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Comic Strips and the American Family, 1930-1960 Dahnya Nicole Hernandez Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2014 Funny Pages: Comic Strips and the American Family, 1930-1960 Dahnya Nicole Hernandez Pitzer College Recommended Citation Hernandez, Dahnya Nicole, "Funny Pages: Comic Strips and the American Family, 1930-1960" (2014). Pitzer Senior Theses. Paper 60. http://scholarship.claremont.edu/pitzer_theses/60 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. FUNNY PAGES COMIC STRIPS AND THE AMERICAN FAMILY, 1930-1960 BY DAHNYA HERNANDEZ-ROACH SUBMITTED TO PITZER COLLEGE IN PARTIAL FULFILLMENT OF THE BACHELOR OF ARTS DEGREE FIRST READER: PROFESSOR BILL ANTHES SECOND READER: PROFESSOR MATTHEW DELMONT APRIL 25, 2014 0 Table of Contents Acknowledgements...........................................................................................................................................2 Introduction.........................................................................................................................................................3 Chapter One: Blondie.....................................................................................................................................18 Chapter Two: Little Orphan Annie............................................................................................................35 -
Dick Tracy.” MAX ALLAN COLLINS —Scoop the DICK COMPLETE DICK ® TRACY TRACY
$39.99 “The period covered in this volume is arguably one of the strongest in the Gould/Tracy canon, (Different in Canada) and undeniably the cartoonist’s best work since 1952's Crewy Lou continuity. “One of the best things to happen to the Brutality by both the good and bad guys is as strong and disturbing as ever…” comic market in the last few years was IDW’s decision to publish The Complete from the Introduction by Chester Gould’s Dick Tracy.” MAX ALLAN COLLINS —Scoop THE DICK COMPLETE DICK ® TRACY TRACY NEARLY 550 SEQUENTIAL COMICS OCTOBER 1954 In Volume Sixteen—reprinting strips from October 25, 1954 THROUGH through May 13, 1956—Chester Gould presents an amazing MAY 1956 Chester Gould (1900–1985) was born in Pawnee, Oklahoma. number of memorable characters: grotesques such as the He attended Oklahoma A&M (now Oklahoma State murderous Rughead and a 467-lb. killer named Oodles, University) before transferring to Northwestern University in health faddist George Ozone and his wild boys named Neki Chicago, from which he was graduated in 1923. He produced and Hokey, the despicable "Nothing" Yonson, and the amoral the minor comic strips Fillum Fables and The Radio Catts teenager Joe Period. He then introduces nightclub photog- before striking it big with Dick Tracy in 1931. Originally titled Plainclothes Tracy, the rechristened strip became one of turned policewoman Lizz, at a time when women on the the most successful and lauded comic strips of all time, as well force were still a rarity. Plus for the first time Gould brings as a media and merchandising sensation. -
George Mcmanus Papers, 1912-1954
http://oac.cdlib.org/findaid/ark:/13030/tf0870033f No online items Finding Aid for the George McManus papers, 1912-1954 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé, online finding aid edited by Josh Fiala, August 2002. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2000 The Regents of the University of California. All rights reserved. Finding Aid for the George 322 1 McManus papers, 1912-1954 Descriptive Summary Title: George McManus papers Date (inclusive): 1912-1954 Collection number: 322 Creator: McManus, George, 1884-1954 Extent: 3 boxes (1.5 linear ft.) 12 oversize boxes Abstract: George McManus (1884-1954) was a cartoonist and created the comic strips Rosie's Beau and his most famous strip, Bringing up Father. Bringing up Father became internationally known, appearing in 750 newspapers throughout the world and a play based on the strip toured the country in the 1920s. The collection contains 16 folio volumes of proof sheets of McManus' comic strip Bringing up Father (1918-39) and one folio volume of proof sheets of his comic strip Rosie's Beau (1917-18). Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Department of Special Collections Reference Desk for paging information. -
Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection 2018.001
http://oac.cdlib.org/findaid/ark:/13030/c8nc66v5 No online items Guide to the Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection 2018.001 Ann Galvan Historic Collections, J. Paul Leonard Library 2018 1630 Holloway Ave San Francisco, California 94132-1722 URL: http://library.sfsu.edu/historic-collections asc.2018.001 1 Contributing Institution: Historic Collections, J. Paul Leonard Library Title: Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection Source: Rue, Thomas Bentley, 1937-2016 Accession number: asc.2018.001 Extent: 18 Cubic Feet (17 boxes, 1 oversize box) Date (inclusive): 1938-1956 Abstract: The Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection features comics and adventure strips ranging from the 1930s to the 1950s. Language of Material: English Conditions Governing Access Collection is open for research. Preferred Citation [Title], Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Archive, Historic Collections, J. Paul Leonard Library. Separated Materials A number of comic book reprints and compilations have been added to the J. Paul Leonard Library's general collection. A collection of Big Little Books are housed in Historic Collections within Special Collections. Immediate Source of Acquisition Gift of Virginia D.H. Rue In Memory of Thomas Bentley Rue, Accession number 2018/001. Conditions Governing Use Copyrighted. Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owner. In addition, the reproduction of some materials may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. -
1995 Victory at Last
1995 Victory at Last Marines Raise Flag on Iwo Jima Fierce Fighting Frees Manila Okinawa U.S. & Soviets Link Up Allies Liberate Holocaust Survivors 1995 Victory at Last Germany Surrenders at Reims Uprooted Millions Japan's Surrender News of Victory Hits Home Returning Veterans 1995 Jazz Composers white “32” black “32” Louis Armstrong Louis Armstrong Coleman Hawkins James P. Johnson Jelly Roll Morton Charlie Parker 1995 Jazz Composers Eubie Blake Charles Mingus Thelonious Monk John Coltrane Erroll Garner 1995-97 perf. 9.8 vert., sm. “1995” perf. 9.8 vert., lg. “1995” die cut 11½ vert, “1996” Auto Auto Auto perf. 9.8 vert., blue 1995 perf. 9.8 vert., black 1995 die cut 11½ vert., “1996” Auto Tail Fin Auto Tail Fin Auto Tail Fin Flag & Field Juke Box perf. 9.8 vert., blue 1995 perf. 9.8 vert., black 1995 Juke Box Juke Box imperf., dated “1996” die cut 11½ vert., “1996” die cut 9.8 vert., “1997” Juke Box Juke Box Juke Box 1995-97 Flag & Porch perf. 10.4, dated “1995” perf. 9.8 vert., red “1995” perf. 9.8 vert., blue “1995” Flag & Porch Flag & Porch Flag & Porch die cut 8.7 vert., blue 1995 perf. 10.8x9.8, red 1995 die cut 8.7, lg. blue 1995 die cut 8.7, sm. blue 1995 Flag & Porch Flag & Porch Flag & Porch Flag & Porch die cut 9.8 vert., red 1996 die cut 11½ vert., bl. 1996 die cut 10.9 vert., red 1996 die cut 9.9 vert., blue 1996 Flag & Porch Flag & Porch Flag & Porch Flag & Porch die cut 11.3, blue “1996” die cut 9.8, red “1996” die cut 9.8 vert., red 1997 die cut 9.8, red “1997” Flag & Porch Flag & Porch Flag & Porch Flag & Porch 1995-2008 American Scenes perf. -
Typical Girls: the Rhetoric of Womanhood in Comic Strips Susan E
Typical girls The Rhetoric of Womanhood in Comic Strips Susan E. Kirtley TYPICAL GIRLS STUDIES IN COMICS AND CARTOONS Jared Gardner and Charles Hatfield, Series Editors TYPICAL GIRLS The Rhetoric of Womanhood in Comic Strips SUSAN E. KIRTLEY THE OHIO STATE UNIVERSITY PRESS COLUMBUS COPYRIGHT © 2021 BY THE OHIO STATE UNIVERSITY. THIS EDITION LICENSED UNDER A CREATIVE COMMONS ATTRIBUTION- NONCOMMERCIAL-NODERIVS LICENSE. THE VARIOUS CHARACTERS, LOGOS, AND OTHER TRADEMARKS APPEARING IN THIS BOOK ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS AND ARE PRESENTED HERE STRICTLY FOR SCHOLARLY ANALYSIS. NO INFRINGEMENT IS INTENDED OR SHOULD BE IMPLIED. Library of Congress Cataloging-in-Publication Data Names: Kirtley, Susan E., 1972– author. Title: Typical girls : the rhetoric of womanhood in comic strips / Susan E. Kirtley. Other titles: Studies in comics and cartoons. Description: Columbus : The Ohio State University Press, [2021] | Series: Studies in comics and cartoons | Includes bibliographical references and index. | Summary: “Drawing from the work of Lynn Johnston (For Better or For Worse), Cathy Guisewite (Cathy), Nicole Hollander (Sylvia), Lynda Barry (Ernie Pook’s Comeek), Barbara Brandon-Croft (Where I’m Coming From), Alison Bechdel (Dykes to Watch Out For), and Jan Eliot (Stone Soup), Typical Girls examines the development of womanhood and women’s rights in popular comic strips”—Provided by publisher. Identifiers: LCCN 2020052823 | ISBN 9780814214572 (cloth) | ISBN 0814214576 (cloth) | ISBN 9780814281222 (ebook) | ISBN 0814281222 (ebook) Subjects: LCSH: Comic strip characters—Women. | Women in literature. | Women’s rights in literature. | Comic books, strips, etc.—History and criticism. Classification: LCC PN6714 .K47 2021 | DDC 741.5/3522—dc23 LC record available at https://lccn.loc.gov/2020052823 COVER DESIGN BY ANGELA MOODY TEXT DESIGN BY JULIET WILLIAMS TYPE SET IN PALATINO For my favorite superhero team—Evelyn, Leone, and Tamasone Castigat ridendo mores. -
Flash Gordon Episode One MUSIC ANNOUNCER
Flash Gordon Episode One MUSIC ANNOUNCER: Presenting for the first time on radio, the amazing interplanetary adventures of Flash Gordon and Dale Arden. MUSIC UP AND UNDER ANNCR: These thrilling adventures come to you as depicted each Sunday in the Comic Weekly, the world’s greatest pictorial supplement of humor and adventure. The Comic Weekly, now printed in 32 tabloid-size pages, each page in full four colors, is distributed everywhere as a part of your Hearst Sunday newspaper. MUSIC UP AND UNDER ANNCR: Racing high above the earth, comfortably seated in a giant airliner, Flash Gordon, internationally famous athlete, looks admiringly across the aisle at Dale Arden, the lovely young companion of his air voyage. The minds of both are intent on the terrible destruction which for many months has been approaching the Earth with terrific speed. The new planet, hurtling through space directly in the path of the Earth. Suddenly there’s a violent jar. SFX: Plane goes down, then siren. ANNCR: The plane lurches into a spinning nose dive. Flash Gordon’s trained muscles carry him across the aisle to the frightened girl, to gather her in his arms and then leap free of the falling plane. And pulling the ripcord of his parachute, glides to Earth. SFX: Siren out. FLASH: Don’t be frightened, Dale. The plane has crashed, we’re safe. DALE: Yes, thanks to you. FLASH: Hold fast, we’re landing now…careful…easy… BOTH: GRUNT AS THEY LAND FLASH: Are you all right, Dale? DALE: Yes. FLASH: Good. DALE: Oh, look, Flash! There’s a large steel door. -
Slapstick and Self-Reflexivity in George Herriman's Krazy
Slapstick and Self-Reflexivity in George Herriman‘s Krazy Kat BEN JUERS 1 Between 1912 and 1944, a ‗meteoric burlesk drama‘ unfolds in the comic strip section of the newspapers belonging to Randolph Hearst‘s King Features Syndicate.1 It is enacted over four panels on weekdays and an entire page on Sundays. The cast is made up of an androgynous and racially ambiguous cat named Krazy, an unsentimental mouse named Ignatz, and a well-meaning yet misguided bulldog named Offissa Pupp. Together, they form a love triangle, around which is generated a plot that remains ostensibly the same over the years. Ignatz throws a brick at Krazy, seeking to punish ‗that fool kat‘ for her naïveté.2 Krazy misinterprets the brick as a token of affection, and eagerly awaits the ‗messidge of love‘ from ‗dahlink‘ Ignatz, her ‗li‘l ainjil‘.3 Offissa Pupp, jealous of the relationship between Krazy and Ignatz, pursues and jails Ignatz for his brick-throwing misdemeanours. Innovative Ignatz persists, devising ways to elude Pupp and deliver the brick to Krazy‘s head. He drops it from hot air balloons, flings it through peepholes and takes refuge inside prams, sombreros, pelican‘s mouths and boxes. Coconino County provides the backdrop for this espionage, shifting from panel to panel in a ‗perpetual 1 e.e. cummings, ‗Introduction‘, in George Herriman, Krazy Kat, ed. Joseph Greene and Rex Chessman (New York: Madison Square Press, 1977), p.10. cummings intentionally misspells ‗burlesk‘, in keeping with Herriman‘s idiosyncratic spelling. 2 25/8/18. Although Krazy is androgynous, I will refer to her as feminine for the sake of consistency, and to differentiate her from Ignatz and Offissa Pupp, who are both male. -
Issues of Originality and Ownership in Relationship to Elzie Crisler Segar's Popeye the Sailor Man Stephen Smith
Issues of Originality and Ownership in Relationship to Elzie Crisler Segar’s Popeye the Sailor Man Stephen Smith 1 Elzie Crisler Segar’s Popeye the Sailor Man is one of the most recognizable characters in American fiction. He was not the creation of one man but rather the product of a particular place, time and culture. Segar worked within an established tradition and was supported by the newspaper and film industries that depended on the approval of their intended audiences for survival. The newspaper comic strip was a relatively new phenomenon when Segar entered the field, the landscape had already been established and his contributions would not include inventing any new language or unique art form. What Segar did accomplish was to create a world of screwball comedy and engaging characters that satisfied the needs of the American public looking for escape from the hardships of the Great Depression. In 2008, with the widespread acceptance of postmodern art theory, it is redundant to speculate on whether or not comic strips are an art form. This is an issue only relevant to modernism. It was the high standards and professional competition along with the nurturing environment provided by industries that freed artists such as Segar from the burdens of business and allowed them to prosper. Segar’s Popeye existed within two well-established genres and his adventures provided one of the primary themes for both the newspaper comic strip and the animated movie when these art forms reached a level of quality that has not been achieved since. Thimble Theatre, the comic strip that Popeye was featured in, was originally published in William Randolph Hearst’s New York Journal American. -
Nancy Goldstein, Author of Jackie Ormes: the First African American Woman Cartoonist University of Michigan Press, 2008
Nancy Goldstein, author of Jackie Ormes: The First African American Woman Cartoonist University of Michigan Press, 2008. www.press.umich.edu/titleDetailDesc.do?id=150236 Q&A with Nancy Goldstein University of Michigan Press: Talk a bit about why and how you came to write this book. You have a long-standing interest in dolls, right? Nancy Goldstein: Yes, I came to write this book through my interest in dolls. I am a doll collector and have written about doll history—dolls, . .playthings, in the image of human beings, usually made for girls. There are a couple of doll history books that have information about the Patty-Jo doll by cartoonist Jackie Ormes. She transformed her cartoon character, Patty-Jo, into a doll. This is a beautiful, upscale doll in an era when most black dolls were rag mammies and Topsy-types. So, I was curious to learn more about the woman who created this extraordinary doll. UMP: What caught your eye to lead you to launch a full-scale investigation and then a book about Jackie Ormes? NG: I had heard that Jackie Ormes actually promoted her doll in her cartoons, in the newspaper. What were those cartoons? . I wondered, so I went to the University library and pulled a reel of microfilm off the shelf—the Pittsburgh Courier of 1947. The Courier was at that time the biggest circulating African American newspaper with 14 editions coast to coast. They claimed to have over a million readers! It was a weekly, came out on Saturday. Wow—as I cranked through the microfilm, I was thrilled by what I saw, a piece of American history suddenly came to life, in headlines that seemed so urgent and immediate! Here was news and commentary from the perspective of the black community. -
Editor & Publisher International Year Books
Content Survey & Selective Index For Editor & Publisher International Year Books *1929-1949 Compiled by Gary M. Johnson Reference Librarian Newspaper & Current Periodical Room Serial & Government Publications Division Library of Congress 2013 This survey of the contents of the 1929-1949 Editor & Publisher International Year Books consists of two parts: a page-by-page selective transcription of the material in the Year Books and a selective index to the contents (topics, names, and titles) of the Year Books. The purpose of this document is to inform researchers about the contents of the E&P Year Books in order to help them determine if the Year Books will be useful in their work. Secondly, creating this document has helped me, a reference librarian in the Newspaper & Current Periodical Room at the Library of Congress, to learn about the Year Books so that I can provide better service to researchers. The transcript was created by examining the Year Books and recording the items on each page in page number order. Advertisements for individual newspapers and specific companies involved in the mechanical aspects of newspaper operations were not recorded in the transcript of contents or added to the index. The index (beginning on page 33) attempts to provide access to E&P Year Books by topics, names, and titles of columns, comic strips, etc., which appeared on the pages of the Year Books or were mentioned in syndicate and feature service ads. The headings are followed by references to the years and page numbers on which the heading appears. The individual Year Books have detailed indexes to their contents. -
The Card of the LCPC, Vol. 28, No. 11, Issue 320, November 2017
MORE THAN A MEAL BY Karen Davis With choice bits of information by Jim Ward Secretary of the Treasury, Alexander Hamilton, declared that no citizen of the US should refrain from turkey on Thanksgiving Day. But long before that, as early as 1573, Christmas tables creaked under the weight of the big birds. They were being shipped from Mexico by the Spanish invaders and raised in country estates. In Europe and America, turkeys not butchered on the farm or shot in the wild were driven to market or the nearest terminal on foot. Thousands off birds were crowded down the narrow streets of London the weeks before Christmas. They were driven 8 to 10 miles per day on mountain trails or on treeless plains in Texas – for fifty to 200 miles. Captured in the hills of Tennessee and Kentucky, there were drives in the 1920s to markets in South Carolina. Thirty men could drive a flock of 8,000 turkeys thirteen miles in two days. As evening came on, the birds sought trees to roost. The biggest problem was getting them started the next morning. Today its still the custom to starve them for 12 hours to empty their GI tracts before the “next step” in the process of preparation. To cut and present a large bird was to “do the honors” at festive medieval meals. You can still hear this today (and we hope the carver has read the manual to accomplish the deserved feat). The turkey is not America’s OFFICIAL national bird; the bald eagle was adopted so in 1782.