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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. -
Aliens of Marvel Universe
Index DEM's Foreword: 2 GUNA 42 RIGELLIANS 26 AJM’s Foreword: 2 HERMS 42 R'MALK'I 26 TO THE STARS: 4 HIBERS 16 ROCLITES 26 Building a Starship: 5 HORUSIANS 17 R'ZAHNIANS 27 The Milky Way Galaxy: 8 HUJAH 17 SAGITTARIANS 27 The Races of the Milky Way: 9 INTERDITES 17 SARKS 27 The Andromeda Galaxy: 35 JUDANS 17 Saurids 47 Races of the Skrull Empire: 36 KALLUSIANS 39 sidri 47 Races Opposing the Skrulls: 39 KAMADO 18 SIRIANS 27 Neutral/Noncombatant Races: 41 KAWA 42 SIRIS 28 Races from Other Galaxies 45 KLKLX 18 SIRUSITES 28 Reference points on the net 50 KODABAKS 18 SKRULLS 36 AAKON 9 Korbinites 45 SLIGS 28 A'ASKAVARII 9 KOSMOSIANS 18 S'MGGANI 28 ACHERNONIANS 9 KRONANS 19 SNEEPERS 29 A-CHILTARIANS 9 KRYLORIANS 43 SOLONS 29 ALPHA CENTAURIANS 10 KT'KN 19 SSSTH 29 ARCTURANS 10 KYMELLIANS 19 stenth 29 ASTRANS 10 LANDLAKS 20 STONIANS 30 AUTOCRONS 11 LAXIDAZIANS 20 TAURIANS 30 axi-tun 45 LEM 20 technarchy 30 BA-BANI 11 LEVIANS 20 TEKTONS 38 BADOON 11 LUMINA 21 THUVRIANS 31 BETANS 11 MAKLUANS 21 TRIBBITES 31 CENTAURIANS 12 MANDOS 43 tribunals 48 CENTURII 12 MEGANS 21 TSILN 31 CIEGRIMITES 41 MEKKANS 21 tsyrani 48 CHR’YLITES 45 mephitisoids 46 UL'LULA'NS 32 CLAVIANS 12 m'ndavians 22 VEGANS 32 CONTRAXIANS 12 MOBIANS 43 vorms 49 COURGA 13 MORANI 36 VRELLNEXIANS 32 DAKKAMITES 13 MYNDAI 22 WILAMEANIS 40 DEONISTS 13 nanda 22 WOBBS 44 DIRE WRAITHS 39 NYMENIANS 44 XANDARIANS 40 DRUFFS 41 OVOIDS 23 XANTAREANS 33 ELAN 13 PEGASUSIANS 23 XANTHA 33 ENTEMEN 14 PHANTOMS 23 Xartans 49 ERGONS 14 PHERAGOTS 44 XERONIANS 33 FLB'DBI 14 plodex 46 XIXIX 33 FOMALHAUTI 14 POPPUPIANS 24 YIRBEK 38 FONABI 15 PROCYONITES 24 YRDS 49 FORTESQUIANS 15 QUEEGA 36 ZENN-LAVIANS 34 FROMA 15 QUISTS 24 Z'NOX 38 GEGKU 39 QUONS 25 ZN'RX (Snarks) 34 GLX 16 rajaks 47 ZUNDAMITES 34 GRAMOSIANS 16 REPTOIDS 25 Races Reference Table 51 GRUNDS 16 Rhunians 25 Blank Alien Race Sheet 54 1 The Universe of Marvel: Spacecraft and Aliens for the Marvel Super Heroes Game By David Edward Martin & Andrew James McFayden With help by TY_STATES , Aunt P and the crowd from www.classicmarvel.com . -
Includes Rarities from the STAN LEE ARCHIVES!
THE UNIVERSE Interviews with and mementos from “THE MAN” who changed comics and pop culture Includes rarities from THE STAN LEE ARCHIVES! edited by Danny Fingeroth and Roy Thomas CONTENTS About the material that makes up THE STAN LEE UNIVERSE Some of this book’s contents originally appeared in TwoMorrows’ Write Now! #18 and Alter Ego #74, as well as various other sources. This material has been redesigned and much of it is accompanied by different illustrations than when it first appeared. Some material is from Roy Thomas’s personal archives. Some was created especially for this book. Approximately one-third of the material in the SLU was found by Danny Fingeroth in June 2010 at the Stan Lee Collection (aka “ The Stan Lee Archives ”) of the American Heritage Center at the University of Wyoming in Laramie, and is material that has rarely, if ever, been seen by the general public. The transcriptions—done especially for this book—of audiotapes of 1960s radio programs featuring Stan with other notable personalities, should be of special interest to fans and scholars alike. INTRODUCTION A COMEBACK FOR COMIC BOOKS by Danny Fingeroth and Roy Thomas, editors ..................................5 1966 MidWest Magazine article by Roger Ebert ............71 CUB SCOUTS STRIP RATES EAGLE AWARD LEGEND MEETS LEGEND 1957 interview with Stan Lee and Joe Maneely, Stan interviewed in 1969 by Jud Hurd of from Editor & Publisher magazine, by James L. Collings ................7 Cartoonist PROfiles magazine ............................................................77 -
(“Spider-Man”) Cr
PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership. -
Resistant Vulnerability in the Marvel Cinematic Universe's Captain America
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-15-2019 1:00 PM Resistant Vulnerability in The Marvel Cinematic Universe's Captain America Kristen Allison The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kristen Allison 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Allison, Kristen, "Resistant Vulnerability in The Marvel Cinematic Universe's Captain America" (2019). Electronic Thesis and Dissertation Repository. 6086. https://ir.lib.uwo.ca/etd/6086 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Established in 2008 with the release of Iron Man, the Marvel Cinematic Universe has become a ubiquitous transmedia sensation. Its uniquely interwoven narrative provides auspicious grounds for scholarly consideration. The franchise conscientiously presents larger-than-life superheroes as complex and incredibly emotional individuals who form profound interpersonal relationships with one another. This thesis explores Sarah Hagelin’s concept of resistant vulnerability, which she defines as a “shared human experience,” as it manifests in the substantial relationships that Steve Rogers (Captain America) cultivates throughout the Captain America narrative (11). This project focuses on Steve’s relationships with the following characters: Agent Peggy Carter, Natasha Romanoff (Black Widow), and Bucky Barnes (The Winter Soldier). -
Marvel Universe Movies in Order of Release
Marvel Universe Movies In Order Of Release Semitransparent Kristopher squeg some sweetening and mucks his prosciuttos so abjectly! Gearard is goosey and kyanised deformedly while secluded Spiros tail and repopulated. Cumulative Tome never agitating so endlong or schmoosed any derrises cagily. Xvhv ehiruh frplqj lq khu wr kdyh ehhq dzdlwlqj khu ruljlq doo, in marvel universe movies order of release dates are! Parker juggling life just a teenager with cord to wonder his city. Jackson, an evil Kree warlord. These singularities are doing so far from them to protect him into a little to touch with trying to in order that, but survives a real time after directing. Back to be part of death, among other movies in order to be excellent show? Frost giants of joining the freedoms of thaddeus ross, in release and create the character who are yet. Unable to help himself questioning the universe movies in marvel order release of surprise for several skrull talos as a fractured team. You may clash with all things to knowhere, designed by order in marvel universe movies of release. Man movies in order of the universe movies list! An unaware Banner tests the experiment on himself good the process turns him schedule The Hulk. Many creatives would your future collaborations after experiences like those. It also fine as the position to fight on our expert industry has a federal and movies in of marvel order release order is not this? But endgame and tv series in his human character apart from dying from collecting the world and uncle ben, phase three markets in order in marvel movies release of the year after you! Peters set up again in the fbi, manages to the first paragraph; you wanting more of marvel movie and we also claim second week long. -
Looking Beyond the Allegory: the True Depiction of Race in X-Men
Looking Beyond the Allegory: The True Depiction of Race in X-Men Danielle Mueller Departmental Affiliation: Political Science Christ College In 1963, the first issue of X-Men was published, introducing the Marvel Universe and the world to mutants, super-powered individuals born with amazing powers. Feared and hated by the world they have sworn to protect, the mutant X-Men are often interpreted as representing a variety of marginalized groups. Modern scholarship generally focuses on the Bryan Singer film series and mutants as representative of homosexuals and Jews. Despite the validity of these modern readings, this focus has neglected the depiction of race in the original X-Men comics and has reduced the racial message of X-Men to a simple allegory in which mutants represent the oppressed minority, the X-Men represent civil rights activists, and humans represent the oppressive majority. However, a close reading of X-Men comics from the 1970s and 1980s indicates that the series' depiction of racial and ethnic minority characters complicates this simple allegorical reading. Although the series seems to emphasize diversity through an ethnically diverse cast of characters, X-Men 's exclusion of minority characters that identify with their cultural backgrounds, along with its emphasis on the cultural backgrounds of the Caucasian characters, presents a problematic picture of race in which sameness is valued over the diversity the comic supposedly advocates. Information about the Author: As a longtime fan of comics, Danielle Mueller was thrilled when she had the opportunity to study them in the spring of 2012 for a research paper in Prof. -
Deadpool 101 Deadpool 101
DEADPOOL 101 DEADPOOL 101 by Steve Dustcircle Smashwords Edition © 2015 aLife Beyond Books Columbus, Ohio 43216 http://www.aLifebeyondbooks.com Copyright © 2015 by Steve Dustcircle All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher, addressed “Attention: Permissions Coordinator,” at the address below. aLife Beyond Books c/o Hudson Media P.O. Box 163381 Columbus, OH 43216 www.aLifeBeyondBooks.com The character, name and likeness of DEADPOOL is the creation and property of Marvel Comics, Marvel Universe, and/or Marvel Enterprises. Ordering Information: Orders by U.S. trade bookstores and wholesalers. Please contact Steve Dustcircle at: [email protected] Printed in the United States of America Publisher’s Cataloging-in-Publication data Dustcircle, Steve. A Deadpool 101 / Steve Dustcircle. p. cm. ISBN: 9781311392275 (Smashwords Edition) CONTENTS: An Interpretation of Deadpool's first comic appearance 0. Introduction 1. The Formation 2. Who Is Deadpool? 3. His Story 4. Impressions 5. Screen Time 6. Tidbits 7. Key Issues About the Author A man in a blue outfit stands in the now stillness. Something peeks his attention toward the external wall. He senses it, with his eye. The noise in his head rises. The wall explodes, sending books and shelves outward from the location, like a suicide bomber's self-explosion. -
The Comics & Graphic Novel Bulletin Of
MEANWHILE Kirby Robert E. Howard Frank Miller Barry Windsor Smith Kirby Ster- Neal Adams anko Pre- Tom Palmer Raphaelites. Roy Thomas Harlan Ellison John Buscema Javier Rodriguez Mark Waid The Comics & Graphic Novel Bulletin of Fantastic Four: Grand Design builds The 1960s were an amaz- in the first volume of Marvel on the success of Marvel’s previous ing time to be a kid. Satur- Comics Mini-Books Collecti- Grand Design trilogy dedicated to the day morning cartoons, ble Box Set: A History and Facsimiles of Marvel’s X-Men (see 741.5 #18). Published in comic books everywhere, the Oversize “Treasury” format, Vol- Smallest Comic Books (Harry and all the gimmicks sold ume 1 covers the history of the Cos- N. Abrams). Published in mic Quartet from their initial outings at the candy store and 1966, these 5/8” x 7/8” against the Mole Man, Doctor Doom gumball machines: Mars comics were smaller than a and the Skrulls up to the celestial Attacks cards, Big Daddy postage stamp and hardly bigger than the penny they showdowns of the 1980s. Produced Roth Weird-o stickers, cost. They featured several of with the “aged” look of old comics, and...Marvel Comics Mini- FF:GD includes developmental mate- the headliners who made rials and a reprint of a FF classic! books! If you’ve never that decade the Marvel Age experienced or even heard of Comics: the Amazing Spi- of these, that’s okay. They der-Man, Captain America, BELOW: Examples of the the Mighty Thor, the Incredi- Marvel mini-books print- were mostly distributed ble Hulk, WW2 super-soldier ed at gumball size. -
Authorship and Authenticity in the Transmedia Brand: the Case of Marvel's Agents of S.H.I.E.L.D
Authorship and Authenticity in the Transmedia Brand: The Case of Marvel's Agents of S.H.I.E.L.D. LEORA HADAS, University of Nottingham ABSTRACT The Marvel Cinematic Universe (MCU) is the first filmmaking endeavour of its kind: multiple separate superhero films taking place within a single diegetic world, united in a single sequel, The Avengers (2012). The third highest-grossing film in history, The Avengers drew not only on the success of its prequels, its established characters and its stars, but perhaps most of all on its writer- director, cult favourite television auteur Joss Whedon. Having delivered on the film, and with considerable experience in creating quirky, character-based telefantasy, Whedon was a natural choice for Marvel for creating the MCU's first expansion into television, ABC’s Marvel's Agents of S.H.I.E.LD (ABC Studios/Marvel Television/Mutant Enemy, 2013- ). This article examines the use of Whedon's name and his presence in the promotional discourse of Agents of S.H.I.E.LD as a case study of the role of the media creator in extending the transmedia brand. With the names of creators becoming increasingly visible in association with many texts where they were previously absent, such as television series and blockbuster Hollywood cinema, the use of the author name as a brand name sees growing prevalence across the screen industries. In theorizing transmedia storytelling, Elizabeth Evans (2010) has, accordingly, named authorship as one of the key dimensions in which cohesion is established. In this context, I examine the use of Whedon's involvement in the Marvel Cinematic Universe, where the discourse of authorship operates as a guarantor of consistency and authenticity. -
"Hail Hydra": Marvel's Captain America and White Nationalism in the United States
University of Puget Sound Sound Ideas Summer Research Summer 2019 "Hail Hydra": Marvel's Captain America and White Nationalism in the United States Erin Budrow University of Puget Sound Follow this and additional works at: https://soundideas.pugetsound.edu/summer_research Part of the Cultural History Commons, Social History Commons, and the United States History Commons Recommended Citation Budrow, Erin, ""Hail Hydra": Marvel's Captain America and White Nationalism in the United States" (2019). Summer Research. 344. https://soundideas.pugetsound.edu/summer_research/344 This Article is brought to you for free and open access by Sound Ideas. It has been accepted for inclusion in Summer Research by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Budrow 1 Introduction In 2016, Captain America brought comic books to the forefront of national discussion with a single phrase: “Hail Hydra” (fig. 1). These two words proclaimed Captain America’s allegiance to Hydra, one of the most recognizable villains in the Marvel Comics canon and an allegory for the Nazi Party. The moment incited a riot among comic book super fans and casual onlookers alike, many arguing that by aligning Captain America with Hydra, the comic’s author Nick Spencer had disrespected the character’s origin story.1 Captain America was originally written by Jewish American authors Joe Simon and Jack Kirby in 1941. These original comics were filled with political commentary urging the United States to join World War II and condemning Nazi Germany.2 Readers of Spencer’s Secret Empire storyline argued that he had disregarded the character’s history and given potential fuel to the growing Alt-Right movement in the United States.3 This moment was not, however, the first time that Captain America had aligned with a politically charged villain. -
Thesis Final
SENTINELS OF LIBERTY: CAPTAIN AMERICA, HIS DOUBLES, AND THE DILEMMA OF AMERICAN IDENTITY by Robert Wicks A Thesis Submitted to the Faculty of The Wilkes Honors College in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in Liberal Arts and Sciences with a Concentration in American Studies Wilkes Honors College of Florida Atlantic University Jupiter, Florida May 2009 SENTINELS OF LIBERTY: CAPTAIN AMERICA, HIS DOUBLES, AND THE DILEMMA OF AMERICAN IDENTITY by Robert Wicks This thesis was prepared under the direction of the candidate’s thesis advisor, Dr. Christopher B. Strain, and has been approved by the members of his supervisory committee. It was submitted to the faculty of The Honors College and was accepted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Liberal Arts and Sciences. SUPERVISORY COMMITTEE: ___________________________ Dr. Christopher B. Strain ___________________________ Dr. Laura Barrett ___________________________ Dean, Wilkes Honors College ________ Date ii ACKNOWLEDGEMENTS I am indebted to too many people to list on this small page, but I’ll try to thank as many as possible. Dr. Chris Strain, for consistently telling me that all of my drafts needed more work, that my research was scant, and that I needed to re-work everything, thank you. If you’d told me I was doing fine, I probably would have taken a nacho break for a semester and been in serious trouble. To Dr. Laura Barrett, for reading over the final draft and adding a layer of polish that would have otherwise been absent. And to the entire staff of the Honors College, for making me so nervous that all I’ve ever tried to do is not look silly in your eyes… hopefully accomplishing something in the process.