DOCSLIB.ORG

Mapping the Motor City's Cinemas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mapping the Motor City's Cinemas Mapping the Motor City’s Cinemas: A Collaborative Digital Humanities Project Philip Hallman and Nicole O. Scholtz “Mapping the Motor City’s Cinemas” is a digital hu- and new conclusions. Third, we are learning firsthand manities collaborative project in progress at the Uni- what it means to collaborate across disciplines, which versity of Michigan. This joint venture between a both allows us to produce something not possible on film studies librarian and a spatial and numeric data our own, and also gives us perspective in our role of librarian aims to contribute to our collective under- supporting the research enterprise. standing of the movie going experience in 20th centu- ry America and to inspire others to think about ways Why Detroit? they can contribute to more thoroughly and preserv- The initial focus of the project is Detroit, Michigan. ing the past, understanding its impact and making in- Several reasons should be noted for our selection of accessible materials available. Multifaceted in scope, the Motor City as our starting point. The obvious it attempts to reveal the intersection of geographic justification is that Detroit is the largest metropoli- location and film exhibition schedules to see what tan area closest to our institution, the University of they can tell us about both film and urban life in the Michigan. We are familiar with it and understand its 20th century. Previously difficult to access materials history and geography. More importantly, it is under- used with new technology will enable researchers and represented and under-theorized in a variety of fields scholars to visualize the patterns of exhibition trends and disciplines. Film historians and scholars have de- in new and different ways and come to new conclu- tailed for some time now how the rise of the movie sions that were until now too difficult to make. industry, one of the most successful and influential of Still in its early infancy, the project’s initial goals all U.S. industries, is tied most heavily to the immi- are three-pronged. First, we are mapping out the grant populations that flocked to America at the turn movie theaters of selected U.S. cities throughout the of the twentieth century and populated America’s 20th century. Second, we are constructing a database largest cities. Ben Singer, for example, has written ex- that details all of the films that played in each of those tensively about the historical connections between the individual theaters so that the exhibition patterns are rise of the early nickelodeons in Manhattan and the clear and specific. If, for instance, you want to know growth of mass entertainment in the U.S. and how it where and when The Wizard of Oz played, you can see influenced the lives of new immigrants and working precisely on which days it played and the exact the- people. His work has focused specifically on how the aters where it was shown. Ultimately this allows re- expansion of nickelodeons helped to shape our un- searchers to visualize stacks of raw data, making them derstanding of early film history as well as American come alive and allowing for multiple interpretations social history. In doing so, his research has focused on Philip Hallman is Film Studies Librarian, Dept of Screen Arts & Cultures / Hatcher Graduate Library, University of Michigan, e-mail: [email protected]; Nicole O. Scholtz is Spatial and Numeric Data Librarian, University of Michigan, e-mail: [email protected] 406 Mapping the Motor City’s Cinemas 407 questions such as “What was the make-up of the nick- cade, Detroit was the fourth most populated city in elodeon’s audience in terms of both class and ethnic the U.S.2 Between the 1910 and 1920 censuses, Detroit composition?” and “In what kinds of neighborhoods almost doubled its land area via annexation and also were nickelodeons located, and what explains their more than doubled its population.3 In 1930 it went distribution?”1 over the one million mark for the first time and peaked Our project will renew and broaden these ques- in the 1950 census at 1,849,568.4 It stayed in the list of tions posed nearly two decades ago by allowing the top ten U.S. cities with the highest population through next generation of researchers and film scholars to un- the 2000 census.5 In the 1930s over 100 movie theaters derstand more fully the relationship of the theater to were in business in metropolitan Detroit. Today there its specific locale. Mapping technology has developed are only two operating movie theaters within the city greatly and can be used in a variety of new ways that no limits and the population has declined dramatically, one anticipated in 1995 when Singer first published his dropping to the eighteenth most populated city in the piece. A greater sense of interactivity and connection to nation according to the 2010 census with a population the material can now be achieved by using geographic of 713,777.6 information systems (GIS) to create and store geospa- From a film studies perspective, the 1930s rep- tial locations that ultimately provide the researchers resent an important era of change, innovation and with visual evidence and spatial analysis possibilities. adaptability. Often referred to as the start of Holly- Moreover, Singer’s work and that of many other wood’s “Golden Era,” studio executives of the Ameri- film scholars has been New York-centric, or L.A.-cen- can film industry centered in Los Angeles were laden tric, or Chicago-centric. The reason is obvious: those with a large number of issues to contend with: the cities were the center of production of film and enter- transition from producing silent to talking pictures; tainment within the U.S. But what may not be as obvi- the need to hire new directors, writers and actors who ous, at least to people outside of film studies, is that could adapt to the new technological demands; Eu- these scholars who directed film studies into the arena ropean film studios trying to catch up with the new of exhibition are also based for the most part in New sound craze; religious organizations wanting stricter York, Los Angeles, and Chicago as well. While film codes of decency imposed on productions; and most production is concentrated in these cities, film audi- dramatically, the country facing an economic depres- ences are everywhere. We want to look at what movie sion that left many out of work. Concurrently, Detroit goers can tell us about Detroit. had its own challenges in this decade: car production One can argue that scholarly trends are often dropped by nearly two million vehicles following the started because an individual researcher works with stock market crash and unemployment became ram- what historic data or information is available at his pant; unemployment demonstrations were frequent- or her local library. Neither of Detroit’s two major ly held; conflict between corporations and workers newspapers of record, The Detroit Free Press and The caused upheaval; and tax delinquencies created a Detroit News, has even been electronically indexed shortage of money to keep the city going. Holding the for the bulk of the 20th century, much less had the city together was the diversity of its immigrant popu- full text scanned and made available. An institution lation and the willingness of its people to help one an- like the University of Michigan, which was not part other through food drives and other charitable dem- of the original exhibition and immigration mapping onstrations of hope.7 One of our goals is to provide dialogue, can now make valuable contributions to the data that will allow researchers to make connections conversation by capturing information contained in between Los Angeles and Detroit and their respective its collections that can expand the debate and take it industries. in new directions. The availability of these materials electronically will extend the argument beyond the Data Collection coasts and into the center of the country, starting to The project consists of two distinct parts. The first is create a national discourse over an issue that has been the geographic component which consists of making regionally specific until now. a comprehensive database of movie theaters in De- We have started the project by first looking at De- troit starting in 1906 and continuing to today. Doc- troit’s movies theaters in the 1930s. During this de- toral student Ben Strassfeld has done the majority April 10–13, 2013, Indianapolis, IN 408 Philip Hallman and Nicole O. Scholtz of the work on this component to date. He initially animate the opening and closing of theaters. Any ele- populated the entries from a project published in ment in the database can be used to drive visualiza- 1994 by Stuart Galbraith IV, whose book Motor City tion of the theater locations. For example, the seating Marquees: A Comprehensive, Illustrated Reference to capacity field can be used to vary the point size to give Motion Picture Theaters in the Detroit Area, 1906- a quick sense of the size of theaters in different parts 1992 provided a foundation upon which we could of the city. build and expand. Motor City Marquees lists theaters Census data and other data sources that have a in the Detroit metro area, including name, address, geographic component allow us to further visualize and year opened, and sometimes also includes seating and potentially analyze the relationship between de- capacity, architect, and other information.8 Ben then mographic information and the theater locations and consulted several years’ editions of the Polk’s Detroit characteristics. For example, we can overlay theaters City Directory (1923-24, 1929, 1935, 1940, 1948-49, open in 1940, with point size varying by seating ca- 1953, 1968 and 1973) to add to Galbraith’s list and fur- pacity, over 1940 Census data by tract showing popu- ther refine opening and closing dates, as well as the- lation density (see Figure 1).9 ater name changes.
Load more

Recommended publications
  • Scorses by Ebert
    Scorsese by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–1993 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999– Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert Your Movie Sucks Roger Ebert’s Four-Star Reviews 1967–2007 With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Scorsese by Ebert foreword by Martin Scorsese the university of chicago press Chicago and London Roger Ebert is the Pulitzer The University of Chicago Press, Chicago 60637 Prize–winning film critic of the Chicago The University of Chicago Press, Ltd., London Sun-Times. Starting in 1975, he cohosted © 2008 by The Ebert Company, Ltd. a long-running weekly movie-review Foreword © 2008 by The University of Chicago Press program on television, first with Gene All rights reserved. Published 2008 Siskel and then with Richard Roeper. He Printed in the United States of America is the author of numerous books on film, including The Great Movies, The Great 17 16 15 14 13 12 11 10 09 08 1 2 3 4 5 Movies II, and Awake in the Dark: The Best of Roger Ebert, the last published by the ISBN-13: 978-0-226-18202-5 (cloth) University of Chicago Press.
    [Show full text]
  • AL PLASTINOPLASTINO His Era, Plastino Was the Last Surviving Penciler/Inker of Superman Comic Books
    LAST SUPERMAN STANDING: THE STANDING: SUPERMAN LAST LAST SUPERMAN STANDING Alfred John Plastino might not be as famous as the creators of Nancy, Joe Palooka, Batman, and other classic daily and THE STORY Sunday newspaper strips, but he worked on many of them. And of ALAL PLASTINOPLASTINO his era, Plastino was the last surviving penciler/inker of Superman comic books. In these pages, the artist remembers both his struggles and triumphs in the world of cartooning and beyond. A near-century of history and insights shared by Al, his family, and contemporaries Allen Bellman, Nick Cardy, Joe Giella, and Carmine Infantino— along with successors Jon Bogdanove, Jerry Ordway, and Mark Waid —paint a layered portrait of Plastino’s life and career. From the author and designer team of Curt Swan: A Life In Comics. PLASTINO AL Foreword by Paul Levitz. STORY EDDY ZENO EDDY An illustrated biography EDDY ZENO Plastino cover.indd 1 8/19/14 2:26 PM LAST SUPERMAN STANDING THE STORY AL PLASTINO EDDY ZENO Plastino.indd 1 9/3/14 1:52 PM Contents Foreword By Paul Levitz .................................................................................................. 4 Introduction ...................................................................................................................... 6 Globs Of Clay, Flecks Of Paint ...................................................................................... 8 Harry “A” ............................................................................................................................ 16 The War
    [Show full text]
  • History of Early Journalism in Montana 1863-1890
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1915 History of early journalism in Montana 1863-1890 William Goodheart Breitenstein The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Breitenstein, William Goodheart, "History of early journalism in Montana 1863-1890" (1915). Graduate Student Theses, Dissertations, & Professional Papers. 5033. https://scholarworks.umt.edu/etd/5033 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A. HISTORY OF EARLY JOURNALISM IN MONTANA 1863-1890 Submitted as one of the requirements for the degree of Master of Arts By William Goodheart Breitenstein University of Montana May, 1915 UMI Number: EP40497 All fights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. O'issartaSton WbJishfeg UMI EP40497 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQ uest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQ uest LLC.
    [Show full text]
  • University International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Catalogue 143 ~ Holiday 2008 Contents
    Between the Covers - Rare Books, Inc. 112 Nicholson Rd (856) 456-8008 will be billed to meet their requirements. We accept Visa, MasterCard, American Express, Discover, and Gloucester City NJ 08030 Fax (856) 456-7675 PayPal. www.betweenthecovers.com [email protected] Domestic orders please include $5.00 postage for the first item, $2.00 for each item thereafter. Images are not to scale. All books are returnable within ten days if returned in Overseas orders will be sent airmail at cost (unless other arrange- the same condition as sent. Books may be reserved by telephone, fax, or email. ments are requested). All items insured. NJ residents please add 7% sales tax. All items subject to prior sale. Payment should accompany order if you are Members ABAA, ILAB. unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. Institutions Cover verse and design by Tom Bloom © 2008 Between the Covers Rare Books, Inc. Catalogue 143 ~ Holiday 2008 Contents: ................................................................Page Literature (General Fiction & Non-Fiction) ...........................1 Baseball ................................................................................72 African-Americana ...............................................................55 Photography & Illustration ..................................................75 Children’s Books ..................................................................59 Music ...................................................................................80
    [Show full text]
  • Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture
    LYCRA, LEGS, AND LEGITIMACY: PERFORMANCES OF FEMININE POWER IN TWENTIETH CENTURY AMERICAN POPULAR CULTURE Quincy Thomas A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Committee: Jonathan Chambers, Advisor Francisco Cabanillas, Graduate Faculty Representative Bradford Clark Lesa Lockford © 2018 Quincy Thomas All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor As a child, when I consumed fictional narratives that centered on strong female characters, all I noticed was the enviable power that they exhibited. From my point of view, every performance by a powerful character like Wonder Woman, Daisy Duke, or Princess Leia, served to highlight her drive, ability, and intellect in a wholly uncomplicated way. What I did not notice then was the often-problematic performances of female power that accompanied those narratives. As a performance studies and theatre scholar, with a decades’ old love of all things popular culture, I began to ponder the troubling question: Why are there so many popular narratives focused on female characters who are, on a surface level, portrayed as bastions of strength, that fall woefully short of being true representations of empowerment when subjected to close analysis? In an endeavor to answer this question, in this dissertation I examine what I contend are some of the paradoxical performances of female heroism, womanhood, and feminine aggression from the 1960s to the 1990s. To facilitate this investigation, I engage in close readings of several key aesthetic and cultural texts from these decades. While the Wonder Woman comic book universe serves as the centerpiece of this study, I also consider troublesome performances and representations of female power in the television shows Bewitched, I Dream of Jeannie, and Buffy the Vampire Slayer, the film Grease, the stage musical Les Misérables, and the video game Tomb Raider.
    [Show full text]
  • (75F60a5) the New York Times Guide to the Best 1,000 Movies Ever
    The New York Times Guide To The Best 1,000 Movies Ever Made Vincent Canby, Janet Maslin, Peter M. Nichols - book pdf free by Vincent Canby, Janet Maslin, Peter M. Nichols The New York Times Guide to the Best 1,000 Movies Ever Made, Free Download The New York Times Guide to the Best 1,000 Movies Ever Made Full Version Vincent Canby, Janet Maslin, Peter M. Nichols, Vincent Canby, Janet Maslin, Peter M. Nichols ebook The New York Times Guide to the Best 1,000 Movies Ever Made, Download Free The New York Times Guide to the Best 1,000 Movies Ever Made Book, The New York Times Guide to the Best 1,000 Movies Ever Made Ebook Download, The New York Times Guide to the Best 1,000 Movies Ever Made Free Download, PDF The New York Times Guide to the Best 1,000 Movies Ever Made Full Collection, The New York Times Guide to the Best 1,000 Movies Ever Made Books Online, The New York Times Guide to the Best 1,000 Movies Ever Made by Vincent Canby, Janet Maslin, Peter M. Nichols Download, Read Online The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, Download The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, Read The New York Times Guide to the Best 1,000 Movies Ever Made Book Free, read online free The New York Times Guide to the Best 1,000 Movies Ever Made, Download Online The New York Times Guide to the Best 1,000 Movies Ever Made Book, The New York Times Guide to the Best 1,000 Movies Ever Made Free PDF Online, The New York Times Guide to the Best 1,000 Movies Ever Made Full Collection, Download The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, pdf download The New York Times Guide to the Best 1,000 Movies Ever Made, full book The New York Times Guide to the Best 1,000 Movies Ever Made, The New York Times Guide to the Best 1,000 Movies Ever Made by Vincent Canby, Janet Maslin, Peter M.
    [Show full text]
  • "It's Aimed at Kids - the Kid in Everybody": George Lucas, Star Wars and Children's Entertainment by Peter Krämer, University of East Anglia, UK
    "It's aimed at kids - the kid in everybody": George Lucas, Star Wars and Children's Entertainment By Peter Krämer, University of East Anglia, UK When Star Wars was released in May 1977, Time magazine hailed it as "The Year's Best Movie" and characterised the special quality of the film with the statement: "It's aimed at kids - the kid in everybody" (Anon., 1977). Many film scholars, highly critical of the aesthetic and ideological preoccupations of Star Wars and of contemporary Hollywood cinema in general, have elaborated on the second part in Time magazine's formula. They have argued that Star Wars is indeed aimed at "the kid in everybody", that is it invites adult spectators to regress to an earlier phase in their social and psychic development and to indulge in infantile fantasies of omnipotence and oedipal strife as well as nostalgically returning to an earlier period in history (the 1950s) when they were kids and the world around them could be imagined as a better place. For these scholars, much of post-1977 Hollywood cinema is characterised by such infantilisation, regression and nostalgia (see, for example, Wood, 1985). I will return to this ideological critique at the end of this essay. For now, however, I want to address a different set of questions about production and marketing strategies as well as actual audiences: What about the first part of Time magazine's formula? Was Star Wars aimed at children? If it was, how did it try to appeal to them, and did it succeed? I am going to address these questions first of all by looking forward from 1977 to the status Star Wars has achieved in the popular culture of the late 1990s.
    [Show full text]
  • 1 "Documentary Films" an Entry in the Encylcopedia of International Media
    1 "Documentary Films" An entry in the Encylcopedia of International Media and Communication, published by the Academic Press, San Diego, California, 2003 2 DOCUMENTARY FILMS Jeremy Murray-Brown, Boston University, USA I. Introduction II. Origins of the documentary III. The silent film era IV. The sound film V. The arrival of television VI. Deregulation: the 1980s and 1990s VII. Conclusion: Art and Facts GLOSSARY Camcorders Portable electronic cameras capable of recording video images. Film loop A short length of film running continuously with the action repeated every few seconds. Kinetoscope Box-like machine in which moving images could be viewed by one person at a time through a view-finder. Music track A musical score added to a film and projected synchronously with it. In the first sound films, often lasting for the entire film; later blended more subtly with dialogue and sound effects. Nickelodeon The first movie houses specializing in regular film programs, with an admission charge of five cents. On camera A person filmed standing in front of the camera and often looking and speaking into it. Silent film Film not accompanied by spoken dialogue or sound effects. Music and sound effects could be added live in the theater at each performance of the film. Sound film Film for which sound is recorded synchronously with the picture or added later to give this effect and projected synchronously with the picture. Video Magnetized tape capable of holding electronic images which can be scanned electronically and viewed on a television monitor or projected onto a screen. Work print The first print of a film taken from its original negative used for editing and thus not fit for public screening.
    [Show full text]
  • Cinema's Darkest Vision: Looking Into the Void in John Carpenter's the Thing (1982)
    Journal of Popular Film and Television ISSN: 0195-6051 (Print) 1930-6458 (Online) Journal homepage: https://www.tandfonline.com/loi/vjpf20 Cinema's Darkest Vision: Looking into the Void in John Carpenter's The Thing (1982) Heather Addison To cite this article: Heather Addison (2013) Cinema's Darkest Vision: Looking into the Void in John Carpenter's TheThing (1982), Journal of Popular Film and Television, 41:3, 154-166, DOI: 10.1080/01956051.2012.755488 To link to this article: https://doi.org/10.1080/01956051.2012.755488 Published online: 02 Sep 2013. Submit your article to this journal Article views: 837 Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=vjpf20 Figure 1. Blair confronts the horror of the Thing as he performs an autopsy on its apparently dead remains. (Color figure available online.) N ALL OF CINEMA of laboratory-concocted special effects, a short volume on The Thing published with the actors used merely as props to by the British Film Institute, praised HISTORY, perhaps there has be hacked, slashed, disemboweled, and the film for preserving her “faith in the Inever been a more unfortunate decapitated,” and Desmond Ryan of The movies” and referred to it as “one of the release date than the one suffered by Philadelphia Inquirer sneered, “This is greatest horror movies of all time” (12– director John Carpenter’s The Thing, a monster movie of incredible ferocity 13). She glibly attributed The Thing’s an apocalyptic horror film about a hos- and graphic gore that asks no more than poor reception among 1982 critics to a tile alien with the ability to absorb and utter passivity and a strong stomach.
    [Show full text]
  • American Heritage Center
    UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew.
    [Show full text]
  • Kirby Interview Dave Stevens & Lisa Kirby True Life Divorce Romance
    THE $5.95 In The US Issue #20, JUNE 1998 A “King”-Size Collector 68- page ISSUE on JAck’s Female Characters!! A Rare 1975 Kirby Interview Interviews with Dave Stevens & Lisa Kirby Unpublished Ten- page story from True Life Divorce A Close Look At Romance Comics Jack’s original screenplay for Captain Victory Double- centerfold of Galaxy Green Special Features: Jack’s Women From The ’40s To The ’80s Unpublished Art including Pencil pages Before They Were Inked, And Much More!! y c a e t S n Nominated e K For Two 1998 & Eisner y b Awards r i Including “Best K Comics-Related k c Publication” a J 1998 Harvey © k Awards Nominee r “Best Biographical, Historical o w or Journalistic Presentation” t r A The only ’zine authorized by the Issue #20 Contents: THE Kirby Estate Lisa Kirby Interview . .4 (the “Kid From Left Field” speaks) Soiled & Sweet & Sometimes Green! . .9 (S&K’s women of the Golden Age) Those Marvel-Ous Kirby Women . .13 (fun and frolic in the ’60s) Issue #20, June 1998 Collector SUE’s ’DOs Contest . .14 (how many did she have? Enter and you could win a free issue!) The Jack Kirby Collector, Vol. 5, No. 20, June Gender Relations In The Kirby Pantheon . .1 8 1998. Published bi-monthly by & (from the Fourth World to Eternals) © TwoMorrows Advertising & Design, An Oddball Kirby Comic . .23 1812 Park Drive, Raleigh, NC 27605, USA. 919-833-8092. John Morrow, Editor. Pamela (a dreamy visit with Doris Nelson) Morrow, Asst. Editor. Jon B. Cooke, Assoc.
    [Show full text]