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Case 5:13-cv-05570-JLS Document 64 Filed 03/11/14 Page 1 of 30 UNITED STATES DISTRICT COURT EASTERN DISTRICT OF PENNSYLVANIA DISNEY ENTERPRISES, INC., et al., Plaintiffs, Case No: 5:13-cv-05570 (JSL) VS. ENTERTAINMENT THEATRE GROUP d/b/a AMERICAN MUSIC THEATRE; JAMES D. MARTIN; FREDERICK W. STEUDLER, JR.; and DWIGHT H. BRUBAKER, Defendants, and STAN LEE MEDIA, INC., Defendant / Intervenor. ENTERTAINMENT THEATRE GROUP d/b/a AMERICAN MUSIC THEATRE, Counterclaim-Plaintiff, and Case No: 5:13-cv-05570 (JSL) STAN LEE MEDIA, INC. Counterclaim-Plaintiff/Intervenor, -against- DISNEY ENTERPRISES, INC.; and MARVEL CHARACTERS, INC., Deadline.comCounterclaim-Defendants. DEFENDANTS' OPPOSITION IN RESPONSE TO PLAINTIFFS' MOTION TO DISMISS AMENDED COUNTERCLAIMS AND INTERVENOR COMPLAINT AND TO STRIKE AMENDED AFFIRMATIVE DEFENSES Case 5:13-cv-05570-JLS Document 64 Filed 03/11/14 Page 2 of 30 Table of Contents Page I. INTRODUCTION 1 II. BACKGROUND 3 III. ARGUMENT 6 A. Legal Standard 6 B. Res Judicata Does Not Bar AMT's Counterclaims And Affirmative Defenses As The Causes Of Action At Issue In This Litigation Are Not The Same Causes Of Action At Issue In The Prior SLMI-Related Litigations. 7 1. The Present Litigation Does Not Involve The Same Cause Of Action As The Prior SLMI-Related Litigations. 8 2. AMT Is Not In Privity With SLMI Or The Abadin Plaintiffs And, Thus, AMT Cannot Be Bound By The Decisions Reached In The Prior SLMI-Related Litigations. 12 C. Collateral Estoppel Or Issue Preclusion Does Not Bar AMT's Counterclaims As Identical Issues Are Not Present And The Issue Of Ownership Has Never Been Actually Litigated 15 D. -
LOCAS: the MAGGIE and HOPEY STORIES by Jaime Hernandez Study Guide Written by Art Baxter
NACAE National Association of Comics Art Educators STUDY GUIDE: LOCAS: THE MAGGIE AND HOPEY STORIES by Jaime Hernandez Study guide written by Art Baxter Introduction Comic books were in the midst of change by the early 1980s. The Marvel, DC and Archie lines were going through the same tired motions being produced by second and third generation artists and writers who grew up reading the same books they were now creating. Comic book specialty shops were growing in number and a new "non- returnable" distribution system had been created to supply them. This opened the door for publishers who had small print runs, with color covers and black and white interiors, to emerge with an alternative to corporate mainstream comics. These new comics were often a cross between the familiar genres of the mainstream and the personal artistic freedom of underground comics, but sometimes something altogether different would appear. In 1976, Harvey Pekar began self-publishing his annual autobiographical comics collection, American Splendor, with art by R. Crumb and others, from his home in Cleveland, Ohio. Other cartoonists self-published their mainstream- rejected comics, like Cerebus (Dave Sim, 1977) and Elfquest (Wendy & Richard Pini, 1978) to financial and critical success. With proto-graphic novel publisher, Eclipse, mainstream rebels produced explicit versions of their earlier work, such as Sabre (Don McGreggor & Paul Gulacy, 1978) and Stewart the Rat (Steve Gerber & Gene Colan, 1980). Underground comics evolved away from sex and drugs toward maturity in two anthologies, RAW (Art Spiegleman & Francoise Mouly, eds., 1980) and Weirdo (R. Crumb, ed., 1981). Under the Fantagraphics Books imprint, Gary Groth and Kim Thompson began to publish comics which aspired to an artistic quality that lived up to the high standard set forth in the pages of their critical magazine, The Comics Journal. -
SFU Thesis Template Files
Pulp Fictional Folk Devils? The Fulton Bill and the Campaign to Censor “Crime and Horror Comics” in Cold War Canada, 1945-1955 by Joseph Tilley B.A. (Hons., History), Simon Fraser University, 2008 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of History Faculty of Arts and Social Sciences Joseph Tilley 2015 SIMON FRASER UNIVERSITY Fall 2015 Approval Name: Joseph Tilley Degree: Master of Arts (History) Title: Pulp Fictional Folk Devils? The Fulton Bill and the Campaign to Censor “Crime and Horror Comics” in Cold War Canada, 1945-1955 Examining Committee: Chair: Roxanne Panchasi Associate Professor Allen Seager Senior Supervisor Associate Professor Lara Campbell Supervisor Professor, Department of Gender, Sexuality, and Women’s Studies John Herd Thompson External Examiner Professor Emeritus Department of History Duke University Date Defended/Approved: December 15, 2015 ii Abstract This thesis examines the history of and the social, political, intellectual, and cross-border influences behind the “Fulton Bill” and the campaign to censor “crime and horror comics” in Canada from roughly 1945 to 1955. Many – though by no means all – Canadians had grown to believe reading comic books was directly linked with a perceived increase in rates of juvenile criminal behaviour. Led primarily by PTA activists and other civic organizations, the campaign was motivated by a desire to protect the nation’s young people from potential corrupting influences that might lead them to delinquency and deviancy and resulted in amendments to the Criminal Code passed by Parliament in 1949. These amendments criminalized so-called “crime comics” and were thanks to a bill introduced and championed by E. -
Kirby: the Wonderthe Wonderyears Years Lee & Kirby: the Wonder Years (A.K.A
Kirby: The WonderThe WonderYears Years Lee & Kirby: The Wonder Years (a.k.a. Jack Kirby Collector #58) Written by Mark Alexander (1955-2011) Edited, designed, and proofread by John Morrow, publisher Softcover ISBN: 978-1-60549-038-0 First Printing • December 2011 • Printed in the USA The Jack Kirby Collector, Vol. 18, No. 58, Winter 2011 (hey, it’s Dec. 3 as I type this!). Published quarterly by and ©2011 TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. 919-449-0344. John Morrow, Editor/Publisher. Four-issue subscriptions: $50 US, $65 Canada, $72 elsewhere. Editorial package ©2011 TwoMorrows Publishing, a division of TwoMorrows Inc. All characters are trademarks of their respective companies. All artwork is ©2011 Jack Kirby Estate unless otherwise noted. Editorial matter ©2011 the respective authors. ISSN 1932-6912 Visit us on the web at: www.twomorrows.com • e-mail: [email protected] All rights reserved. No portion of this publication may be reproduced in any manner without permission from the publisher. (above and title page) Kirby pencils from What If? #11 (Oct. 1978). (opposite) Original Kirby collage for Fantastic Four #51, page 14. Acknowledgements First and foremost, thanks to my Aunt June for buying my first Marvel comic, and for everything else. Next, big thanks to my son Nicholas for endless research. From the age of three, the kid had the good taste to request the Marvel Masterworks for bedtime stories over Mother Goose. He still holds the record as the youngest contributor to The Jack Kirby Collector (see issue #21). Shout-out to my partners in rock ’n’ roll, the incomparable Hitmen—the best band and best pals I’ve ever had. -
By JOHN WELLS a M E R I C a N C H R O N I C L E S
AMERICAN CHRONICLES THE 1965-1969 by JOHN WELLS Table of Contents Introductory Note about the Chronological Structure of American Comic Book Chronicles ................. 4 Note on Comic Book Sales and Circulation Data.......................................... 5 Introduction & Acknowledgements ............ 6 Chapter One: 1965 Perception................................................................8 Chapter Two: 1966 Caped.Crusaders,.Masked.Invaders.............. 69 Chapter Three: 1967 After.The.Gold.Rush.........................................146 Chapter Four: 1968 A.Hazy.Shade.of.Winter.................................190 Chapter Five: 1969 Bad.Moon.Rising..............................................232 Works Cited ...................................................... 276 Index .................................................................. 285 Perception Comics, the March 18, 1965, edition of Newsweek declared, were “no laughing matter.” However trite the headline may have been even then, it wasn’t really wrong. In the span of five years, the balance of power in the comic book field had changed dramatically. Industry leader Dell had fallen out of favor thanks to a 1962 split with client Western Publications that resulted in the latter producing comics for themselves—much of it licensed properties—as the widely-respected Gold Key Comics. The stuffily-named National Periodical Publications—later better known as DC Comics—had seized the number one spot for itself al- though its flagship Superman title could only claim the honor of -
{Dоwnlоаd/Rеаd PDF Bооk} Pb&Jay Comics
PB&JAY COMICS : VOL. 1 PDF, EPUB, EBOOK The 1-Der Kid | 38 pages | 24 Oct 2017 | Createspace Independent Publishing Platform | 9781978209206 | English | none Pb&jay Comics : Vol. 1 PDF Book This edit will also create new pages on Comic Vine for:. Search Summary. Pedigree 8. Category : Comics. Earn points for making a purchase on the Marvel Comics app! G-Fan Not wanting to be party to murder, Chalmers attempts to stop Larry, and is forced to strike the boy. This section contains information exclusive to Hearthstone and is considered non-canon. The Juggernaut survives the traps and then knocks the Beast out when he throws back a rolling cylinder. Soon to be an animated series from Nickelodeon! While at the secret hideout of Larry Trask, Larry talks to Justice Robert Chalmers who expresses concerns about the "proof" Larry has provided that all mutants are a menace and to tell him that the public is not entirely sold on the idea. Series View All. Sherlock Sam 8. Its brief tenure as a weekly contributed to Action passing the older Detective Comics in issue count. Campfire Mighty Thor 1 Aaron , Dauterman. Smith , Bowden. Tweet Clean. X-Men Vol 1 Categories :. Marauders 17 Duggan , Lolli. Overstreet 4. Pb&jay Comics : Vol. 1 Writer Image Comics Shipping This Week. Cinefex This section concerns content exclusive to the Warcraft film universe and is considered non-canon. DateWorks Audiobook Digital Hardcover Paperback. Harbinger 21 September , Cancel Insert. Youll also find hundreds of popular and collectible manga titles. Superman Comics. Magnificent Ms. Alan Moore 3. Thorne , Guichet. -
Atsisiųsti Iš Čia Stan Lee.Jpg
„Kažkada man buvo gėda dėl to, kad buvau tik komiksų rašytojas, kai tuo tarpu kiti žmonės statė tiltus ar rengėsi medicinos karjerai. Bet tada pradėjau suprasti – pramoga yra vienas iš svarbiausių dalykų gyvenime. Be jos, žmonės tiesiog patektų į neviltį. Aš manau, kad jei tu sugebi suteikti pramogą, tai tu atlieki gerą darbą.“ Stenas Ly (Stan Lee) Kiekvienas šiuolaikinis vaikas žino, kas yra Žmogus Voras, X-menai, Geležinis Žmogus ar Halkas. Šių (ir daugelio kitų) išgalvotų personažų dėka, „Marvel Comics“ iš mažyčio komiksų padalinio leidybos kompanijoje, per du dešimtmečius tapo gigantiška medijos korporacija. Bet pasikeitė ne tik kompanijos apimtis. Galima sakyti, kad perversmą patyrė visa JAV komiksų industrija ir už to slypi vienas žmogus – Stenas Ly. Tai legendinis autorius atgaivinęs herojinį komiksų žanrą, sugriovęs nusistovėjusias normas ir visiems laikams pakeitęs komiksų tendencijas. Stenlis Martinas Lyberis Stenlis Martinas Lyberis (Stanley Martin Lieber) gimė 1922 gruodžio 28 Manhetene (Niujorke). Jo tėvai – iš Rumunijos kilę žydai imigrantai. Stenlis turėjo ir brolį – Larį Lyberį (Larry Lieber). Tėvas buvo suknelių sukirpėjas, tad Didžiosios depresijos laikotarpiu neturėjo pastovaus darbo. Kadangi šeima nebuvo pasiturinti, broliai dalinosi vienu miegamuoju, o tėvai miegodavo ant sulankstomos sofos. Stenlis mėgo skaityti ir tai skamba kiek per švelniai, turint omenyje, kad jau būdamas 10 metų amžiaus skaitė Šekspyrą, Edgaro Raiso Borouso, Marko Tveno knygas, o taip pat Artūro Konano Doilio noveles (kai tuo tarpu jo bendraamžiai buvo visa galva pasinėrę į komiksus). Turėdamas šiek tiek kišenpinigių, juos mielai išleisdavo naujoms knygoms įsigyti. Berniuko akutės tarsi pačios ieškodavo teksto, todėl jis skaitydavo net valgydamas. Jei kramtydamas šalia neturėdavo knygos, tada skaitydavo pakuočių etiketes. -
Joe Sinnott “The World’S Greatest Comic Inker!”
JOE SINNOTT “THE WORLD’S GREATEST COMIC INKER!” Interviewed by Alan Doshna The Official Joe Sinnott Website http://www.joesinnott.com/ Few are the artists in any field who can dependably produce consistently outstanding work in their given field. Such a one, however, is renowned comic book penciller and inker Joe Sinnott.Born in Upstate New York in 1926, Joe is probably best known for his long tenure on The Fantastic Four, embellishing Jack Kirby’s pencils, The Mighty Thor, Captain America and others. Besides K irby, other whose work he has inked is a literal or “graphic”) Who’s Who” of comic book greats, such as Steve Ditko, Gil Kane, Neal Adams, John Buscema, John Byrne, Carmine Infantino and many, many more. Joe took some time for an interview with us recently. Q: Could you share with us a little bit about your early life and background? A: Oh, sure. Of course I was born in Saugerties, I still live in Saugerties. And I spent three years down in the city when I went to the Cartoonists and Illustrators School (Note: later called The School of Visual Arts). Of course, before that, I served in the Navy Seabees in WW II. And I always drew, I know you’d probably want to know that, ever since I can remember, when I was three years old. My mother had a boarding house, and one of the teachers gave me a box of crayons for my birthday when I was three years old, and it had an Indian on it. I can still recall the Indian, and I drew that Indian over and over and over again with those crayons, and we also had another roomer in the house that had been in the German submarine service in WW I. -
Disney-Marvel-Stan-Lee-Copyright-Infringement-Suit__121010000839.Pdf
IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLORADO Civil Action No. ______________1:12-cv-02663 STAN LEE MEDIA, INC. Plaintiff, v. THE WALT DISNEY COMPANY, Defendant. COMPLAINT FOR COPYRIGHT INFRINGEMENT INTRODUCTION 1. Spider Man, Iron Man, The Incredible Hulk, Thor, The X-Men, The Fantastic Four, and most of The Avengers are among the best known comic book characters of all time and all were created by the comic book genius Stan Lee. Motion pictures starring these characters released within the past three (3) years have generated box office receipts in excess of $3 billion. Defendant The Walt Disney Company has represented to the public that it, in fact, owns the copyright to theseDEADLINE.com characters as well as to hundreds of other characters created by Stan Lee. Those representations made to the public by The Walt Disney Company are false. The true facts are that Stan Lee Media, Inc. owns the copyrights to Stan Lee’s creations. Accordingly, Plaintiff Stan Lee Media, Inc. is entitled to the billions of dollars of profits that have been kept by Defendant Disney. THE PARTIES 2. Stan Lee Media, Inc. (“SLMI”) is a Colorado corporation authorized to sue to recover damages to its assets. The Walt Disney Company (“Disney”) is a Delaware corporation which improperly claims ownership to the Stan Lee characters. JURISDICTION AND VENUE 3. This is a civil action seeking damages and injunctive relief for copyright infringement under the Copyright Laws of the United States, 17 U.S.C. §101 et seq. This Court has subject matter jurisdiction pursuant to 28 U.S.C. -
P 28 P 0: 35 607 FOURTEENTHSTREET, N W WASHINGTON, D C 20005-20?Q[11 SF,- TELEPHONE202 628-6600 FACSIMILE202 434-I690
p 28 p 0: 35 607 FOURTEENTHSTREET, N W WASHINGTON, D C 20005-20?Q[11 SF,- TELEPHONE202 628-6600 FACSIMILE202 434-I690 September 28,2001 Lawrence Norton, Esq. General Counsel Federal Election Commission 999 E Street, N.W. Washington, DC 20463 Re: MUR5225 Dear Mr. Norton: This letter constitutes tie response of New I ark Senate 201 0 and.kndrew Grossman, as Treasurer (collectively, "the Committee"), to the complaint in the above-referenced matter. The complaint is baseless and should be dismissed. INTRODUCTION The signer of the complaint was a fugitive when it was filed. In summer 2000, Peter F. Paul was known as a prominent businessman and co-founder of Stan Lee Enterprises, an Internet company associated with the creator of Spiderman and the Fantastic Four. Paul helped the Committee organize an August 12,2001, fundraising event in Los Angeles; California. 1 The Committee disclosed nonfederal in-kind contributions totaling $366,564.69 from Stan Lee Media, Paul's fm,in connection with the event. Shortly after the 2000 general election, Stan Lee Media plummeted in value and went bankrupt. The reason was soon clear. On June 12,2001, the U.S. Attorney for the Eastern District of New York indicted Paul on two felony counts of securities fraud. According to prosecutors, Paul had bilked the company and manipulated its stock price, while deceiving investors, the public and prominent fmslike Merrill Lynch and Co. The scheme allegedly involved large, secret cash payments fiom Paul to a stock analyst and promoter. See U.S. Department of Justice, Press Release, Co- The Committee is a jomt hndraismg committee orgamzed under 11 C.F R o 102 17. -
Invaders Sample.Pdf
Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] These excerpts are intended as “writing samples” for the author of the articles presented. They are not intended for reuse or re-publication without the consent of the publisher or the copyright holder. ©2009 Robert G. Weiner. All rights reserved McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] The Invaders and the All-Star Squadron Roy Thomas Revisits the Golden Age Mark R. McDermott Introduction By the mid-1970’s, many fans of the “Golden Age” of comic books had grown up to become writers and ultimately editors for the comics publishers, sometimes setting the nar- rative histories for their favorite childhood characters themselves. Many of these fans-turned- pro produced comics series that attempted to recapture the Golden Age’s excitement, patriotic fervor and whiz-bang attitude. The most successful of these titles were produced by Roy Thomas, who fashioned a coherent history of costumed heroes during World War II, and rec- onciled the wildly inconsistent stories of the 1940’s with tightly patrolled continuity initiated with the “Silver Age” of the 1960’s. With The Invaders (1975-1979), Thomas focused on the hitherto unrevealed wartime exploits of Marvel Comics’ early mainstays Captain America, the Human Torch, and Prince Namor, the Sub-Mariner. In 1980, he moved to DC Comics and launched All-Star Squadron, which juggled the histories of the Justice Society of Amer- ica and nearly a hundred secondary characters. -
Marvelcomicsinthe70spreview.Pdf
Contents Introduction: The Twilight Years . 5 PART I: 1968-1970 . 9 PART II: 1970-1974 . 46 PART III: 1974-1976 . 155 PART IV: 1976-1979 . 203 Creator Spotlights : Roy Thomas . 10 Gene Colan . 16 Neal Adams . 31 Gil Kane . 52 Joe Sinnott . 54 Gerry Conway . 90 Marv Wolfman . 143 Jim Starlin . 150 Jim Shooter . 197 John Byrne . 210 Frank Miller . 218 Key Marvel Moments : Marvel Con . 175 Marvel Comics in the 1970s 3 Introduction: The Twilight Years n volume one, Marvel Comics in the 1960s , it was mix, vaulting Marvel Comics into a pop-culture Ishown how the development of the company’s new movement that threatened to overwhelm established line of super-hero books introduced in that decade notions of art and its role in society. As a result, Lee could be broken up into four distinct phases: the came to be seen as Marvel’s front man, and through a Formative Years, the Years of Consolidation, the combination of speech making, magazine interviews, Grandiose Years, and the Twilight Years. Led by and his often inspiring comic book scripts, he became editor Stan Lee, who was allied with some of the a sort of pop guru to many of his youthful readers. best artists in the business including Jack Kirby, However, by 1968, Marvel Comics had reached its Steve Ditko, Don Heck, John Romita, John Buscema, zenith in terms of its development and sheer creative Jim Steranko, and Gene Colan, Marvel moved quickly power. Soon after came an expansion of the company’s from its early years when concepts involving continuity line of titles and a commensurate dilution of the and characterization were intro - duced to new features with little thought given to their revolu - tionary impact on the industry to the Years of Consolidation when concepts of characteriza - tion, continuity, and realism began to be actively applied.