The Marvel Comic Collector's Information Resource Guide
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Comics, Graphic Novels, Manga, & Anime
SAN DIEGO PUBLIC LIBRARY PATHFINDER Comics, Graphic Novels, Manga, & Anime The Central Library has a large collection of comics, the Usual Extra Rarities, 1935–36 (2005) by George graphic novels, manga, anime, and related movies. The Herriman. 741.5973/HERRIMAN materials listed below are just a small selection of these items, many of which are also available at one or more Lions and Tigers and Crocs, Oh My!: A Pearls before of the 35 branch libraries. Swine Treasury (2006) by Stephan Pastis. GN 741.5973/PASTIS Catalog You can locate books and other items by searching the The War Within: One Step at a Time: A Doonesbury library catalog (www.sandiegolibrary.org) on your Book (2006) by G. B. Trudeau. 741.5973/TRUDEAU home computer or a library computer. Here are a few subject headings that you can search for to find Graphic Novels: additional relevant materials: Alan Moore: Wild Worlds (2007) by Alan Moore. cartoons and comics GN FIC/MOORE comic books, strips, etc. graphic novels Alice in Sunderland (2007) by Bryan Talbot. graphic novels—Japan GN FIC/TALBOT To locate materials by a specific author, use the last The Black Diamond Detective Agency: Containing name followed by the first name (for example, Eisner, Mayhem, Mystery, Romance, Mine Shafts, Bullets, Will) and select “author” from the drop-down list. To Framed as a Graphic Narrative (2007) by Eddie limit your search to a specific type of item, such as DVD, Campbell. GN FIC/CAMPBELL click on the Advanced Catalog Search link and then select from the Type drop-down list. -
Beowulf: the Graphic Novel Created by Stephen L
ORIGINAL GRAPHIC NOVEL THE GRAPHIC NOVEL TUFSOtTUFJOJOHFSt4UVEBCBLFS Carlos Barrera (order #4973052) 71.204.91.28 THE GRAPHIC NOVEL Carlos Barrera (order #4973052) 71.204.91.28 THE GRAPHIC NOVEL Writer Stephen L. Stern Artist Christopher Steininger Letterer Chris Studabaker Cover Christopher Steininger For MARKOSIA ENTERPRISES, Ltd. Harry Markos Publisher & Managing Partner Chuck Satterlee Director of Operations Brian Augustyn Editor-In-Chief Tony Lee Group Editor Thomas Mauer Graphic Design & Pre-Press Beowulf: The Graphic Novel created by Stephen L. Stern & Christopher Steininger, based on the translation of the classic poem by Francis Gummere Beowulf: The Graphic Novel. TM & © 2007 Markosia and Stephen L. Stern. All Rights Reserved. Reproduction of any part of this work by any means without the written permission of the publisher is expressly forbidden. Published by Markosia Enterprises, Ltd. Unit A10, Caxton Point, Caxton Way, Stevenage, UK. FIRST PRINTING, October 2007. Harry Markos, Director. Brian Augustyn, EiC. Printed in the EU. Carlos Barrera (order #4973052) 71.204.91.28 Beowulf: The Graphic Novel An Introduction by Stephen L. Stern Writing Beowulf: The Graphic Novel has been one of the most fulfilling experiences of my career. I was captivated by the poem when I first read it decades ago. The translation was by Francis Gummere, and it was a truly masterful work, retaining all of the spirit that the anonymous author (or authors) invested in it while making it accessible to modern readers. “Modern” is, of course, a relative term. The Gummere translation was published in 1910. Yet it held up wonderfully, and over 60 years later, when I came upon it, my imagination was captivated by its powerful descriptions of life in a distant place and time. -
Die Wahrheit Liegt Auf Dem Platz
Gratis-Comic von Panini zum 1. internationalen Batman-Tag Fans bekommen den Batman-Comic am 26. September bei allen teilnehmenden Fachhändlern in Deutschland geschenkt Stuttgart, 31. August 2015 – Premiere zu Ehren des Dunklen Rit- ters: Am 26. September lädt DC Entertainment dazu ein, den 1. in- ternationalen Batman-Tag rund um den Globus zu feiern. Panini bietet den Fans als exklusiver DC Comics-Lizenznehmer in Deutschland eine ganze Reihe an Besonderheiten: Alle teilneh- menden Comic-Fachhändler verschenken an diesem Tag einen eigens von Panini produzierten 32-seitigen Batman-Comic. Das Heft wartet mit einer Leseprobe der aktuellen Bestseller- Geschichte „Todesspiel“ (US-Original: „Endgame“) auf. Diese ist von Oktober an in der regulären Batman-Serie nachzulesen. Zu- dem enthält der Sondercomic eine komplette, abgeschlossene Batman-Geschichte – entnommen aus dem Batman Megaband 1. Der Stuttgarter Verlag stellt dem Handel darüber hinaus für den 26. September gratis Papiermasken mit den Motiven Batman, Batman of the Future, Joker und dessen Ex-Geliebte Harley Quinn zur Verfügung. „Nachdem der erste deutschlandweite Panini-Batman-Tag zum 75. Geburtstag der Figur im vergangenen Jahr so erfolgreich war, wollten wir in diesem Jahr noch eine Schippe für die Fans draufle- gen und schließen uns den internationalen Festivitäten an“, sagt Thorsten Kleinheinz von Panini. Panini und DC Comics eint eine ungewöhnlich lange Zeit der ge- schäftlichen Verbundenheit: Bereits seit 2001 veröffentlicht Panini deutsche Versionen der amerikanischen DC- und damit auch Batman-Comics. Der Superheld war von Beginn an das DC- Flaggschiff mit einer eigenen Heftserie, die monatlich bei Panini erscheint. In diesem Jahr gibt es sogar eine zusätzliche zweite Batman-Heftserie mit dem Titel „Batman Eternal“, die aufgrund der großen Nachfrage nach den Geschichten des Dunklen Ritters 14- täglich erscheint. -
Manga Book Club Handbook
MANGA BOOK CLUB HANDBOOK Starting and making the most of book clubs for manga! STAFF COMIC Director’sBOOK LEGAL Note Charles Brownstein, Executive Director DEFENSE FUND Alex Cox, Deputy Director Everything is changing in 2016, yet the familiar challenges of the past continueBetsy to Gomez, Editorial Director reverberate with great force. This isn’t just true in the broader world, but in comics,Maren Williams, Contributing Editor Comic Book Legal Defense Fund is a non-profit organization Caitlin McCabe, Contributing Editor too. While the boundaries defining representation and content in free expression are protectingexpanding, wethe continue freedom to see to biasedread comics!or outmoded Our viewpoints work protects stifling those advances.Robert Corn-Revere, Legal Counsel readers, creators, librarians, retailers, publishers, and educa- STAFF As you’ll see in this issue of CBLDF Defender, we are working on both ends of the Charles Brownstein, Executive Director torsspectrum who byface providing the threat vital educationof censorship. about the We people monitor whose worklegislation expanded free exBOARD- Alex OF Cox, DIRECTORS Deputy Director pression while simultaneously fighting all attempts to censor creative work in comics.Larry Marder,Betsy Gomez, President Editorial Director and challenge laws that would limit the First Amendment. Maren Williams, Contributing Editor In this issue, we work the former end of the spectrum with a pair of articles spotlightMilton- Griepp, Vice President We create resources that promote understanding of com- Jeff Abraham,Caitlin McCabe,Treasurer Contributing Editor ing the pioneers who advanced diverse content. On page 10, “Profiles in Black Cartoon- Dale Cendali,Robert SecretaryCorn-Revere, Legal Counsel icsing” and introduces the rights you toour some community of the cartoonists is guaranteed. -
Caderno De Resumos
CADERNO DE RESUMOS ESCOLA DE COMUNICAÇÕES E ARTES UNIVERSIDADE DE SÃO PAULO 21 A 23 DE AGOSTO DE 2019 1 CADERNO DE RESUMOS ESCOLA DE COMUNICAÇÕES E ARTES UNIVERSIDADE DE SÃO PAULO 21 A 23 DE AGOSTO DE 2019 Realização Observatório de Histórias em Quadrinhos da Escola de Comunicações e Artes da Universidade de São Paulo 2 6as Jornadas Internacionais de Histórias em Quadrinhos – Caderno de Resumos Realização Observatório de Histórias em Quadrinhos da ECA-USP Comissão Organizadora Nobu Chinen (UFRJ) Paulo Ramos (UNIFESP) Roberto Elísio dos Santos (Observatório de Histórias em Quadrinhos / ECA-USP) Waldomiro Vergueiro (ECA-USP) Comissão Executiva Beatriz Sequeira (ECA-USP) Celbi Pegoraro (ECA-USP) Ediliane Boff (FIAM) Nobu Chinen (UFRJ) Edição Celbi Pegoraro Ediliane de Oliveira Boff Nobu Chinen Paulo Ramos Roberto Elísio dos Santos Waldomiro Vergueiro Ilustração da capa Will Apoio Comix Departamento de Informação e Cultura da ECA-USP Departamento de Letras da Universidade Federal de São Paulo Editora Peirópolis Escola de Comunicações e Artes da Universidade de São Paulo Programa de Pós-Graduação em Comunicação da ECA-USP 6as Jornadas Internacionais de Histórias em Quadrinhos – Caderno de Resumos. 21 a 23 de agosto de 2019, São Paulo. Organizado por Nobu Chinen, Paulo Ramos, Roberto Elísio dos Santos e Waldomiro Vergueiro. São Paulo: Observatório de Histórias em Quadrinhos da Escola de Comunicações e Artes da Universidade de São Paulo, 2019. ISSN 2237-0323 1 . Histórias em Quadrinhos. 2. Jornadas Internacionais de Histórias em Quadrinhos. 3 SUMÁRIO Apresentação 5 Programação Geral 6 Resumos / Eixos Temáticos Quadrinhos, Educação e Cultura 11 Quadrinhos, História e Sociedade 93 Quadrinhos, Linguagem e Gêneros Textuais/Discursivos 163 Quadrinhos, Literatura e Arte 210 Quadrinhos, Comunicação e Mercado 245 Quadrinhos, Novas Mídias e Tecnologias 255 4 APRESENTAÇÃO Temos a satisfação de apresentar os resumos aprovados para apresentação nas 5as Jornadas Internacionais de Histórias em Quadrinhos. -
Understanding Manga, Comics and Graphic Novels. Dr Mel
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Northumbria Research Link ‘So what is this mango, anyway?’ Understanding manga, comics and graphic novels. Dr Mel Gibson. Literacy Consultant and Senior Lecturer, University of Northumbria. Graphic novels, comics and manga can play an important part in encouraging reading for pleasure amongst students of any age and also have a role in teaching in many subject areas. I’m going to offer a small snapshot of the least well known of these, manga, below, but want to start with a few general points about the comic strip medium. Graphic novels, comics and manga are often seen as texts specifically for younger male reluctant readers, but such an assumption underestimates this enormously flexible medium, as it can be used to create complex works of fiction or non-fiction for adults and young adults, male and female, as well as humourous stories for the very young. The comic strip has been used to create a range of work that encompasses the superb Alice in Sunderland, by British creator Bryan Talbot, which explores memory, history and the nature of narrative, drawing on poetry, plays and novels, as well as other comics from around the world, as well as the slapstick humour of The Beano, with it’s cross-generational appeal and playful approach to language and image. It also includes television spin-offs, most notably, perhaps, The Simpsons and Futurama, which offer clever, witty takes on family, relationships and media, as well as genres that have generated spin-offs in other media, like superhero comics, themselves capable of addressing a huge range of ages and abilities. -
Chapter 3 Heroines in a Time of War: Nelvana of the Northern Lights And
Chapter 3 Heroines in a Time of War: Nelvana of the Northern Lights and Wonder Woman as Symbols of the United States and Canada Scores of superheroes emerged in comic books just in time to defend the United States and Canada from the evil machinations of super-villains, Hitler, Mussolini, and other World War II era enemies. By 1941, War Nurse Pat Parker, Miss America, Pat Patriot, and Miss Victory were but a few of the patriotic female characters who had appeared in comics to fight villains and promote the war effort. These characters had all but disappeared by 1946, a testament to their limited wartime relevance. Though Nelvana of the Northern Lights (hereafter “Nelvana”) and Wonder Woman first appeared alongside the others in 1941, they have proven to be more enduring superheroes than their crime-fighting colleagues. In particular, Nelvana was one of five comic book characters depicted in the 1995 Canada Post Comic Book Stamp Collection, and Wonder Woman was one of ten DC Comics superheroes featured in the 2006 United States Postal Service (USPS) Commemorative Stamp Series. The uniquely enduring iconic statuses of Nelvana and Wonder Woman result from their adventures and character development in the context of World War II and the political, social, and cultural climates in their respective English-speaking areas of North America. Through a comparative analysis of Wonder Woman and Nelvana, two of their 1942 adventures, and their subsequent deployment through government-issued postage stamps, I will demonstrate how the two characters embody and reinforce what Michael Billig terms “banal nationalism” in their respective national contexts. -
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. -
Graphic Gothic Introduction Julia Round
Graphic Gothic Introduction Julia Round ‘Graphic Gothic’ was the seventh International Graphic Novel and Comics Conference, held at Manchester Metropolitan University in June 2016.1 The event brought together fifty scholars from all over the globe, who explored Gothic under themes such as setting, politics, adaptation, censorship, monstrosity, gender, and corporeality. This issue of Studies in Comics collects selected papers from the conference, alongside expanded versions of the talks given by three of our four keynote speakers: Hannah Berry, Toni Fejzula and Matt Green. It is complemented by a comics section that recalls the conference and reflects the potential of Gothic to inform and inspire as Paul Fisher Davies provides a sketchnoted diary of the event. Defining the Gothic is a difficult task. Baldick and Mighall (2012: 273) note that much of the relevant scholarship to date has primarily applied ‘the broadest kind of negation: the Gothic is cast as the opposite of Enlightenment reason, as it is the opposite of bourgeois literary realism.’ Moers also suggests that the meaning of Gothic ‘is not so easily stated except that it has to do with fear’ (1978: 90). Many Gothic scholars and writers have explored the nature of this fear: attempting to draw out and categorise the metaphorical meanings and affect it can create. H.P. Lovecraft (1927: 41) claims that ‘The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind fear of the unknown’ (Lovecraft 1927: 41) and that this is the basis for ‘the weirdly horrible tale’ as a literary form. Ann Radcliffe (1826: 5) famously separates terror and horror, and later writers and critics such as Devendra Varma (1957), Robert Hume (1969), Stephen King (1981), Gina Wisker and Dale Townshend continue to explore this divide. -
Media Website Contact List
MEDIA WEBSITE CONTACT LIST version: 8/2016 Outlet Name First Name Last Name Title Email Address Website Address Bleeding Cool Richard Johnston Editor-in-Chief [email protected] http://www.bleedingcool.com/ Comics Alliance Andrew Wheeler Editor in Chief [email protected] http://comicsalliance.com/ Comics Alliance Kevin Gaussoin Editor in Chief [email protected] http://comicsalliance.com/ Comic Book Resources Albert Ching Managing Editor [email protected] http://www.comicbookresources.com/ Comic Vine Tony Guerrero Editor-in-Chief [email protected] http://www.comicbookresources.com/ ComicBook.com James Viscardi Editor in Chief [email protected] http://comicbook.com/ Forces of Geek Erin Maxwell Reporter [email protected] http://www.forcesofgeek.com/ IGN Entertainment Joshua Yehl Comics Editor [email protected] http://www.ign.com/ ICV2 Milton Griepp Editor in Chief [email protected] http://icv2.com/ Newsarama Chris Arrant Editor-in-Chief [email protected] http://www.newsarama.com/ The Beat Heidi MacDonald Editor in Chief [email protected] http://www.comicsbeat.com/ Comicosity Matt Santori-Griffith Senior Editor [email protected] http://www.comicosity.com/ The Mary Sue Maddy Myers Editor [email protected] http://www.themarysue.com/ The Mary Sue Dan Van Winkle Editor [email protected] http://www.themarysue.com/ Multiversity Comics Brian Salvatore Editor-in-Chief [email protected] http://multiversitycomics.com/ Comic Crusaders [email protected] www.comiccrusaders.com/ Graphic Policy Brett Schenker Founder / Blogger in Chief [email protected] https://graphicpolicy.com/ THIS LIST OF CONTACTS IS DESIGNED TO BE A RESOURCE FOR PUBLISHERS TO HELP PROMOTE THEIR PROJECTS TO THE PUBLIC. -
Manga As a Teaching Tool 1
Manga as a Teaching Tool 1 Manga as a Teaching Tool: Comic Books Without Borders Ikue Kunai, California State University, East Bay Clarissa C. S. Ryan, California State University, East Bay Proceedings of the CATESOL State Conference, 2007 Manga as a Teaching Tool 2 Manga as a Teaching Tool: Comic Books Without Borders The [manga] titles are flying off the shelves. Students who were not interested in EFL have suddenly become avid readers ...students get hooked and read [a] whole series within days. (E. Kane, personal communication, January 17, 2007) For Americans, it may be difficult to comprehend the prominence of manga, or comic books, East Asia.1. Most East Asian nations both produce their own comics and publish translated Japanese manga, so Japanese publications are popular across the region and beyond. Japan is well-known as a highly literate society; what is less well-known is the role that manga plays in Japanese text consumption (Consulate General of Japan in San Francisco). 37% of all publications sold in Japan are manga of one form or another, including monthly magazines, collections, etc. (Japan External Trade Organization [JETRO], 2006). Although Japan has less than half the population of the United States, manga in all formats amounted to sales within Japan of around 4 billion dollars in 2005 (JETRO, 2006). This total is about seven times the United States' 2005 total comic book, manga, and graphic novel sales of 565 million dollars (Publisher's Weekly, 2007a, 2007b). Additionally, manga is closely connected to the Japanese animation industry, as most anime2 television series and films are based on manga; manga also provides inspiration for Japan's thriving video game industry. -
Media Industry Approaches to Comic-To-Live-Action Adaptations and Race
From Serials to Blockbusters: Media Industry Approaches to Comic-to-Live-Action Adaptations and Race by Kathryn M. Frank A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Lisa A. Nakamura Associate Professor Aswin Punathambekar © Kathryn M. Frank 2015 “I don't remember when exactly I read my first comic book, but I do remember exactly how liberated and subversive I felt as a result.” ― Edward W. Said, Palestine For Mom and Dad, who taught me to be my own hero ii Acknowledgements There are so many people without whom this project would never have been possible. First and foremost, my parents, Paul and MaryAnn Frank, who never blinked when I told them I wanted to move half way across the country to read comic books for a living. Their unending support has taken many forms, from late-night pep talks and airport pick-ups to rides to Comic-Con at 3 am and listening to a comics nerd blather on for hours about why Man of Steel was so terrible. I could never hope to repay the patience, love, and trust they have given me throughout the years, but hopefully fewer midnight conversations about my dissertation will be a good start. Amanda Lotz has shown unwavering interest and support for me and for my work since before we were formally advisor and advisee, and her insight, feedback, and attention to detail kept me invested in my own work, even in times when my resolve to continue writing was flagging.