DOCSLIB.ORG

Creating a Leader

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creating a Leader Creating a Leader The Visual Representation of Leadership in Civil Rights Protests Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Lisa KARNER am Institut für Amerikanistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Klaus Rieser Graz, 2019 Declaration on Plagiarism I hereby confirm that this thesis is the result of my own independent academic work. All sources (books, articles, essays, dissertations, the internet, etc.) are cited correctly in this paper; quotations and paraphrases are acknowledged. No material other than that listed has been used. I also certify that this paper or parts thereof have not been used previously as eXamination material (by myself or anyone else) in another course at this or any other university. I understand that any violation of this declaration will result in legal consequences possibly leading to my eXpulsion from the University of Graz. Graz, Date Signature Acknowledgements I would like to eXpress my sincere gratitude to all of the people who have supported me during the time of writing this diploma thesis and during the length of my entire studies. First, I would like to thank my supervisor Klaus Rieser whose advice, input, and academic supervision made it possible for me to transform my vague idea into this diploma thesis. I would also like to thank my family and my friends for their support, their encouraging words, and for the many hours they helped me get my mind off of things. To my mum and dad, thank you for believing in me, for making it possible for me to study, and for always being there for me. Thank you! Table of Contents 1. Introduction 1 2. The Civil Rights Movement 2 2.1. Segregation Now, Segregation Tomorrow, Segregation Forever 2 2.2. We Shall Overcome: Protest in the Civil Rights Movement 5 2.3. Leadership and Gender in the Civil Rights Movement 13 3. Autobiography: A Critical Overview 16 3.1. The Autobiographical "I" 18 3.2. Autographics 19 4. Analysis 21 4.1. Analysed Works 21 4.2. Methodology 23 4.2.1. Semiology 23 4.3. Sit-ins 25 4.4. Marches 32 4.5. Speeches 39 4.6. Gender 48 4.7. Police 51 5. Conclusion 59 6. Works Cited 62 7. List of Figures 66 1. Introduction What is the first thing that comes to your mind when you hear "Civil Rights Movement"? It is probably names such as Rosa Parks, Martin Luther King, or Malcolm X. These are, without any doubt, notable and clearly important figures of the movement, however, they were not the only driving forces in the 1950s and 1960s. In fact, a great number of people, regardless of age, ethnicity, or social status participated in the protests of the Civil Rights Movement and contributed their part to the social change of the time. Take, for instance, a march or a sit-in protest – if five people participated, would it be as powerful as a mass protest? How would an organization work if there were only a few members in it? Are a few single voices heard as loud as a crowd of people? All these questions lead up to the fact that a movement such as the Civil Rights Movement of the 1950s and 1960s needs the power of a crowd, or rather a mass of people who speak up, act, and fight for equal rights. Yet, in many instances, the movement is depicted as if there were only a few single leading figures that were responsible for the progress and the many changes that were made as a result of the protests. In this thesis, I will eXamine graphic novels according to their visual representation of said protests with a specific focus on the portrayal of leadership. The aim is to find out whether there are any individual leading figures overshadowing the masses of the movement and, if so, in which way the depiction of these central figures in visual media makes the audience perceive them as leaders. Furthermore, the key features and recurring qualities in the representation as well as the relation of the leading figures to the masses of people will be taken into account. The analysis will be based on three graphic novels, namely March I (2013) and March II (2015) by John Lewis, Andrew Aydin and Nate Powell and Stuck Rubber Baby (1995) by Howard Cruse. The main focus will lie on the graphic novels by Lewis et al., which, despite being a coproduction of three people, have a strong autobiographic character. Stuck Rubber Baby, which deals with a fictional story that also springs from autobiographical eXperiences, will only be used as a point of reference and comparison in order to illustrate the various possibilities of perspectives with regard to this topic. Hence, taking into account the 1 autobiographical aspects of these graphic novels and the issues that may come up thereby will be of significant importance in my analysis. Before analysing selected passages and images of the graphic novels, I will provide an overview of the historical context in which they are embedded. This overview will only concentrate on the protests and their underlying causes as well as on the question of leadership and community within the Civil Rights Movement. However, it will not get into detail regarding political circumstances and the consequences of the movement, as this is of no relevance to my analysis. With regard to the analysis, I have come up with five different categories or aspects through which I will look at the images. These categories include: sit-ins, marches, speeches, police, and gender. Throughout the thesis a combination of semiological approaches and certain aspects of film analysis will be applied in order to come to a conclusion about the impact and effects of the different kinds of representation of leadership, key figures and protests. 2. The Civil Rights Movement 2.1. Segregation Now, Segregation Tomorrow, Segregation Forever 1 "The goal of [the] Movement is total freedom". (Ansbro 2004: 115) Since the era of slavery, the life of African Americans in the United States has been marked by frustration regarding the lack of power, rights, and equality. Not only were they denied the same political rights as white citizens, but they also had to deal with an inferior position in society. While it is not debatable that there is still a certain degree of 1 "Segregation now, segregation tomorrow, segregation forever" is a quote from George Wallace's inaugural speech from 1963, after he was elected Governor of Alabama. 2 injustice and racial tensions existing in the United States, particularly with regard to police violence and unjustifiable court decisions, the focus of this paper will lie on the time period between 1955 and 1965, which represents some of the most famous and most progressive years in African Americans' fight for equality and the climax of the Civil Rights Movement's nonviolent protests. During the 1950s, American society was characterised by inequality. Especially in the South, blacks often worked for white families in jobs that were considered to be of a lower socio-economic standing, such as nannies or farm workers. They had to endure a life as "second-class citizens" (Bureau of International Programs 2008: 40), with less education, less rights, and less opportunities. White Southerners saw African Americans as inferior to themselves and less capable in terms of intellect and cognitive abilities. They enjoyed their high status in society and the respect their African American fellow citizens had to treat them with. While the Northern states of the U.S. seemingly experienced an increase in comparatively liberal and progressive beliefs, stereotypes and the idea of white supremacy were still visibly present in the Southern states. However, the inferior status of African Americans was not only upheld in society – the legal situation held only few opportunities for them as well. So-called Jim Crow laws regulated segregation and restricted black peoples' lives in all public places. Miller et al. define Jim Crow laws as follows: Jim Crow is a term for officially sanctioned segregation that affects every aspect of American life, including schools, restaurants, trains, and all forms of transportation, theaters, drinking fountains, as well as public and private facilities. (2001: 197) According to the Collins Dictionary, the name derives from a black minstrel song from the nineteenth century. Because of Jim Crow laws, black citizens in the South were not only degraded on a regular basis, but actually had to fear for their lives, especially in more rural areas, where they had to face violence, insults, and threats. On the one hand, there was the legal injustice, which Wilson sums up in the following way: Not following social customs and encroaching into white spaces often led to arrests and fines, public ridicule, physical altercations with law enforcement officials or nonofficial protectors of white supremacy, or death. Jim Crow signs were a constant reminder to African Americans that they were not full citizens and were unwanted in the land of their birth and could live only as a docile, subjugated people. For many who found Jim Crow intolerable, leaving the South was seen as the only way out. (2013: 14) 3 African Americans living in segregationist states were not allowed to use the same diners, parks, buses, schools. or restaurants (to name only a few eXamples) as white Southerners. Public facilities were clearly marked with "WHITES ONLY" or "BLACKS ONLY" signs. Most of the time, those places or amenities reserved for blacks were much worse in quality and service. On the other hand, there was the resistance of white citizens, who were mostly opposed to a change in legislation.
Load more

Recommended publications
  • Check All That Apply)
    Form Version: February 2001 EFFECTIVE TERM: Fall 2003 PALOMAR COLLEGE COURSE OUTLINE OF RECORD FOR DEGREE CREDIT COURSE X Transfer Course X A.A. Degree applicable course (check all that apply) COURSE NUMBER AND TITLE: ENG 290 -- Comic Books As Literature UNIT VALUE: 3 MINIMUM NUMBER OF SEMESTER HOURS: 48 BASIC SKILLS REQUIREMENTS: Appropriate Language Skills ENTRANCE REQUIREMENTS PREREQUISITE: Eligibility for ENG 100 COREQUISITE: NONE RECOMMENDED PREPARATION: NONE SCOPE OF COURSE: An analysis of the comic book in terms of its unique poetics (the complicated interplay of word and image); the themes that are suggested in various works; the history and development of the form and its subgenres; and the expectations of comic book readers. Examines the influence of history, culture, and economics on comic book artists and writers. Explores definitions of “literature,” how these definitions apply to comic books, and the tensions that arise from such applications. SPECIFIC COURSE OBJECTIVES: The successful student will: 1. Demonstrate an understanding of the unique poetics of comic books and how that poetics differs from other media, such as prose and film. 2. Analyze representative works in order to interpret their styles, themes, and audience expectations, and compare and contrast the styles, themes, and audience expectations of works by several different artists/writers. 3. Demonstrate knowledge about the history and development of the comic book as an artistic, narrative form. 4. Demonstrate knowledge about the characteristics of and developments in the various subgenres of comic books (e.g., war comics, horror comics, superhero comics, underground comics). 5. Identify important historical, cultural, and economic factors that have influenced comic book artists/writers.
    [Show full text]
  • ENGL 370 Graphic Novel – Winter Session 2014 Instructor: Will Eggers Required Texts: Mccloud, Scott. Understanding Comics. Mi
    ENGL 370 Graphic Novel – Winter Session 2014 Instructor: Will Eggers Required Texts: McCloud, Scott. Understanding Comics. Miller, Frank. Batman: the Dark Knight Returns. Moore, Alan. Watchmen. Kirkman. The Walking Dead: Book 1. Days Gone By.(Compendium not required, but you may want.) O’Malley, Brian Lee. Scott Pilgrim 1-6. Speigelman, Art. The Complete Maus. Mazzuchelli, David. Asterios Polyp. Bechdel, Alison. Fun Home. Cruse, Howard. Stuck Rubber Baby, Sacco, Joe. Safe Area Goradze. Ideas to explore: Since the ground-breaking publication of Art Spiegelman's Maus in 1993, "graphic novels" have entered the global cultural mainstream. A truly multicultural genre, comics created by men and women around the world now appear in U.S. high school and college curricula, hold the attention of academic critics, and earn big box-office returns in cinematic adaptations. In this course we will survey the current field and read works of fiction (such as THE WATCHMEN), autobiography (MAUS, FUN HOME), journalism (SAFE AREA GORAZDE), and what we might call "comic theory" (UNDERSTANDING COMICS). And just as comics have become a global medium, they are perhaps inherently "postmodern." Many contemporary comics are self-conscious about questions of form and theories of representation, a characteristic that will help us formulate new versions of the questions often considered in literary study. How do words and pictures drawn together in sequential narratives tell stories? What different skills are needed to comprehend this complex play of image, language, and time? What can graphic books do that other books cannot, and what are the constraints that shape this form? In order to better understand these works and the culture that produced them, we will consider them through lenses including history, gender, psychology, and class, as well as their visual elements.
    [Show full text]
  • THE COMIX BOOK LIFE of DENIS KITCHEN Spring 2014 • the New Voice of the Comics Medium • Number 5 Table of Contents
    THE COMIX BOOK LIFE OF DENIS KITCHEN 0 2 1 82658 97073 4 in theUSA $ 8.95 ADULTS ONLY! A TwoMorrows Publication TwoMorrows Cover art byDenisKitchen No. 5,Spring2014 ™ Spring 2014 • The New Voice of the Comics Medium • Number 5 TABLE OF CONTENTS HIPPIE W©©DY Ye Ed’s Rant: Talking up Kitchen, Wild Bill, Cruse, and upcoming CBC changes ............ 2 CBC mascot by J.D. KING ©2014 J.D. King. COMICS CHATTER About Our Bob Fingerman: The cartoonist is slaving for his monthly Minimum Wage .................. 3 Cover Incoming: Neal Adams and CBC’s editor take a sound thrashing from readers ............. 8 Art by DENIS KITCHEN The Good Stuff: Jorge Khoury on artist Frank Espinosa’s latest triumph ..................... 12 Color by BR YANT PAUL Hembeck’s Dateline: Our Man Fred recalls his Kitchen Sink contributions ................ 14 JOHNSON Coming Soon in CBC: Howard Cruse, Vanguard Cartoonist Announcement that Ye Ed’s comprehensive talk with the 2014 MOCCA guest of honor and award-winning author of Stuck Rubber Baby will be coming this fall...... 15 REMEMBERING WILD BILL EVERETT The Last Splash: Blake Bell traces the final, glorious years of Bill Everett and the man’s exquisite final run on Sub-Mariner in a poignant, sober crescendo of life ..... 16 Fish Stories: Separating the facts from myth regarding William Blake Everett ........... 23 Cowan Considered: Part two of Michael Aushenker’s interview with Denys Cowan on the man’s years in cartoon animation and a triumphant return to comics ............ 24 Art ©2014 Denis Kitchen. Dr. Wertham’s Sloppy Seduction: Prof. Carol L. Tilley discusses her findings of DENIS KITCHEN included three shoddy research and falsified evidence inSeduction of the Innocent, the notorious in-jokes on our cover that his observant close friends might book that almost took down the entire comic book industry ....................................
    [Show full text]
  • The Art of the Graphic Novel
    Eric Shanower The Art of the Graphic Novel Adapted from an address delivered at the 2004 ALAN Workshop. Mr. Shanower accompanied his talk with a beautiful slide show and refers to the slides in this address. raphic novel” is an and, for better or for worse, it awkward term. The seems we’re stuck with it. “G “graphic” part is I’m here to speak to you okay, graphic novels always have about the art of the graphic novel. graphics. It’s the “novel” part When you hear the phrase, the that’s a problem, because graphic art of the graphic novel, you likely novels aren’t always novels told think of the drawings, rather than with drawings. They can be the story. But I bet most of you works of non-fiction or collec­ will agree that writing is an art tions of short stories or, really, just as drawing is. I’m going to anything you can think of that talk about both. consists of drawings that convey Let’s forget about graphic narrative between two substan­ novels for a moment and think tial covers. about what I call cartooning. Or The term “graphic novel” you can call it “comic art” or isn’t much better or more “sequential art.” Cartooning is the accurate a description than the art of telling a story in pictures, term “comic book.” But “comic often using written words as in book” has pejorative connota­ integral part of the drawing. The tions, and many people seem history of cartooning starts a bit either embarrassed or dismissive nebulously.
    [Show full text]
  • Adapting the Graphic Novel Format for Undergraduate Level Textbooks
    ADAPTING THE GRAPHIC NOVEL FORMAT FOR UNDERGRADUATE LEVEL TEXTBOOKS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Brian M. Kane, M.A. Graduate Program in Arts Administration, Education, and Policy The Ohio State University 2013 Dissertation Committee: Professor Candace Stout, Advisor Professor Clayton Funk Professor Shari Savage Professor Arthur Efland Copyright by Brian M. Kane 2013 i ABSTRACT This dissertation explores ways in which the graphic narrative (graphic novel) format for storytelling, known as sequential art, can be adapted for undergraduate-level introductory textbooks across disciplines. Currently, very few graphic textbooks exist, and many of them lack the academic rigor needed to give them credibility. My goal in this dissertation is to examine critically both the strengths and weaknesses of this art form and formulate a set of standards and procedures necessary for developing new graphic textbooks that are scholastically viable for use in college-level instruction across disciplines. To the ends of establishing these standards, I have developed a four-pronged information-gathering approach. First I read as much pre factum qualitative and quantitative data from books, articles, and Internet sources as possible in order to establish my base of inquiry. Second, I created a twelve-part dissertation blog (graphictextbooks.blogspot.com) where I was able to post my findings and establish my integrity for my research among potential interviewees. Third, I interviewed 16 professional graphic novel/graphic textbook publishers, editors, writers, artists, and scholars as well as college professors and librarians. Finally, I sent out an online survey consisting of a sample chapter of an existing graphic textbook to college professors and asked if the content of the source material was potentially effective for their own instruction in undergraduate teaching.
    [Show full text]
  • How Do Southern, Racial, and Sexual Identities Mix? Frank Bramlett University of Nebraska at Omaha, [email protected]
    University of Nebraska at Omaha DigitalCommons@UNO English Faculty Publications Department of English 10-24-2013 How do Southern, racial, and sexual identities mix? Frank Bramlett University of Nebraska at Omaha, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/englishfacpub Part of the English Language and Literature Commons Recommended Citation Bramlett, Frank, "How do Southern, racial, and sexual identities mix?" (2013). English Faculty Publications. 31. https://digitalcommons.unomaha.edu/englishfacpub/31 This Article is brought to you for free and open access by the Department of English at DigitalCommons@UNO. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. How do Southern, racial, and sexual identities mix? This weekend, I have the great fortune to participate in Comics Studies in the US South, a symposium held at the University of South Carolina. My talk explores the juncture of linguistic production, race and ethnicity, and sexuality in characters that are presented as Southern. It isn’t my intention to make a broad survey of comics but instead to examine two in particular, Kyle’s Bed & Breakfast, by Greg Fox, and Stuck Rubber Baby, by Howard Cruse. The first comic, Kyle’s Bed & Breakfast (http://kylesbnb.blogspot.se/), is not a comic about the South. It is set in Northport, on Long Island, a small picturesque community in rural New York. Written, drawn, and colored by Greg Fox, this comic is meant to be a kind of soap opera serial about the lives of the gay men who live in the B&B.
    [Show full text]
  • Banned Comics Brochure
    What Comics Are Banned As comics become a more important part of today’s library environment, they are increasingly vulnerable to challenges and bans. Here’s a list of the books that have been banned or challenged that you can find case studies on at www.cbldf.org. Amazing Spider-Man: Revelations by J. Michael Straczynski, John Romita, Jr, and Scott Hanna Batman: The Dark Knight Strikes Again by Frank Miller and Lynn Varley Blankets by Craig Thompson Bone by Jeff Smith Dragon Ball by Akira Toriyama Fun Home by Alison Bechdel Ice Haven by Daniel Clowes In The Night Kitchen by Maurice Sendak League of Extraordinary Gentlemen: The BANNED Black Dossier by Alan Moore and Kevin O’Neill Support The Comic Book BOOKS WEEK Maus by Art Spiegelman Legal Defense Fund Neonomicon by Alan Moore and Jacen CELEBRATE THE Burrows FREEDOM TO READ! Pride of Baghdad by Brian K. Vaughn and www.cbldf.org Niko Henrichon September 30 – October 6, 2012 Sandman by Neil Gaiman and various artists 255 W. 36th Street, Suite 501 SideScrollers by Matthew Loux New York, NY 10018 1-800-99-CBLDF Stuck in the Middle, edited by Ariel Schrag Stuck Rubber Baby by Howard Cruse The Color of Earth by Kim Dong Hwa Watchmen by Alan Moore and Dave Gibbons The Problem What You Can Do To Help showing the benefits of free expression. Send us pictures of your display Every year people try to take away readers’ You can make a difference in protecting the to help inspire others! power to decide what books are right for freedom to read! Here are some suggestions: themselves or their children to read by Host A Banned Comics Event.
    [Show full text]
  • GRAPHIC NOVELS at the UCSC LIBRARY an Annotated Bibliography of Selected Materials
    GRAPHIC NOVELS AT THE UCSC LIBRARY An annotated bibliography of selected materials Graphic Novels at the UCSC Library An annotated bibliography of selected materials The sophistication of the American comic book/graphic novel field may be the most underrated literacy movement in recent United States history. It is within the graphic novel format that one encounters much of the most experimental and exciting work being done in the comics medium today.(1) Graphic novels are now regularly being reviewed in The New York Times Book Review. Museums are acquiring pages of comic art. Esquire and The New Yorker have run comic stories in their fiction issues. A MacArthur grant was awarded to a cartoonist. Whether one considers graphic novels as art or as literature, it is becoming apparent that this medium, after a prolonged adolescence, is coming of age.(2) (1) Steven Weiner"100 Graphic Novels for Public Libraries" Kitchen Sink Press, 1996 (2) The National Association of Comics Art Educators) (1999) 300. Story & art, Frank Miller ; colors, Lynn Varley. Milwaukie, Or. : Dark Horse Comics. McH Stacks PN6727.M55 A2 1999 From Publishers Weekly The Battle of Thermopylae ranks as one of the ancient world's most important events, where Spartan King Leonidas and his 300-man bodyguard met the massive army of Emperor Xerxes of Persia, who intended to add Greece to his empire. To no one's surprise, the Spartans were destroyed. While the battle bought the Greeks enough time to defeat the mighty Persians, it was more important for the metaphor it created: occasionally one has to lose to win.
    [Show full text]
  • 1 Kent Worcester Graphic Novels in the Political Science Classroom
    Kent Worcester Graphic Novels in the Political Science Classroom – Additional Resources My chapter explores the potential contribution that comics and graphic novels can make to course offerings in such areas as U.S. politics, comparative politics, social movements, international relations, and political economy. The chapter identifies twenty-four recently published graphic novels, memoirs, and nonfiction works that may be particularly relevant to faculty in the social and political sciences. It also discusses ways in which faculty can incorporate long-form graphic narratives into their lectures and course assignments, and addresses the issue of how to assess student learning when graphic novels are part of the curriculum. This online supplement provides information on additional comics-centric resources that may be of interest to political science faculty. It consists of three sections. The first reproduces the list of primary and secondary readings that are identified in the chapter itself. Each of the primary readings listed in this section includes a brief description of the kinds of courses for which these books may be especially useful. The second section lists additional primary and secondary texts that extend the range of thematic areas associated with the chapter’s selections. The final section identifies web-based scholarly resources for faculty interested in learning about the burgeoning field of comics studies. This section includes links to websites devoted to the scholarly study of comics and graphic novels as well as information about online and print journals. Section One: Primary and Secondary Sources listed in the Chapter Primary Sources Anderson, Ho Che. King: A Comics Biography of Martin Luther King, Jr.
    [Show full text]
  • Howard Cruse Narrative and Gender Issues ARH 680 Literature of Art
    Howard Cruse Narrative and Gender Issues ARH 680 Literature of Art Stephen Smith 1 The twentieth century saw the development of a number of new art forms. Arguably the three that have contributed most to the human expression of narrative have been the motion picture, the video game and the comic strip. Like all new art forms it has taken time for these genres to be accepted into the canon of art history. Few question anymore whether or not the motion picture is a legitimate art form while the video game has yet to receive this inevitable elevation. The comic strip has only recently begun to be accepted by the artworld. The artists of this medium that have proven to be the most palatable to the gatekeepers of high art are unquestionably those who deal with the same kind of issues that are often addressed by more established art forms. One of the few comic strip artists that is now being recognized as a true fine artists is Howard Cruse. Cruse is a master storyteller who often deals with gay-themed, and often deeply personal issues without ever losing his sense of humor or faltering in his draftsmanship. When asked if he agreed that the comic strip, and particularly the graphic novel were no longer being marginalized by the artworld Cruse stated that: That greater acceptance these days is undeniable. Comics-creation courses are now included in the curricula of many art schools and in the art departments of mainstream colleges and universities, where graphic novels are also likely to be studied as literature.
    [Show full text]
  • Political Trends in Comic Books and the Notion of a Superhero in Present America
    Uniwersytet Warszawski Ośrodek Studiów Amerykańskich Daria Powałowska Political Trends in Comic Books and the Notion of a Superhero in Present America Praca magisterska na kierunku kulturoznawstwo w zakresie studiów amerykanistycznych Praca wykonana pod kierunkiem Prof. UW dr hab. Urszuli Jareckiej Ośrodek Studiów Amerykańskich Uniwersytet Warszawski Warszawa, wrzesień 2013 1 Streszczenie „Wątki polityczne w komiksie oraz pojęcie superbohatera we współczesnej Ameryce”. Praca poświęcona jest wątkom politycznym w komiksie amerykańskim. Pierwsza część skupia się na przybliżeniu pojęć polityki oraz sprawiedliwości, jak i na omówieniu cech komiksu. Analizie została poddana nowela graficzna „Watchmen,” w której autor przedstawia amerykańskich superbohaterów w pejoratywnym świetle. Praca przedstawia w jaki sposób wątki polityczne zostają ukazane w komiksie amerykańskim, a także jak sam komiks przenika do sfery społecznej. W końcowej części zostaje podjęta próba analizy obecnego zapatrywania się na pojęcie superbohatera w społeczeństwie amerykańskim. Słowa kluczowe polityka, sprawiedliwość, superbohater, komiks amerykański, media, prezydent Dziedzina pracy (kody wg programu Sokrates-Erasmus) 08900, inne humanistyczne 2 Table of contents Introduction..............................................................................................5 Chapter 1. Politics, Justice, and Superpowers.......................................7 1.1. Questioning politics............................................................................................7
    [Show full text]
  • Characters TM & © DC Comics. Art © Steve Rude. 82658 00049
    ™ No. 12, Spring 2016 A TwoMorrows Publication Characters TM & © DC Comics. Art Steve Rude. 1 82658 00049 3 ™ A TwoMorrows Publication No. 12, Spring 2016 Art and characters © Howard Cruse. 1 82658 00049 3 also: JACK KIRBY’S FOURTH WORLD MASTERPIECE • COMIC BOOK FEVER • HEMBECK Spring 2016 • Voice of the Comics Medium • Number 12 EQUALITY-WOODY TABLE OF CONTENTS CBC mascot by J.D. KING ©2016 J.D. King. Ye Ed’s Rant: For the Love of Murphy Anderson ............................................................. 2 About Our COMICS CHATTER Covers Forbidden Pleasures: George Khoury gives us an outtake from his magnum opus ..... 3 Art and Colors by HOWARD CRUSE Incoming: Letters o’ comment containing words on Warp and Allred accolades .......... 6 Incoming Extra: Hugh Surratt shares his favorite Gil Kane science fiction covers ........ 8 Hembeck’s Dateline: Our Man Fred on the ruler who dares not speak his name ...... 13 Comics in the Library: Rich Arndt judges books by their cover (binding, at least!) .... 15 JACk kirby’S FOURTH WORLD SPECIAL SECTION The King’s Pinnacle: Inspired by our amazing Steve Rude cover, CBC looks at the history behind Jack Kirby’s magnificent work at DC Comics in the early 1970s, from his late ’60s break with Stan Lee at Marvel, to subsequent tribulations with publisher Carmine Infantino at the House of Superman..................................16 THE MAIN EVENT © 2016 Howard Cruse Above: Mr. Cruse draws himself. Finding the Muse of the Man Called Cruse: CBC shares an afternoon with the Below: When we saw Steve “The Dude” Rude’s apokoliptik great Howard Cruse, learning about the cartoonist’s Alabama roots, emergence Fourth World art, we just had to into the underground comix realm with Barefootz, pioneering work as editor of make a cover feature out of it! the seminal anthology Gay Comix, mainstream recognition courtesy of Wendel, and breakthrough with Stuck Rubber Baby as an important graphic novelist.
    [Show full text]