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LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
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. -
Copyright 2013 Shawn Patrick Gilmore
Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way. -
Englehart Steve
AE103Cover FINAL_AE49 Trial Cover.qxd 6/22/11 4:48 PM Page 1 BOOKS FROM TWOMORROWS PUBLISHING Roy Thomas’ Stainless Comics Fanzine $7.95 In the USA No.103 July 2011 STAN LEE UNIVERSE CARMINE INFANTINO SAL BUSCEMA MATT BAKER The ultimate repository of interviews with and PENCILER, PUBLISHER, PROVOCATEUR COMICS’ FAST & FURIOUS ARTIST THE ART OF GLAMOUR mementos about Marvel Comics’ fearless leader! Shines a light on the life and career of the artistic Explores the life and career of one of Marvel Comics’ Biography of the talented master of 1940s “Good (176-page trade paperback) $26.95 and publishing visionary of DC Comics! most recognizable and dependable artists! Girl” art, complete with color story reprints! (192-page hardcover with COLOR) $39.95 (224-page trade paperback) $26.95 (176-page trade paperback with COLOR) $26.95 (192-page hardcover with COLOR) $39.95 QUALITY COMPANION BATCAVE COMPANION EXTRAORDINARY WORKS IMAGE COMICS The first dedicated book about the Golden Age Unlocks the secrets of Batman’s Silver and Bronze OF ALAN MOORE THE ROAD TO INDEPENDENCE publisher that spawned the modern-day “Freedom Ages, following the Dark Knight’s progression from Definitive biography of the Watchmen writer, in a An unprecedented look at the company that sold Fighters”, Plastic Man, and the Blackhawks! 1960s camp to 1970s creature of the night! new, expanded edition! comics in the millions, and their celebrity artists! (256-page trade paperback with COLOR) $31.95 (240-page trade paperback) $26.95 (240-page trade paperback) $29.95 (280-page trade -
COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II a Master's Thesis Presented to College of Arts & Sciences Departmen
COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II A Master’s Thesis Presented To College of Arts & Sciences Department of Communications and Humanities _______________________________ In Partial Fulfillment of the Requirements for the Master of Science Degree _______________________________ SUNY Polytechnic Institute By David Dellecese May 2018 © 2018 David Dellecese Approval Page SUNY Polytechnic Institute DEPARTMENT OF COMMUNICATIONS AND HUMANITIES INFORMATION DESIGN AND TECHNOLOGY MS PROGRAM Approved and recommended for acceptance as a thesis in partial fulfillment of the requirements for the degree of Master of Science in Information Design + Technology. _________________________ DATE ________________________________________ Kathryn Stam Thesis Advisor ________________________________________ Ryan Lizardi Second Reader ________________________________________ Russell Kahn Instructor 1 ABSTRACT American comic books were a relatively, but quite popular form of media during the years of World War II. Amid a limited media landscape that otherwise consisted of radio, film, newspaper, and magazines, comics served as a useful tool in engaging readers of all ages to get behind the war effort. The aims of this research was to examine a sampling of messages put forth by comic book publishers before and after American involvement in World War II in the form of fictional comic book stories. In this research, it is found that comic book storytelling/messaging reflected a theme of American isolation prior to U.S. involvement in the war, but changed its tone to become a strong proponent for American involvement post-the bombing of Pearl Harbor. This came in numerous forms, from vilification of America’s enemies in the stories of super heroics, the use of scrap, rubber, paper, or bond drives back on the homefront to provide resources on the frontlines, to a general sense of patriotism. -
Radio TV Mirror
JANICE GILBERT The girl who gave away MIRRO $3,000,000! ARTHUR GODFREY BROOK BYRON BETTY LU ANN SIMMS ANN GROVE ! ^our new Lilt home permaTient will look , feel and stay like the loveliest naturally curly hair H.1 **r Does your wave look as soft and natural as the Lilt girl in our picture? No? Then think how much more beautiful you can be, when you change to Lilt with its superior ingredients. You'll be admired by men . envied by women ... a softer, more charming you. Because your Lilt will look, feel and stay like naturally curly hair. Watch admiring eyes light up, when you light up your life with a Lilt. $150 Choose the Lilt especially made for your type of hair! plus tax Procter £ Gambles new Wt guiJ. H Home Permanent tor hard-to-wave hair for normal hair for easy-to-wave hair for children's hair — . New, better way to reduce decay after eating sweets Always brush with ALL- NEW IPANA after eating ... as the Linders do . the way most dentists recommend. New Ipana with WD-9 destroys tooth-decay bacteria.' s -\V 77 If you eat sweet treats (like Stasia Linder of Massa- Follow Stasia Linder's lead and use new Ipana regularly pequa, N. Y., and her daughter Darryl), here's good news! after eatin g before decay bacteria can do their damage. You can do a far better job of preventing cavities by Even if you can't always brush after eating, no other brushing after eatin g . and using remarkable new Ipana tooth paste has ever been proved better for protecting Tooth Paste. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
The Diamond of Psi Upsilon Mar 1951
THE DIAMOND OF PSI UPSILON MARCH, 1951 VOLUME XXXVll NUMBER THREE Clayton ("Bud") Collyer, Delta Delta '31, Deacon and Emcee (See Psi U Personality of the Month) The Diamond of Psi Upsilon OFFICIAL PUBLICATION OF PSI UPSILON FRATERNITY Volume XXXVll March, 1951 Number 3 AN OPEN FORUiM FOR THE FREE DISCUSSION OF FRATERNITY MATTERS IN THIS ISSUE Page Psi U Personality of the Month 70 The 118th National Convention Program 71 Highlights in the Mu's History 72 The University of Minnesota 74 The Archives 76 The Psi Upsilon Scene 77 Psi U's in the Civil War 78 Psi U Lettermen 82 Pledges and Recent Initiates 83 The Chapters Speak 88 The Executive Council and Alumni Association, Officers and Mem bers 100 Roll of Chapters and Alumni Presidents Cover III General Information Cover IV EDITOR Edward C. Peattie, Phi '06 ALUMNI EDITOR David C. Keutgen, Lambda '42 ADVISORY COMMITTEE ON THE DIAMOND J. J. E. Hessey, Nu '13, Chairman Herbert J. Flagg, Theta Theta '12 Walter S. Robinson, Lambda '19 A. Northey Jones, Beta Beta '17 S. Spencer Scott, Phi '14 (ex-officio) LeRoy J. Weed, Theta '01 Oliver B. Merrill, Jr., Gamma '25 (ex-officio) Publication Office, 450 Ahnaip St., Menasha, Wis. Executive and Editorial Offices Room 510, 420 Lexington Ave., New York 17, N.Y. Life Subscription, $15; By Subscription, $1.00 per year; Single Copies, 50 cents Published in November, January, March and June by the Psi Upsilon Fraternity. Entered as Second Class Matter January 8, 1936, at the Post Office at Menasha, Wisconsin, under the Act of August 24, 1912. -
CATCH ME IF YOU CAN Written by Jeff Nathanson
CATCH ME IF YOU CAN Written by Jeff Nathanson 1 INT. - GAME SHOW SET. - DAY 1 BLACK AND WHITE FOOTAGE FROM 1978 MUSIC UP: A simple GAME SHOW SET -- one long desk-that houses four "CELEBRITY PANELISTS," a small pulpit with attached microphone for the host, BUD COLLYER, who walks through the curtain to the delight of the audience. Bud bows and waves to the celebrities -- ORSON BEAN, KITTY CARLISLE, TOM POSTON, and PEGGY CASS. BUD COLLYER Hello, panel, and welcome everyone to another exciting day on "To Tell The Truth." Let's get the show started. THE CURTAIN STARTS TO RISE BRIGHT LIGHTS SHINE on the faces of THREE MEN who walk toward center stage. All thre n wear identical AIRLINE PILOT UNIFORMS, each with m; c ng blue blazers and caps. (cont' d) Gentleman, please state your names. PILOT #1 My name is Frank Abagnale Jr. THE PILOT IN THE MIDDLE steps forward. PILOT #2 My name is Frank Abagnale Jr. THE THIRD PILOT does the same. PILOT #3 My name is Frank Abagnale Jr. Bud smiles, grabs a piece of paper. BUD COLLYER Panel, listen to this one. (he starts to read) My name is Frank Abagnale Jr, and some people consider me the worlds greatest imposter. (CONTINUED) Debbie Zane - 2. 1 CONTINUED: 1 As Bud reads, the CAMERA SLOWLY PANS the faces of the three PILOTS. BUD COLLYER (cont'd) (READING) From 1964 to 1966 I successfully impersonated an airline pilot for Pan Am Airlines, and flew over two million miles for free. During that time I was also the Chief Resident Pediatrician at a Georgia hospital, the Assistant Attorney General for the state of Louisiana, and a Professor of American History at a prestigious University in France. -
Timothy Colon GRA 2406:Production Management Systems Outline From
Timothy Colon GRA 2406:Production Management Systems Outline from Oral Presentation: DC Comics, Inc. I. Company Overview a. Year started: 1937 b. Headquarters: 1700 Broadway, New York, NY 10019 c. Company Size: unknown (Company is subsidiary of Time Warner, private media giant.) 1. Offices: 2(currently located in NY but moving to Burbank, CA.) 2. Distribution: Diamond Comic Distributors (Main distributor *13) d. History (*5) i. 1937 – Inaugural Year ii. March 1937 – Detective Comics #1 (First Publication) iii.. May 1939 – Detective Comics #27 (First Appearance of Batman) iv. June 1938 – Action Comics #1 (first appearance of Superman) v. 1944 – All American Comics merge with Detective Comics vi. 1961 – Detective Comics becomes National Periodical Publication vii. 1967 – Merges with Kinney National Services (who purchases Warner Brothers) which becomes Warner Communications (1968) viii. 1978 – DC Comics agrees to huge settlement over the creative rights of Superman with creators. ix. 1989 – Batman the movie debuts in theaters. (becomes one of the highest grossing films in the U.S.) x. 1990-1993 – Comic book Industry goes through a BOOM period (Market reaches its highest point – reaches $800 million in 1993) xi. late 1900 – Industry goes on the decline (main competitor, Marvel, files for bankruptcy protection in 1996) xii. 2000 – only one third of operating comic shops as of 1993 still exist. xiii. 2005 – DC Comics & Marvel begin Major annual events (crossover all popular heroes into one story arc: inspired by success of blockbusters produced in Hollywood). An attempt to increase sales (which does). xiv. 2007 – Comic Industry hits Bookstores (graphic novels collect complete stories in form of trade paperback & Hardcover) xv. -
Kirby: the Wonderthe Wonderyears Years Lee & Kirby: the Wonder Years (A.K.A
Kirby: The WonderThe WonderYears Years Lee & Kirby: The Wonder Years (a.k.a. Jack Kirby Collector #58) Written by Mark Alexander (1955-2011) Edited, designed, and proofread by John Morrow, publisher Softcover ISBN: 978-1-60549-038-0 First Printing • December 2011 • Printed in the USA The Jack Kirby Collector, Vol. 18, No. 58, Winter 2011 (hey, it’s Dec. 3 as I type this!). Published quarterly by and ©2011 TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. 919-449-0344. John Morrow, Editor/Publisher. Four-issue subscriptions: $50 US, $65 Canada, $72 elsewhere. Editorial package ©2011 TwoMorrows Publishing, a division of TwoMorrows Inc. All characters are trademarks of their respective companies. All artwork is ©2011 Jack Kirby Estate unless otherwise noted. Editorial matter ©2011 the respective authors. ISSN 1932-6912 Visit us on the web at: www.twomorrows.com • e-mail: [email protected] All rights reserved. No portion of this publication may be reproduced in any manner without permission from the publisher. (above and title page) Kirby pencils from What If? #11 (Oct. 1978). (opposite) Original Kirby collage for Fantastic Four #51, page 14. Acknowledgements First and foremost, thanks to my Aunt June for buying my first Marvel comic, and for everything else. Next, big thanks to my son Nicholas for endless research. From the age of three, the kid had the good taste to request the Marvel Masterworks for bedtime stories over Mother Goose. He still holds the record as the youngest contributor to The Jack Kirby Collector (see issue #21). Shout-out to my partners in rock ’n’ roll, the incomparable Hitmen—the best band and best pals I’ve ever had. -
By JOHN WELLS a M E R I C a N C H R O N I C L E S
AMERICAN CHRONICLES THE 1965-1969 by JOHN WELLS Table of Contents Introductory Note about the Chronological Structure of American Comic Book Chronicles ................. 4 Note on Comic Book Sales and Circulation Data.......................................... 5 Introduction & Acknowledgements ............ 6 Chapter One: 1965 Perception................................................................8 Chapter Two: 1966 Caped.Crusaders,.Masked.Invaders.............. 69 Chapter Three: 1967 After.The.Gold.Rush.........................................146 Chapter Four: 1968 A.Hazy.Shade.of.Winter.................................190 Chapter Five: 1969 Bad.Moon.Rising..............................................232 Works Cited ...................................................... 276 Index .................................................................. 285 Perception Comics, the March 18, 1965, edition of Newsweek declared, were “no laughing matter.” However trite the headline may have been even then, it wasn’t really wrong. In the span of five years, the balance of power in the comic book field had changed dramatically. Industry leader Dell had fallen out of favor thanks to a 1962 split with client Western Publications that resulted in the latter producing comics for themselves—much of it licensed properties—as the widely-respected Gold Key Comics. The stuffily-named National Periodical Publications—later better known as DC Comics—had seized the number one spot for itself al- though its flagship Superman title could only claim the honor of