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The Charismatic Leadership and Cultural Legacy of Stan Lee
REINVENTING THE AMERICAN SUPERHERO: THE CHARISMATIC LEADERSHIP AND CULTURAL LEGACY OF STAN LEE Hazel Homer-Wambeam Junior Individual Documentary Process Paper: 499 Words !1 “A different house of worship A different color skin A piece of land that’s coveted And the drums of war begin.” -Stan Lee, 1970 THESIS As the comic book industry was collapsing during the 1950s and 60s, Stan Lee utilized his charismatic leadership style to reinvent and revive the superhero phenomenon. By leading the industry into the “Marvel Age,” Lee has left a multilayered legacy. Examples of this include raising awareness of social issues, shaping contemporary pop-culture, teaching literacy, giving people hope and self-confidence in the face of adversity, and leaving behind a multibillion dollar industry that employs thousands of people. TOPIC I was inspired to learn about Stan Lee after watching my first Marvel movie last spring. I was never interested in superheroes before this project, but now I have become an expert on the history of Marvel and have a new found love for the genre. Stan Lee’s entire personal collection is archived at the University of Wyoming American Heritage Center in my hometown. It contains 196 boxes of interviews, correspondence, original manuscripts, photos and comics from the 1920s to today. This was an amazing opportunity to obtain primary resources. !2 RESEARCH My most important primary resource was the phone interview I conducted with Stan Lee himself, now 92 years old. It was a rare opportunity that few people have had, and quite an honor! I use clips of Lee’s answers in my documentary. -
Mar Customer Order Form
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List of American Comics Creators 1 List of American Comics Creators
List of American comics creators 1 List of American comics creators This is a list of American comics creators. Although comics have different formats, this list covers creators of comic books, graphic novels and comic strips, along with early innovators. The list presents authors with the United States as their country of origin, although they may have published or now be resident in other countries. For other countries, see List of comic creators. Comic strip creators • Adams, Scott, creator of Dilbert • Ahern, Gene, creator of Our Boarding House, Room and Board, The Squirrel Cage and The Nut Bros. • Andres, Charles, creator of CPU Wars • Berndt, Walter, creator of Smitty • Bishop, Wally, creator of Muggs and Skeeter • Byrnes, Gene, creator of Reg'lar Fellers • Caniff, Milton, creator of Terry and the Pirates and Steve Canyon • Capp, Al, creator of Li'l Abner • Crane, Roy, creator of Captain Easy and Wash Tubbs • Crespo, Jaime, creator of Life on the Edge of Hell • Davis, Jim, creator of Garfield • Defries, Graham Francis, co-creator of Queens Counsel • Fagan, Kevin, creator of Drabble • Falk, Lee, creator of The Phantom and Mandrake the Magician • Fincher, Charles, creator of The Illustrated Daily Scribble and Thadeus & Weez • Griffith, Bill, creator of Zippy • Groening, Matt, creator of Life in Hell • Guindon, Dick, creator of The Carp Chronicles and Guindon • Guisewite, Cathy, creator of Cathy • Hagy, Jessica, creator of Indexed • Hamlin, V. T., creator of Alley Oop • Herriman, George, creator of Krazy Kat • Hess, Sol, creator with -
Fall 2019 C O N T E N T S
The CRIMSON HISTORICAL REVIEW An Undergraduate Journal of History at the University of Alabama Volume II, No. I Fall 2019 C O N T E N T S Staff Information ii Contributors Page iii Letter from the Chief Editor Jodi Vadinsky iv A R T I C L E S “Ladies’ Delight?”: Women in London’s Emily Anne Adams 01 18th Century Gin Craze Conceptualizing Communist Collusion: Meilin Scanish 15 A Case Study of Anti-Communist Fears in the 1948 Presidential Campaign in Muncie, Indiana “Fully & Freely”: Secret Andrew Smith 23 Communications and the Chilling Effect in the Colonial through Early Constitutional United States To Conquer or Die: The Economic and Thomas A. McLamb 36 Cultural Impact of the Hijaz Railway i S T A F F Executive Board Review Board Associates Faculty Editor Lindsey Glick Mariella Giordano Dr. Margaret Peacock Griffin Specker Chandler Piper James Gibbs Cecilia Barnard Chief Editor Kristen Straub John Pace Jodi Vadinsky Courtney Lowery Declan Smith Production Editor Troy Watley Thomas Emily Amin Smitherman Jackson C. Foster Amelia Volpe Hunter Whann Design Editor Noah Dasinger Philip Marini Charlie Wright Katie Kroft Ashley Coffman Lily Mears Aaron Eitson Review Board Executive Lara Cuomo Copy Editors Luke Geiser Corinne Baroni Charlie Wright Copyedit Executive Ryan Czaja Emily Vandy Claire Sullivan John Pace Lily Mears The Crimson Historical Review is composed of undergraduate students at the University of Alabama who are passionate about history, academic writing, and publishing. Interested in becoming a staff member? Undergraduate students at the University of Alabama are invited to contact [email protected]. -
Read It Here
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. -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
BCALA and GNCRT May Have Contributed to the Items Listed Here, and May Have Done So on a Voluntary Or Paid Basis
BCALA and the ALA Graphic Novels and Comics Round Table: Afrofuturism Last updated March 15, 2021 For the next iteration of our ongoing collaboration between the Black Caucus of the American Library Association (BCALA) and the Graphic Novels and Comics Round Table of the American Library Association (GNCRT), we are presenting themed Black Lives Matter comics reading mini-lists with a continued focus on Black literature. Titles are alphabetically arranged with their target audiences denoted in parentheses: A for Adult, YA for Young Adult, and J for Juvenile. However, many of these stories cross age groups! In addition, each list includes supplementary works for a deeper analysis, and each highlights a Black-owned comics publisher. You may notice that these lists include a slim collection of middle grade titles. This is due to the dearth of readily accessible comics and graphic novels by Black creators by established children’s publishing companies. For younger children, while some board books and picture books may suffice, there is a glaring shortage of middle grade comics and graphic novels by Black creators. Evidence has suggested a significant decline in pleasure reading by age nine (Scholastic’s “Decline By Nine”), a critical year to encourage a lifelong love of reading. As essential discussions are being held surrounding diversity in literature, reluctant readers, and attractive titles for young readers, the necessity for representation must be addressed. We implore publishers to uplift Black voices by hiring Black authors and illustrators to tell Black stories of all genres and topics in which Black readers can see themselves, and readers can view different experiences beyond their own lens. -
J a C K Kirb Y C Olle C T Or F If T Y- Nine $ 10
JACK KIRBY COLLECTOR FIFTY-NINE $10 FIFTY-NINE COLLECTOR KIRBY JACK IT CAN’T BE! BUT IT IS! I’VE DISCOVERED... ...THE AND NOTHING WILL EVER BE THE SAME AGAIN!! 95 A TREASURE TROVE OF RARITIES BY THE “KING” OF COMICS! Contents THE OLD(?) The Kirby Vault! OPENING SHOT . .2 (is a boycott right for you?) KIRBY OBSCURA . .4 (Barry Forshaw’s alarmed) ISSUE #59, SUMMER 2012 C o l l e c t o r JACK F.A.Q.s . .7 (Mark Evanier on inkers and THE WONDER YEARS) AUTEUR THEORY OF COMICS . .11 (Arlen Schumer on who and what makes a comic book) KIRBY KINETICS . .27 (Norris Burroughs’ new column is anything but marginal) INCIDENTAL ICONOGRAPHY . .30 (the shape of shields to come) FOUNDATIONS . .32 (ever seen these Kirby covers?) INFLUENCEES . .38 (Don Glut shows us a possible devil in the details) INNERVIEW . .40 (Scott Fresina tells us what really went on in the Kirby household) KIRBY AS A GENRE . .42 (Adam McGovern & an occult fave) CUT-UPS . .45 (Steven Brower on Jack’s collages) GALLERY 1 . .49 (Kirby collages in FULL-COLOR) UNEARTHED . .54 (bootleg Kirby album covers) JACK KIRBY MUSEUM PAGE . .55 (visit & join www.kirbymuseum.org) GALLERY 2 . .56 (unused DC artwork) TRIBUTE . .64 (the 2011 Kirby Tribute Panel) GALLERY 3 . .78 (a go-go girl from SOUL LOVE) UNEARTHED . .88 (Kirby’s Someday Funnies) COLLECTOR COMMENTS . .90 PARTING SHOT . .100 Front cover inks: JOE SINNOTT Back cover inks: DON HECK Back cover colors: JACK KIRBY (an unused 1966 promotional piece, courtesy of Heritage Auctions) This issue would not have been If you’re viewing a Digital possible without the help of the JACK Edition of this publication, KIRBY MUSEUM & RESEARCH CENTER (www.kirbymuseum.org) and PLEASE READ THIS: www.whatifkirby.com—thanks! This is copyrighted material, NOT intended for downloading anywhere except our The Jack Kirby Collector, Vol. -
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. -
Two Per Cent of What?: Constructing a Corpus of Typical American Comic Books Bart Beaty, Nick Sousanis, and Benjamin Woo This Is
Two Per Cent of What?: Constructing a Corpus of Typical American Comic Books Bart Beaty, Nick Sousanis, and Benjamin Woo This is an uncorrected pre-print version of this paper. Please consult the final version for all citations: Beaty, Bart, Nick Sousanis, and Benjamin Woo. “Two Per Cent of What?: Constructing a Corpus of Typical American Comics Books.” In Wildfeuer, Janina, Alexander Dunst, Jochen Laubrock (Eds.). Empirical Comics Research: Digital, Multimodal, and Cognitive Methods (27-42). Routledge, 2018. 1 “One of the most significant effects of the transformations undergone by the different genres is the transformation of their transformation-time. The model of permanent revolution which was valid for poetry tends to extend to the novel and even the theatre […], so that these two genres are also structured by the fundamental opposition between the sub-field of “mass production” and the endlessly changing sub-field of restricted production. It follows that the opposition between the genres tends to decline, as there develops within each of them an “autonomous” sub- field, springing from the opposition between a field of restricted production and a field of mass production.” - Pierre Bourdieu, “The Field of Cultural Production” 1. Introduction Although it is asserted more strongly that it is demonstrated in his writing, Pierre Bourdieu’s notion of a “transformation of transformation-time” fruitfully points to an understanding of cultural change that seems both commonsensical and highly elusive. In the field of comic books, it is almost intuitively logical to suggest that there are stylistic, narrative, and generic conventions that are more closely tied to historical periodization than to the particularities of individual creators, titles, or publishers. -
International Reinterpretations
International Reinterpretations 1 Remakes know no borders… 2 … naturally, this applies to anime and manga as well. 3 Shogun Warriors 4 Stock-footage series 5 Non-US stock-footage shows Super Riders with the Devil Hanuman and the 5 Riders 6 OEL manga 7 OEL manga 8 OEL manga 9 Holy cow, more OEL manga! 10 Crossovers 11 Ghost Rider? 12 The Lion King? 13 Godzilla 14 Guyver 15 Crying Freeman 16 Fist of the North Star 17 G-Saviour 18 Blood: the Last Vampire 19 Speed Racer 20 Imagi Studios 21 Ultraman 6 Brothers vs. the Monster Army (Thailand) The Adventure Begins (USA) Towards the Future (Australia) The Ultimate Hero (USA) Tiga manhwa 22 Dragonball 23 Wicked City 24 City Hunter 25 Initial D 26 Riki-Oh 27 Asian TV Dramas Honey and Clover Peach Girl (Taiwan) Prince of Tennis (Taiwan) (China) 28 Boys Over Flowers Marmalade Boy (Taiwan) (South Korea) Oldboy 29 Taekwon V 30 Super Batman and Mazinger V 31 Space Gundam? Astro Plan? 32 Journey to the West (Saiyuki) Alakazam the Great Gensomaden Saiyuki Monkey Typhoon Patalliro Saiyuki Starzinger Dragonball 33 More “Goku”s 34 The Water Margin (Suikoden) Giant Robo Outlaw Star Suikoden Demon Century Akaboshi 35 Romance of the Three Kingdoms (Sangokushi) Mitsuteru Yokoyama’s Sangokushi Kotetsu Sangokushi BB Senshi Sangokuden Koihime Musou Ikkitousen 36 World Masterpiece Theater (23 seasons since 1969) Moomin Heidi A Dog of Flanders 3000 Leagues in Search of Mother Anne of Green Gables Adventures of Tom Sawyer Swiss Family Robinson Little Women Little Lord Fauntleroy Peter -
VICTOR FOX? STARRING: EISNER • IGER BAKER • FINE • SIMON • KIRBY TUSKA • HANKS • BLUM Et Al
Roy Tho mas ’ Foxy $ Comics Fan zine 7.95 No.101 In the USA May 2011 WHO’S AFRAID OF VICTOR FOX? STARRING: EISNER • IGER BAKER • FINE • SIMON • KIRBY TUSKA • HANKS • BLUM et al. EXTRA!! 05 THE GOLDEN AGE OF 1 82658 27763 5 JACK MENDELLSOHN [Phantom Lady & Blue Beetle TM & ©2011 DC Comics; other art ©2011 Dave Williams.] Vol. 3, No. 101 / May 2011 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll OW WITH Jerry G. Bails (founder) N Ronn Foss, Biljo White 16 PAGES Mike Friedrich LOR! Proofreader OF CO Rob Smentek Cover Artist David Williams Cover Colorist Contents Tom Ziuko Writer/Editorial – A Fanzine Is As A Fanzine Does . 2 With Special Thanks to: Rob Allen Allan Holtz/ The Education Of Victor Fox . 3 Heidi Amash “Stripper’s Guide” Richard Kyle’s acclaimed 1962 look at Fox Comics—and some reasons why it’s still relevant! Bob Andelman Sean Howe Henry Andrews Bob Hughes Superman Vs. The Wonder Man 1939 . 27 Ken Quattro presents—and analyzes—the testimony in the first super-hero comics trial ever. Ger Apeldoorn Greg Huneryager Jim Beard Paul Karasik “Cartooning Was Ultimately My Goal” . 59 Robert Beerbohm Denis Kitchen Jim Amash commences a candid conversation with Golden Age writer/artist Jack Mendelsohn. John Benson Richard Kyle Dominic Bongo Susan Liberator Mr. Monster’s Comic Crypt! The Mystery Of Bill Bossert & Ulla Edgar Loftin The Missing Letterer . 69 Neigenfind-Bossert Jim Ludwig Michael T.