Bullseye was played by Collin Farrell in the 2003 movie "Daredevil".
Hellfire (song)
"Hellfire" is a song from 1996's "The Hunchback of Notre Dame" written by Alan Menken and Stephen Schwartz and performed by Tony Jay as Judge Claude Frollo. It is about Frollo lusting towards the Romani girl Esmeralda and he wants her to burn if she wouldn't be with him.
The song is well-liked for being a well-written song for a despicable villain such as Frollo.
While the song is well-liked, many felt that the song was too dark for a G-rated Disney movie because of the themes regarding lust and eternal damnation.
Won't Back Down
"Won't Back Down" is a 2003 industrial rock song performed by Fuel for the 2003 movie "Daredevil". The song's remix "Won't Back Down (Bring You Hell Remix)" was included on their album "Natural Selection".
20th Century Fox gave Fuel an idea to make a song for the movie but it was done in one week.
The band performs on a skyscraper at night with clips of the movie shown throughout. At the end, the lead singer finds Daredevil's club and sees the name Fuel burning from gasoline. The music video can be found on DVD copies of the movie alongside the music video of "Bring Me to Life".
Arkzin
Arkzin (also written as @®kz!n) is a magazine. It was started by a group of anti-war people in Zagreb, Croatia in September of 1991. It was an important new publishing house Croatia in the 1990s. "Arkzin" has been a paper magazine, a newspaper, website, and a publishing house for books and music on CDs. "Arkzin" told people to promote political change using the media. "Arzkin" was inspired by the concept of tactical media. The last issue of the magazine was published in 1999. "Arkzin" changed media and culture in Croatia and other countries.
The pilot issue was published on September 25, 1991 as fanzine of the Anti-war Campaign Croatia. The aim of the fanzine was to collect information about peace and anti-war initiatives in (post)Yugoslavia, advocate nonviolence and a peaceful solution for the emerging war, report on human rights abuses, support conscientious objectors and serve as an alternative political media platform. As Vesna Janković wrote in the editorial of the pilot issue: The quality of the Anti-war campaign lies in the multitude and diversity of initiatives that make it up. Arkzin will nurture this diversity and thus be an active contribution to the emergence of civil society, a society of peace, pluralism, tolerance and diversity. Contributors were mostly members of the anti-war groups. The first edition had six issues (double issues: 2-3 and 5-6), with the last issue appearing on May 7th 1992. Circulation grew from 500 to 2,000 copies in A4 format. "Arkzin" was distributed through post mail, from hand to hand etc. Publishing costs were covered by donations collected by European peace groups.
The second edition of "Arkzin" ran for 93 issues, the first of which appeared on April 1st 1992. Initially a monthly, starting from the issue 13, "Arkzin" became a bi-weekly. In the second phase, "Arkzin" changed its format to A3, broadened the editorial board and scope of topics, included professional journalists as contributors (many of them could not publish in mainstream newspapers any more because of tightening censorship efforts by the state at the time). It was printed in newspaper rotation and distributed through a national newspaper stands network. Circulation grew from 2.000 to 10.000 copies. During this period "Arkzin" gradually changed to a hybrid magazine in which politics, culture, theory and art met and inspired one another. Throughout its life as a newspaper, "Arkzin" changed its conceptual self-definition, changing from the “Magazine of the Anti-War Campaign Croatia” (no. 10, February 1994), “Megazine of the Anti-War Campaign Croatia” (no. 12, April 1994) , “Metazine for Civil Society Politics and Culture” (no. 66, 7 June 1996), “Memezine for Civil Society Politics and Culture” (no. 73, 13 September 1996). Starting with the issue no. 82 (January 17, 1997) the cover page masthead no longer said ‘Arkzin’ in the Roman alphabet, but rather in Japanese katakana. In words of Dejan Kršić, graphic designer and one of the editors of "Arkzin": "This development reflects the role that Arkzin plays in the context of the movement for peace, non-violence, human rights, women’s power and ecology on one side, and the efforts of a growing range of people to build a cultural environment, which resists not only the war and its consequences but also the strangling grip of the dominant nationalist forces in Croatia, on the other side. Arkzin has established itself as a major forum of independent, alternative, critical information and debate. Arkzin not only criticises the government policies (e. g. the war in Bosnia and Herzegovina and the evictions of the people from former Yugoslav army housing flats), but also examines the role of the media, of the intellectuals and of various marginalised youth subcultures." (note published on Bibliofil)
The third, and final, phase of "Arkzin" lasted from 1997 until 1998. During this period seven issues in total were published. The format, number of pages and printing technique were changed, along with the content. The most professional journalist left the magazine at the time. Articles published were more theoretical, reflective, focused on broader analysis, avoiding everyday political issues. Some critics (see Veljak, Lino "Civil Society and Politics in Croatia") believe that in this period, "Arkzin" lost its political edge and became a theoretical-artistic experiment.
Although it had appointed editors-in-chief at various times, in practice "Arkzin" functioned as an editorial collective. Each issue was planned jointly at editorial meetings, which consisted of a core of permanent contributors. As Bojan Bilić writes in the text Islands of Print Media Resistance: ARKzin and Republika:Moreover, although Vesna Janković was the longest serving editor-in-chief, the publication did not have editorial staff in the classical sense of the term. Those who gathered around ARKzin were more interested in devising inclusive and non-hierarchical editorial strategies. Different people wrote and oversaw editorials at different points in time.  In addition, collective authorship was experimented with in Arkzin: numerous texts, especially programmatic ones, were co-written by two or three authors. The most famous was a series of 30 editorials entitled "Was ist Arkzin" published in 1996-1997 and signed as the Bastard Intellectual Cooperative.
Arkzin was known not just for its radical political content, but also for its radical graphic design created by Dejan Kršić and Dejan Dragosavac Ruta. In his analysis of Dejan Dragosavac Ruta's graphic design of different magazines An Anatomy of Ruta's Magazines and Journals, Maroje Mrduljaš wrote: "Arkzin's radical deconstructivist aesthetics and the magazine's strongly emphasized "visuality" are based on typography research and the deposition of graphic and content layers, and the original approach the authors continually developed stemmed from experience, mainstream media and popular culture, and more "esoteric" sources: Neville Brody, via David Carson, to Emigre. /.../ Typographic interpretations and the creation of unexpected connections between different contents, working with information structures of "timelines" indicate a research approach to the structure of the magazine as a whole and the text, questioning the very act of reading."