based video games and merchandise and TV shows, and before the movies, there were the comics, that still hold marketable value today. Transmedia accurately describes this disparate medley of media forms that make up the entity we call “Marvel”. In the article, “The Marvel Studios Phenomenon: Inside a Transmedia Universe”, Stephanie Graves asserts that professionals “situate Marvel as taking part in what media scholar Henry Jenkins frames as “transmedia storytelling,” wherein singular, cohesive narratives expand across different platforms” (Graves, 1). There are unifying factors; found in themes, characterization, even plots but they are largely inconsistent and oft tell their own story, with little more than a nod to the original characters in the comics or their movie counterparts, or vice versa. Although literary consistency cannot always be counted on, one thing that will never change is the role Marvel attempts to take up in subtly providing social commentary in the context of today’s world, with a focus on that which is relevant and empowering to the fanbase at the time. This essay will consider only the Marvel comics and Marvel studios film productions in illustrating this point, for the sake of brevity.Marvel is primed to function as a platform for social message. For one, it exists, not in a parallel universe as DC comics, Marvel’s primary rival, does, with invented cities like Gotham serving as the backdrop for conflict, but in contemporary, tangible settings like Manhattan and Brooklyn (with the notable exceptions of Wakanda, a fictitious place advanced beyond imagination, situated in the depths of the Amazon rainforest, and extra-terrestrial locations), and therefore being inheriting of its history and unique cultures (Dantzler, 472). This enables a more direct confrontation of the issues at hand, rather than taking the circuitous approach. That’s not to postulate that such an occurrence never exist effectively – in fact, X-men serves as a perfect example of how this might transpire (it “addresses real-life issues such as prejudice, social persecution, and homophobia, which are thinly veiled by the films’ continuing storyline of mutants dealing with an intolerant and fearful world” (Dantzler, 472)). However, X-Men still plays out in a location familiar to us, generating a tension that is both believable and relatable. It also has a massive teenage fan following. And if universal perceptions are to be trusted, the youth are pliant and malleable in their thinking, and therefore more perceptive AND receptive to any commentary on society at large, especially the radical and liberal. This makes the incorporation of such commentary not only instrumental in creating riveting plots but also an effectual marketing technique.This commentary may affirm or critique societal expectations and social affairs of the place and time, but it always tastefully finds a way to cater to the target audience. In the 1960s, the decade in which the comic series that started as Timely comics took on the name of Marvel comics, the typical Marvel buff was young and male (Beaty, 318). Spider-Man, the prodigal, web-slinging costumed vigilante came into creation to endorse the rise of the “teenage culture.” Genter proposes that “While Lee has suggested that his decision to create a superhero based on a young adolescent was ‘‘just for kicks,’’ he must have been aware that he was tapping into a  growing discourse over America’s new ‘‘teenagers.’(Genter, 970).  It’s not conventional knowledge that the word itself was only conceived in the 1940s (Metcalf), and it was the targeted marketing towards this age group that led to the rise of this pervasive population with similar interests and recreational pastimes (Genter, 970). In this instance, the comic series conceded to a societal uprising by creating a character the people of the mutiny could identify with: the young male teenager, characterized as being as angst-ridden and burdened with pressures as any male between the age of 13 and 18 – with the small abnormality of being a genetically enhanced superhuman. Iron Man, one among many examples, was a part of the counterculture movement against the burgeoning concept of the “family man.” Iron man represented his being against the “breadwinner” role by tapping into his sexuality and promiscuity (Genter, 969). Tony Stark is characterized by his issues with commitment and as a “womanizer”; a free form, not to be tied down by the mundane responsibilities of marriage. He embodied the virtues that young men being told to settle down and have families yearned to seize.Advance forward to the present, about 57 years, and the thriving enterprise is now no longer only exclusively merchantable (in the eyes of Marvel Comics) to the male species. Often criticised and labelled “fake fans” by those who have diligently followed comic storylines from the base up (Beaty, 318), woman and teenage girls now make up a significant following of the Marvel movie franchise, even coming close enough to jeopardize the long-standing majority claim men have had over the alternate universe (Schenker). Just as the feminist movement struggles to gain headway, Marvel seems to be trying to make strides to include more women in positions of power; as CEOs, tech innovators, combatants, and even raging alcoholics, challenging traditional gender roles. This manner of appeasement when addressing the women’s rights campaign is also evident in how the movie characters differ from their comic counterparts, especially with time. Tony Stark becomes a dedicated partner to Pepper Potts, abandoning the misogynistic, party-going socialite role for a more domesticated life. Captain America (Steve Rogers) is depicted as coming from humble origins, and in awe of a woman his superior, Peggy Carter. However, both of these characters, though admirable and formidable, are still seen only as sidekicks or extensions of their partners (Murphy, 1). More recent female heroes like the Wasp and Valkyrie, as well as supervillains like Hela, Goddess of Death, and Ghost, elevate females to greater heights, not weighed down by a man in their life, tying into a woman’s sense of liberation and autonomy.Efforts to combat racism through movies like Black Panther display some amount of duality in their purpose. Evidently one rationale for this is to appeal to the African American community with Black Panther’s predominantly black cast being part of a film that showcases solidarity through struggle and offers commentary on the responsibility the upper class have in helping out those less fortunate. It also tends to please women and other minority groups as feminism and other rights movements are built on inclusivity and equal rights for everyone.Commentary on society is not patently restricted to race and gender. Many argue that the Marvel Cinematic Universe has distinct anti-capitalist undertones. This is largely owing to opinions by writers that make the argument that “On the one hand, super villains seemmost at home in institutions. They head secret societies, corporations, or armies…. most movie super villains effortlessly and instinctively understand how to manipulate bureaucracies and treat the world in a similarly entitled manner” (Acu, 198). In such happenings, it’s unclear what following they are trying to appease, but one can hazard that it is the young and liberal, two spheres that gravitate towards overlap more often than not.Marvel might appear to be socially conscious and unreluctant in displaying it, but this is not an unarguable verity. The corporation IS undeniably conscious of the social issues prevalent in society; however, the literary presence of these issues only manifest when it is relevant or empowering to their following. Ingenious as a marketing technique but dispiriting to the average fan that might believe Marvel was simply an enlightened entity, this tactic has proven effective in getting the reception other film studios only aspire to get. Works Cited Acu, Adrian. “The Marvel Cinematic Universe and the Organized Superhero”. Journal of Popular Film and Television, vol. 44, no. 4, 2016, pp. 195-205. Beaty, Bart. “Superhero fan service: Audience strategies in the contemporary interlinked Hollywood blockbuster”. Information Society, vol. 32, no. 5, 2016, pp. 318-325. Dantzler, Jamoki Zakia. “How the Marvel Cinematic Universe Represents Our Quality World: An Integration of Reality Therapy/Choice Theory and Cinema Therapy”. Journal of Creativity in Mental Health, vol. 10, no. 4, 2015, pp. 471-487. Genter, Robert. ““With Great Power Comes Great Responsibility”: Cold War Culture and the Birth of Marvel Comics”. Journal of Popular Culture, vol. 40, no. 6, 2007, pp. 953-978. Graves, Stephanie. “The Marvel Studios Phenomenon: Inside a Transmedia Universe”. Journal of Popular Culture, vol. 51, no. 3, 2018, pp. 812-814. McClintock, Pamela. “’Avengers: Infinity War’ Box Office: A Rundown of the Records Broken.” The Hollywood Reporter, The Hollywood Reporter, 29 Apr. 2018, www.hollywoodreporter.com/heat-vision/avengers-infinity-war-box-office-a-rundown-records-broken-1106802. Metcalf, Allan. The Chronicle of Higher Education, The Chronicle of Higher Education, www.chronicle.com/blogs/linguafranca/2012/02/28/birth-of-the-teenager/. Murphy, Katherine. “Analyzing Female Gender Roles in Marvel Comics from the Silver Age (1960) to the Present”. Student Pulse Journal Quest: Discussions, vol. 12, no. 2, 2016, pp. 1.Schenker, Brett. “Market Research Says 46.67% of Comic Fans Are Female.” The Beat, 10 Feb. 2014, www.comicsbeat.com/market-research-says-46-female-comic-fans/. Free features N Outline $5 FREE N Revisions $30 FREE N Title Page $5 FREE N Bibliography $15 FREE N Formatting $10 FREE PLACE AN ORDER NOW Why Choose Us? N Satisfied and returning customers N A wide range of services N 6-hour delivery available N Money-back guarantee N 100% privacy guaranteed N Only custom-written papers N Free amendments upon request N Free extras by request N Constant access to your paper’s writer N A professional team of experienced paper writers N 10+ years of experience in the custom writing market MANAGE ORDERS We accept PLACE AN ORDER NOW

Popular Art Research Paper Introduction  The term popular art is loosely used to describe the kind of literature, music, painting, architecture, and other cultural matter that is produced for mass consumption. Some popular art sometimes turns out to be very sophisticated (Charles Dickens’s novels, for instance), but most popular art is designed to reaffirm and comfort popular attitudes and tastes, not challenge or examine them. Examples of twenty-first-century popular art include television programs, feature films, popular music of many kinds, video games, and many other kinds of media. AssignmentFor this paper, choose a relatively “unsophisticated” form of popular art for analysis. When you choose a type, or genre, be sure that it is a coherent genre; not “popular music” but, say, “sentimental love songs of the 1950s” or “goth rock of early 1980s”; not “comic books” but “Disney comics” or “monster comics” or “superhero-type comics.” Popular art exists in almost all areas, for all kinds of specialized interests. Be sure to select a form of popular art in a field of specialized interests. Be sure to also select a form of popular art in a field you find interesting to begin with. You can choose a topic from a wide variety of material—from comic books and horror movies to TV shows and bumper stickers and magazines, from Nancy Drew and Hardy Boys to 50 Shades of Grey, from plays by Neil Simon and Sam Shepard, to Hayao Miyazaki’s animated films and Haruki Murakami’s novels. Your object will be to explore the relationship between your chosen piece of popular culture and some social issue such as age, race, gender, class, religion, immigration, etc. You will be forming an argument about this relationship, a central thesis that will be supported by your evidence. Evidence for your argument will come from analysis or descriptions of the popular art as well as from credible research sources you select. One requirement of the paper is that you use of at least five research sources; at least three of those sources have to be peer-reviewed academic texts. Please keep in mind this is not a report. You are to add to the conversation by making a claim about your chosen topic. Focus on the development of ideas rather than on the accumulation of quotes.How to find topics? Read reputable news media (websites such as NPR, BBC, ABC, Time Magazine, The Guardian, NYTimes)Think about how the popular culture (film, music, literature, radio, video games, etc.) you consume engages in some social issues.  Do some preliminary research to narrow down your topic to a particular piece of popular culture and a particular social issue.Some sample research questions:Do Breaking Bad and similar television crime dramas make people afraid of Latin American immigrants?Are female rappers of the 2020s–for instance, Cardi B. and her associates–modern-day feminists or pornographers?Do first-person shooter video games contribute to violence in our society?Do military-themed video games portray Middle Easterners unfairly?Do “white trash” reality shows slander Americans who live in rural parts of the country?Was “Gangsta Rap” in the 1990s a valid form of protest against living conditions in the inner city? Additional sample research topics:Comic books and civil rightsClimate anxiety and video gamesHorror film and gender issuesTV shows depiction of LGBTQ+ experienceCelebrity culture and the American dreamNarcocorridos and misogynyPortrayal of the Chicano in American filmRap music and black cultureAlternative music and economic inequalityRepresentation of people of African descent in visual artPortrayal of European immigrants as gangsters in 1930s cinemaJamaican Americans and rap in the 1970sCyberpunk and Asian American zines in the1990sScience fiction and exploration of “otherness  Requirements A well-researched, academic argument that adds a new perspective to the existing conversation about your topicA clear thesis statement that advances a specific, substantial, arguable pointStrong supporting evidence from your secondary researchIn-text citation of at least FIVE different secondary sources (at least THREE academic sources)A careful evaluation of relevant counterpointsA coherent organizational structure that enhances the argument and effectively portrays the researchAn identifiable audienceA clear ethos4-6 double-spaced pages (1,000-1,500 words)Works Cited (MLA)Meticulous proofreading and proper formattingDon’t Do It!No dropped quotes (always provide the author’s name)No more than one block quoteNo changing topics at the last minute. I will only accept papers on proposed topics.                                     Essay SampleA Marvellous Secret to SuccessThe transmedia conglomerate that is the Marvel legacy has generated a fanbase of global proportion, reaching people of all ages, genders, races and nationalities. Avengers: Infinity War, the latest Marvel movie involving the Avengers lineup, broke dozens of records in terms of popularity, box office sales, screenwriting, acting expertise, etc (McClintock). The movie franchise, coined the Marvel Cinematic Universe, or the MCU for short, has cemented itself in history and in the superhero genre as a force to be contended with. But parallel to the MCU grew Marvel-based video games and merchandise and TV shows, and before the movies, there were the comics, that still hold marketable value today. Transmedia accurately describes this disparate medley of media forms that make up the entity we call “Marvel”. In the article, “The Marvel Studios Phenomenon: Inside a Transmedia Universe”, Stephanie Graves asserts that professionals “situate Marvel as taking part in what media scholar Henry Jenkins frames as “transmedia storytelling,” wherein singular, cohesive narratives expand across different platforms” (Graves, 1). There are unifying factors; found in themes, characterization, even plots but they are largely inconsistent and oft tell their own story, with little more than a nod to the original characters in the comics or their movie counterparts, or vice versa. Although literary consistency cannot always be counted on, one thing that will never change is the role Marvel attempts to take up in subtly providing social commentary in the context of today’s world, with a focus on that which is relevant and empowering to the fanbase at the time. This essay will consider only the Marvel comics and Marvel studios film productions in illustrating this point, for the sake of brevity.Marvel is primed to function as a platform for social message. For one, it exists, not in a parallel universe as DC comics, Marvel’s primary rival, does, with invented cities like Gotham serving as the backdrop for conflict, but in contemporary, tangible settings like Manhattan and Brooklyn (with the notable exceptions of Wakanda, a fictitious place advanced beyond imagination, situated in the depths of the Amazon rainforest, and extra-terrestrial locations), and therefore being inheriting of its history and unique cultures (Dantzler, 472). This enables a more direct confrontation of the issues at hand, rather than taking the circuitous approach. That’s not to postulate that such an occurrence never exist effectively – in fact, X-men serves as a perfect example of how this might transpire (it “addresses real-life issues such as prejudice, social persecution, and homophobia, which are thinly veiled by the films’ continuing storyline of mutants dealing with an intolerant and fearful world” (Dantzler, 472)). However, X-Men still plays out in a location familiar to us, generating a tension that is both believable and relatable. It also has a massive teenage fan following. And if universal perceptions are to be trusted, the youth are pliant and malleable in their thinking, and therefore more perceptive AND receptive to any commentary on society at large, especially the radical and liberal. This makes the incorporation of such commentary not only instrumental in creating riveting plots but also an effectual marketing technique.This commentary may affirm or critique societal expectations and social affairs of the place and time, but it always tastefully finds a way to cater to the target audience. In the 1960s, the decade in which the comic series that started as Timely comics took on the name of Marvel comics, the typical Marvel buff was young and male (Beaty, 318). Spider-Man, the prodigal, web-slinging costumed vigilante came into creation to endorse the rise of the “teenage culture.” Genter proposes that “While Lee has suggested that his decision to create a superhero based on a young adolescent was ‘‘just for kicks,’’ he must have been aware that he was tapping into a  growing discourse over America’s new ‘‘teenagers.’(Genter, 970).  It’s not conventional knowledge that the word itself was only conceived in the 1940s (Metcalf), and it was the targeted marketing towards this age group that led to the rise of this pervasive population with similar interests and recreational pastimes (Genter, 970). In this instance, the comic series conceded to a societal uprising by creating a character the people of the mutiny could identify with: the young male teenager, characterized as being as angst-ridden and burdened with pressures as any male between the age of 13 and 18 – with the small abnormality of being a genetically enhanced superhuman. Iron Man, one among many examples, was a part of the counterculture movement against the burgeoning concept of the “family man.” Iron man represented his being against the “breadwinner” role by tapping into his sexuality and promiscuity (Genter, 969). Tony Stark is characterized by his issues with commitment and as a “womanizer”; a free form, not to be tied down by the mundane responsibilities of marriage. He embodied the virtues that young men being told to settle down and have families yearned to seize.Advance forward to the present, about 57 years, and the thriving enterprise is now no longer only exclusively merchantable (in the eyes of Marvel Comics) to the male species. Often criticised and labelled “fake fans” by those who have diligently followed comic storylines from the base up (Beaty, 318), woman and teenage girls now make up a significant following of the Marvel movie franchise, even coming close enough to jeopardize the long-standing majority claim men have had over the alternate universe (Schenker). Just as the feminist movement struggles to gain headway, Marvel seems to be trying to make strides to include more women in positions of power; as CEOs, tech innovators, combatants, and even raging alcoholics, challenging traditional gender roles. This manner of appeasement when addressing the women’s rights campaign is also evident in how the movie characters differ from their comic counterparts, especially with time. Tony Stark becomes a dedicated partner to Pepper Potts, abandoning the misogynistic, party-going socialite role for a more domesticated life. Captain America (Steve Rogers) is depicted as coming from humble origins, and in awe of a woman his superior, Peggy Carter. However, both of these characters, though admirable and formidable, are still seen only as sidekicks or extensions of their partners (Murphy, 1). More recent female heroes like the Wasp and Valkyrie, as well as supervillains like Hela, Goddess of Death, and Ghost, elevate females to greater heights, not weighed down by a man in their life, tying into a woman’s sense of liberation and autonomy.Efforts to combat racism through movies like Black Panther display some amount of duality in their purpose. Evidently one rationale for this is to appeal to the African American community with Black Panther’s predominantly black cast being part of a film that showcases solidarity through struggle and offers commentary on the responsibility the upper class have in helping out those less fortunate. It also tends to please women and other minority groups as feminism and other rights movements are built on inclusivity and equal rights for everyone.Commentary on society is not patently restricted to race and gender. Many argue that the Marvel Cinematic Universe has distinct anti-capitalist undertones. This is largely owing to opinions by writers that make the argument that “On the one hand, super villains seemmost at home in institutions. They head secret societies, corporations, or armies…. most movie super villains effortlessly and instinctively understand how to manipulate bureaucracies and treat the world in a similarly entitled manner” (Acu, 198). In such happenings, it’s unclear what following they are trying to appease, but one can hazard that it is the young and liberal, two spheres that gravitate towards overlap more often than not.Marvel might appear to be socially conscious and unreluctant in displaying it, but this is not an unarguable verity. The corporation IS undeniably conscious of the social issues prevalent in society; however, the literary presence of these issues only manifest when it is relevant or empowering to their following. Ingenious as a marketing technique but dispiriting to the average fan that might believe Marvel was simply an enlightened entity, this tactic has proven effective in getting the reception other film studios only aspire to get. Works Cited Acu, Adrian. “The Marvel Cinematic Universe and the Organized Superhero”. Journal of Popular Film and Television, vol. 44, no. 4, 2016, pp. 195-205. Beaty, Bart. “Superhero fan service: Audience strategies in the contemporary interlinked Hollywood blockbuster”. Information Society, vol. 32, no. 5, 2016, pp. 318-325. Dantzler, Jamoki Zakia. “How the Marvel Cinematic Universe Represents Our Quality World: An Integration of Reality Therapy/Choice Theory and Cinema Therapy”. Journal of Creativity in Mental Health, vol. 10, no. 4, 2015, pp. 471-487. Genter, Robert. ““With Great Power Comes Great Responsibility”: Cold War Culture and the Birth of Marvel Comics”. Journal of Popular Culture, vol. 40, no. 6, 2007, pp. 953-978. Graves, Stephanie. “The Marvel Studios Phenomenon: Inside a Transmedia Universe”. Journal of Popular Culture, vol. 51, no. 3, 2018, pp. 812-814. McClintock, Pamela. “’Avengers: Infinity War’ Box Office: A Rundown of the Records Broken.” The Hollywood Reporter, The Hollywood Reporter, 29 Apr. 2018, www.hollywoodreporter.com/heat-vision/avengers-infinity-war-box-office-a-rundown-records-broken-1106802. Metcalf, Allan. The Chronicle of Higher Education, The Chronicle of Higher Education, www.chronicle.com/blogs/linguafranca/2012/02/28/birth-of-the-teenager/. Murphy, Katherine. “Analyzing Female Gender Roles in Marvel Comics from the Silver Age (1960) to the Present”. Student Pulse Journal Quest: Discussions, vol. 12, no. 2, 2016, pp. 1.Schenker, Brett. “Market Research Says 46.67% of Comic Fans Are Female.” The Beat, 10 Feb. 2014, www.comicsbeat.com/market-research-says-46-female-comic-fans/. Free features N Outline $5 FREE N Revisions $30 FREE N Title Page $5 FREE N Bibliography $15 FREE N Formatting $10 FREE PLACE AN ORDER NOW Why Choose Us? N Satisfied and returning customers N A wide range of services N 6-hour delivery available N Money-back guarantee N 100% privacy guaranteed N Only custom-written papers N Free amendments upon request N Free extras by request N Constant access to your paper’s writer N A professional team of experienced paper writers N 10+ years of experience in the custom writing market MANAGE ORDERS We accept PLACE AN ORDER NOWQuestions Popular Art Research Paper Introduction  The term popular art is loosely used to describe the kind of literature, music, painting, architecture, and other cultural matter that is produced for mass consumption. Some popular art sometimes turns out to be very sophisticated (Charles Dickens’s novels, for instance), but most popular art is designed to reaffirm and comfort popular attitudes and tastes, not challenge or examine them. Examples of twenty-first-century popular art include television programs, feature films, popular music of many kinds, video games, and many other kinds of media. AssignmentFor this paper, choose a relatively “unsophisticated” form of popular art for analysis. When you choose a type, or genre, be sure that it is a coherent genre; not “popular music” but, say, “sentimental love songs of the 1950s” or “goth rock of early 1980s”; not “comic books” but “Disney comics” or “monster comics” or “superhero-type comics.” Popular art exists in almost all areas, for all kinds of specialized interests. Be sure to select a form of popular art in a field of specialized interests. Be sure to also select a form of popular art in a field you find interesting to begin with. You can choose a topic from a wide variety of material—from comic books and horror movies to TV shows and bumper stickers and magazines, from Nancy Drew and Hardy Boys to 50 Shades of Grey, from plays by Neil Simon and Sam Shepard, to Hayao Miyazaki’s animated films and Haruki Murakami’s novels. Your object will be to explore the relationship between your chosen piece of popular culture and some social issue such as age, race, gender, class, religion, immigration, etc. You will be forming an argument about this relationship, a central thesis that will be supported by your evidence. Evidence for your argument will come from analysis or descriptions of the popular art as well as from credible research sources you select. One requirement of the paper is that you use of at least five research sources; at least three of those sources have to be peer-reviewed academic texts. Please keep in mind this is not a report. You are to add to the conversation by making a claim about your chosen topic. Focus on the development of ideas rather than on the accumulation of quotes.How to find topics? Read reputable news media (websites such as NPR, BBC, ABC, Time Magazine, The Guardian, NYTimes)Think about how the popular culture (film, music, literature, radio, video games, etc.) you consume engages in some social issues.  Do some preliminary research to narrow down your topic to a particular piece of popular culture and a particular social issue.Some sample research questions:Do Breaking Bad and similar television crime dramas make people afraid of Latin American immigrants?Are female rappers of the 2020s–for instance, Cardi B. and her associates–modern-day feminists or pornographers?Do first-person shooter video games contribute to violence in our society?Do military-themed video games portray Middle Easterners unfairly?Do “white trash” reality shows slander Americans who live in rural parts of the country?Was “Gangsta Rap” in the 1990s a valid form of protest against living conditions in the inner city? Additional sample research topics:Comic books and civil rightsClimate anxiety and video gamesHorror film and gender issuesTV shows depiction of LGBTQ+ experienceCelebrity culture and the American dreamNarcocorridos and misogynyPortrayal of the Chicano in American filmRap music and black cultureAlternative music and economic inequalityRepresentation of people of African descent in visual artPortrayal of European immigrants as gangsters in 1930s cinemaJamaican Americans and rap in the 1970sCyberpunk and Asian American zines in the1990sScience fiction and exploration of “otherness  Requirements A well-researched, academic argument that adds a new perspective to the existing conversation about your topicA clear thesis statement that advances a specific, substantial, arguable pointStrong supporting evidence from your secondary researchIn-text citation of at least FIVE different secondary sources (at least THREE academic sources)A careful evaluation of relevant counterpointsA coherent organizational structure that enhances the argument and effectively portrays the researchAn identifiable audienceA clear ethos4-6 double-spaced pages (1,000-1,500 words)Works Cited (MLA)Meticulous proofreading and proper formattingDon’t Do It!No dropped quotes (always provide the author’s name)No more than one block quoteNo changing topics at the last minute. I will only accept papers on proposed topics.                                     Essay SampleA Marvellous Secret to SuccessThe transmedia conglomerate that is the Marvel legacy has generated a fanbase of global proportion, reaching people of all ages, genders, races and nationalities. Avengers: Infinity War, the latest Marvel movie involving the Avengers lineup, broke dozens of records in terms of popularity, box office sales, screenwriting, acting expertise, etc (McClintock). The movie franchise, coined the Marvel Cinematic Universe, or the MCU for short, has cemented itself in history and in the superhero genre as a force to be contended with. But parallel to the MCU grew Marvel-based video games and merchandise and TV shows, and before the movies, there were the comics, that still hold marketable value today. Transmedia accurately describes this disparate medley of media forms that make up the entity we call “Marvel”. In the article, “The Marvel Studios Phenomenon: Inside a Transmedia Universe”, Stephanie Graves asserts that professionals “situate Marvel as taking part in what media scholar Henry Jenkins frames as “transmedia storytelling,” wherein singular, cohesive narratives expand across different platforms” (Graves, 1). There are unifying factors; found in themes, characterization, even plots but they are largely inconsistent and oft tell their own story, with little more than a nod to the original characters in the comics or their movie counterparts, or vice versa. Although literary consistency cannot always be counted on, one thing that will never change is the role Marvel attempts to take up in subtly providing social commentary in the context of today’s world, with a focus on that which is relevant and empowering to the fanbase at the time. This essay will consider only the Marvel comics and Marvel studios film productions in illustrating this point, for the sake of brevity.Marvel is primed to function as a platform for social message. For one, it exists, not in a parallel universe as DC comics, Marvel’s primary rival, does, with invented cities like Gotham serving as the backdrop for conflict, but in contemporary, tangible settings like Manhattan and Brooklyn (with the notable exceptions of Wakanda, a fictitious place advanced beyond imagination, situated in the depths of the Amazon rainforest, and extra-terrestrial locations), and therefore being inheriting of its history and unique cultures (Dantzler, 472). This enables a more direct confrontation of the issues at hand, rather than taking the circuitous approach. That’s not to postulate that such an occurrence never exist effectively – in fact, X-men serves as a perfect example of how this might transpire (it “addresses real-life issues such as prejudice, social persecution, and homophobia, which are thinly veiled by the films’ continuing storyline of mutants dealing with an intolerant and fearful world” (Dantzler, 472)). However, X-Men still plays out in a location familiar to us, generating a tension that is both believable and relatable. It also has a massive teenage fan following. And if universal perceptions are to be trusted, the youth are pliant and malleable in their thinking, and therefore more perceptive AND receptive to any commentary on society at large, especially the radical and liberal. This makes the incorporation of such commentary not only instrumental in creating riveting plots but also an effectual marketing technique.This commentary may affirm or critique societal expectations and social affairs of the place and time, but it always tastefully finds a way to cater to the target audience. In the 1960s, the decade in which the comic series that started as Timely comics took on the name of Marvel comics, the typical Marvel buff was young and male (Beaty, 318). Spider-Man, the prodigal, web-slinging costumed vigilante came into creation to endorse the rise of the “teenage culture.” Genter proposes that “While Lee has suggested that his decision to create a superhero based on a young adolescent was ‘‘just for kicks,’’ he must have been aware that he was tapping into a  growing discourse over America’s new ‘‘teenagers.’(Genter, 970).  It’s not conventional knowledge that the word itself was only conceived in the 1940s (Metcalf), and it was the targeted marketing towards this age group that led to the rise of this pervasive population with similar interests and recreational pastimes (Genter, 970). In this instance, the comic series conceded to a societal uprising by creating a character the people of the mutiny could identify with: the young male teenager, characterized as being as angst-ridden and burdened with pressures as any male between the age of 13 and 18 – with the small abnormality of being a genetically enhanced superhuman. Iron Man, one among many examples, was a part of the counterculture movement against the burgeoning concept of the “family man.” Iron man represented his being against the “breadwinner” role by tapping into his sexuality and promiscuity (Genter, 969). Tony Stark is characterized by his issues with commitment and as a “womanizer”; a free form, not to be tied down by the mundane responsibilities of marriage. He embodied the virtues that young men being told to settle down and have families yearned to seize.Advance forward to the present, about 57 years, and the thriving enterprise is now no longer only exclusively merchantable (in the eyes of Marvel Comics) to the male species. Often criticised and labelled “fake fans” by those who have diligently followed comic storylines from the base up (Beaty, 318), woman and teenage girls now make up a significant following of the Marvel movie franchise, even coming close enough to jeopardize the long-standing majority claim men have had over the alternate universe (Schenker). Just as the feminist movement struggles to gain headway, Marvel seems to be trying to make strides to include more women in positions of power; as CEOs, tech innovators, combatants, and even raging alcoholics, challenging traditional gender roles. This manner of appeasement when addressing the women’s rights campaign is also evident in how the movie characters differ from their comic counterparts, especially with time. Tony Stark becomes a dedicated partner to Pepper Potts, abandoning the misogynistic, party-going socialite role for a more domesticated life. Captain America (Steve Rogers) is depicted as coming from humble origins, and in awe of a woman his superior, Peggy Carter. However, both of these characters, though admirable and formidable, are still seen only as sidekicks or extensions of their partners (Murphy, 1). More recent female heroes like the Wasp and Valkyrie, as well as supervillains like Hela, Goddess of Death, and Ghost, elevate females to greater heights, not weighed down by a man in their life, tying into a woman’s sense of liberation and autonomy.Efforts to combat racism through movies like Black Panther display some amount of duality in their purpose. Evidently one rationale for this is to appeal to the African American community with Black Panther’s predominantly black cast being part of a film that showcases solidarity through struggle and offers commentary on the responsibility the upper class have in helping out those less fortunate. It also tends to please women and other minority groups as feminism and other rights movements are built on inclusivity and equal rights for everyone.Commentary on society is not patently restricted to race and gender. Many argue that the Marvel Cinematic Universe has distinct anti-capitalist undertones. This is largely owing to opinions by writers that make the argument that “On the one hand, super villains seemmost at home in institutions. They head secret societies, corporations, or armies…. most movie super villains effortlessly and instinctively understand how to manipulate bureaucracies and treat the world in a similarly entitled manner” (Acu, 198). In such happenings, it’s unclear what following they are trying to appease, but one can hazard that it is the young and liberal, two spheres that gravitate towards overlap more often than not.Marvel might appear to be socially conscious and unreluctant in displaying it, but this is not an unarguable verity. The corporation IS undeniably conscious of the social issues prevalent in society; however, the literary presence of these issues only manifest when it is relevant or empowering to their following. Ingenious as a marketing technique but dispiriting to the average fan that might believe Marvel was simply an enlightened entity, this tactic has proven effective in getting the reception other film studios only aspire to get. Works Cited Acu, Adrian. “The Marvel Cinematic Universe and the Organized Superhero”. Journal of Popular Film and Television, vol. 44, no. 4, 2016, pp. 195-205. Beaty, Bart. “Superhero fan service: Audience strategies in the contemporary interlinked Hollywood blockbuster”. Information Society, vol. 32, no. 5, 2016, pp. 318-325. Dantzler, Jamoki Zakia. “How the Marvel Cinematic Universe Represents Our Quality World: An Integration of Reality Therapy/Choice Theory and Cinema Therapy”. Journal of Creativity in Mental Health, vol. 10, no. 4, 2015, pp. 471-487. Genter, Robert. ““With Great Power Comes Great Responsibility”: Cold War Culture and the Birth of Marvel Comics”. Journal of Popular Culture, vol. 40, no. 6, 2007, pp. 953-978. Graves, Stephanie. “The Marvel Studios Phenomenon: Inside a Transmedia Universe”. Journal of Popular Culture, vol. 51, no. 3, 2018, pp. 812-814. McClintock, Pamela. “’Avengers: Infinity War’ Box Office: A Rundown of the Records Broken.” The Hollywood Reporter, The Hollywood Reporter, 29 Apr. 2018, www.hollywoodreporter.com/heat-vision/avengers-infinity-war-box-office-a-rundown-records-broken-1106802. Metcalf, Allan. The Chronicle of Higher Education, The Chronicle of Higher Education, www.chronicle.com/blogs/linguafranca/2012/02/28/birth-of-the-teenager/. Murphy, Katherine. “Analyzing Female Gender Roles in Marvel Comics from the Silver Age (1960) to the Present”. Student Pulse Journal Quest: Discussions, vol. 12, no. 2, 2016, pp. 1.Schenker, Brett. “Market Research Says 46.67% of Comic Fans Are Female.” The Beat, 10 Feb. 2014, www.comicsbeat.com/market-research-says-46-female-comic-fans/. Free features N Outline $5 FREE N Revisions $30 FREE N Title Page $5 FREE N Bibliography $15 FREE N Formatting $10 FREE PLACE AN ORDER NOW Why Choose Us? 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