Itauidoscope Milwaukee, Wisconsin

Total Page:16

File Type:pdf, Size:1020Kb

Itauidoscope Milwaukee, Wisconsin ItAUidoscopE milwaukee, Wisconsin member: underground press syndicate (u.p.s.) liberation news service (l.n.s.) JULY 14-17,1969 VOL. 2 NO. 17(N0.41)25< SCHLITZ STRIKE P.2 SDS PURGE P.4 COMIX P.6 PAGE 2 July 4-17. 1969 KALEIDOSCOPE I HMHimiiiiwiittmiimrTT * " " •**"•"> ••••.*..••..•.•."•.••.•••.•••••••••.••- minimim. High! Phew! I Don't mean to spoil the surprise, but a quick look at the front section of this issue will demonstrate the dangers of limited prosperity. After two years of typing all copy in an extremely awkward and time-consuming fashion, we have finally been able to get some new, "modern" equipment. It's a Justowriter, for those who know what that means; basically, it cuts production time almost in half, which gives us a lot more time to concen­ trate on the good things, like better copy and artwork. Unfor­ tunately, our "modern" equipment is fifteen years old, and not quite in perfect working order, but the bugs are being worked out. Also, the machine forces some changes in layout which we haven't quite mastered yet, so there's a certain awkwardness in parts that we're sorry about. Maybe next issue we'll have it all together again. ^1^1 We are very pleased to be able to include VDRSVP, a West Coast literary broadsheet in the finest sense of the term and tradition, in this issue's second section. VDRSP is edited in San Francisco by Jan Jacob Herman (29-B Guy Place, SF 94105), who used to edit SAN FRANCISCO EARTHQUAKE, one of the finest little mags of the past few years. The broadsheet will ap­ pear periodically as a second section insert. And coming soon (like, maybe next issue) to the second section are excerpts from Ed Sanders' novel-in-progress. The work deals with the already legendary Chicago convention week of last year. We'll bring you as much of it as we can get our hands on; Sanders hopes to complete the work by August, at which time H'll be, published as a book in NYC. There have been some strange developments at Water Tower park fountain the last couple of days, and no one seems to know what they mean. The area is being patrolled more frequently, and some people have been busted for getting into the water. Whether they're about to crack down hard on other "rules"--like no walk­ ing on the grass and no sitting on the edge of the pool—isn't cer­ tain yet. If they try a crackdown, last year's flareup will look like fairy tale games compared to what'll go doion this time. Anyway, stay alert. And watch the parking meters. :iMIIII»IIIIIIIIIIMIIIIIIIIHIIIIIIIHIIIIIimilMMIIIIHIIIHIIIIMIIIIIIIlMHIIIIIIIHIIIHIIIIIIinillinuUIIIIIIIIIIIMIIMIUIMIIIIIimiUIIIIIIIIIIIIUIIUIIIHIIIIIHItM Sclilifz-The Beer That ittaile If ililein RICH A Schlitz picket said, "If you with the same pay. Today, this Jt the market, and that figure union that is more concerned or I call the' cops, they might would make more jobs available has risen steadily to its present with the company's welfare than come and they might not. When for more workers. Another im­ 10%. In recent years, Schlitz with the welfare of the brewery Uihlein calls the cops they came- portant demand dealing with auto­ has built new plants in Winston- workers. two and a half hours early." mation is that the union be con­ Salem, Memphis, and Longview, In addition, Schlitz' reliance on Saturday, June 14, Schlitz stri­ sulted before new machinery and Texas. the police hinders strike activity. kers were attacked by Milwaukee work procedures are introduced. In 1964 Schlitz formed a part­ The close cooperation the cops cops. Acting on orders from On the other side, management nership with the Pan-Alliance" have shown toward the company Breier and Uihlein, police formed is insisting that the union beheld Corporation and created a hold­ is no accident. Uihlein has al­ a wedge and charged pickets blo­ responsible for wild-cat walk­ ing company called Alliance for ways been especially chummy cking rail entrances to the Schlitz outs . In other words, it would Industrial Envelopment Corpora­ with the Milwaukee Police De­ warehouse. Uihlein wanted to load become impossible and illegal tion. The Alliance now owns fish partment. In. May, 1968, Chief up more beer despite the strike, for union leaders to sanction processing and canning plants in Harold Breier presented a certi­ but the workers would have none an unauthorized strike. This Panama, Pakistan, and Chili, a ficate of appreciation to two of it and resisted until twenty- would effectively suppress an fruit concentrate and soft drink Schlitz officials for teaching a two out of a crowd of 450 were effective rank-and-file tactic plant in Pakistan, and a starch free course in public relations arrested. In the melee, eight against work speed-ups, unsafe processing plant in India. at the police training school. were injured—four cops and four working conditions, and other During the past five years pickets. This was the second grievances. Schlitz has acquired three brew­ The two were public relations and most violent incident of the The reaction of Schlitz offi­ eries in Spain, One in Belgium, director Dae E. Shawl and his strike which began June 9. Ear­ cials to the strikers is not sur­ and one in Puerto Rico. assistant, Peter Olson. lier in the week seven were prising. Workers are easy to So it is unmistakeably clear Also on at least two occasions, arrested for standing firm while replace, products and profits that Schlitz, and the other brew­ Robert Uihlein presented gifts of police cleared the tracks. aren't. Therefore, Schlitz offi­ eries as well, are capable of money to the policeman's relief cials continue to ship their pro­ meeting union demands. But it association for services render­ Police used in the incident were duct, despite the expressed wish­ is rare for management to give ed by cops during Old Milwaukee from Breier's pet elite force, es of the men wh o produce the anything more than is absolutely Days. In 1963, the figure was the Tactical Squad. The Tac­ beer, and call on the police necessary. They will give in only $7,500, one-third of which went tical Squad is Milwaukee's ans­ power of the state to protect the when there is no other alterna­ to the Deputy Sheriff Protective wer to black demnds, and gen­ product. tive. Several factors are hurting and Relief Association. The other erally functions as a quasi-mili­ The Uihlein name is synony­ the striker's effectiveness, and year was 1964, when all $5,000 tary occupation force in the inner mous with Schlitz, and for good making it easier for management went towards policemen's pen­ city. But "niggers" -of one sort reason: the family owns 87% of to resist their demands. Schlitz, sions. Pensions for Schlitz work­ or another are everywhere these all Schlitz stock. The ability of •for instance, has nine other plants ers were won only after a bitter days, sometimes carrying flo­ the Uihleins to meet union de­ around the country which are not 76 day strike in 1953. wers at a fountain, sometimes mands is indisputable: for the on strike. There is no industry­ If the strike continues, the carrying picket signs and demand-' past seven years Schlitz has re­ wide contract, which prevents union may call a nationwide boy­ ing the right to live more de­ gistered profit gains far above unified action. Another problem cott. Meanwhile, the supply of cently. the industry-wide average, hi is that women clerical workers beer in Milwaukee dwindles. Any­ After one incident with police, 1960 the company controlled 6.3% belong to an ineffective union, a one for tea? a Schlitz worker said, "I'm going to write my son in Vietnam to­ night. He's got to come home, because we need him here." Strike demands include a 50£ per hour wage increase for each of the next two years. The actual PRIVATE spending power of American wage earners has declined slightly in PROPERTY the last few years despite steady wage increases, a situation attri­ butable to rising taxes and infla­ m NO B tion, both of which are products of the Vietnam War. To keep up with spiraling prices, the workers are also asking for a cost rHESPASSING of living clause. In addition, the workers want union control of the pension fund, a fund now flRlfNicIS controlled by the company and WU^lvLnOxw. used for investment. Another level of demands deals ill* u xf with the increasingly difficult L problem of automation and its effect on the number of jobs UNION NO. 9«t available. For instance, when the breweries were struck in 1953, 7,100 workers took to the street. Today, only, 4,500 are employed by the four major brew­ ON eries. The union has been struggling with this problem since, the 1953 strike. Then the demand was for I Wilt a reduced work week - 35 hours - (KALEIDOSCOPE I My 4-17, 1969 PAGE 3 —mn i ^M.^.^--- :.|t[|( L j^wfelj T(M4AA- L& YldtitM The § Milwaukee (For an explanation of who the office he was instrumental in the that regulate American financial Black Panther Committee of Returned Volun­ question of hemispheric mutual assistance, through AID, deter­ teers is, what brought them into defense (specifically, the Treaty mine changes in the monetary being and where they intend to of Chapultepee, 1945), and the ~and_foreign trade policies of the go, see the article CRV:WHO U.N. conference (Article 51 on Latin American countries which ARE WE? elsewhere in this regional defense treaties, an art­ are discriminatory towards the issue.) icle designed to sanction the rest of the world and should be by The Committee of Returned formation of NATO), where he.
Recommended publications
  • 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.
    [Show full text]
  • September 1, 1975 UOHMOND, C Ai.IFORNIA 35 Cents
    \ - ige 3 Next deadline is September 10 POINT COUNTERPOINT A JOURNAL FOR CIVIC COMMUNICATION September 1, 1975 UOHMOND, C Ai.IFORNIA 35 cents i 10 0 0 0 El El El El El El El El El El El El El El El El El El El El El El El El El El El El El El El El El El SIElSIElElElElEIElEnEnE O BlEaBIBlBllalBlBIBlBlIllBlElBISIEIBlIaUgGlElBlElSlB l^i Early Days at Point Richmond from the Richmond Museum Association MIRROR, 1966 In its infant days, Richmond had much of the fla­ vor and excitement as well as the violence and frustra­ tions of a typical western frontier town. At the turn of the century, most of what is now Rich­ mond, San Pablo, and El Cerrito was owned by descendants and heirs of Don Francisco Maria Castro and by farmers and cattle ranchers who had trekked westward to the Promised Land after the close of the Civil War and purchased land without securing legal title. The Castro heirs were a bitter, disappointed lot. Prior to 189^# the great San Pablo Rancho, comprising a substantial por­ tion of what is now urban Richmond, had been theirs. But on that, fateful year, and after four long, weary decades of controversy, the court handed down a landmark decision which, in effect, broke up the former Spanish Land Grants into diverse ownerships, leav­ ing little to the Castro offspring. Painful as the decision was* the doors were opened for speedier land development. Among the beneficiaries of the great land partition was John Nicholl, a jovial but shrewd old country Irishman, who was awarded 152 acres of a rough, hilly peninsula jutting into San Francisco Bay and identified as Point Richmond on old United States geodetic survey maps.
    [Show full text]
  • Unobtainium-Vol-1.Pdf
    Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more.
    [Show full text]
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • November 2019 - No
    MEANWHILE FORM FOLLOWS DYSFUNCTION 741.5 NEW EXPERIMENTAL COMICS BY -HUIZENGA —WARE— HANSELMANN- NOVEMBER 2019 - NO. 35 PLUS...HILDA GOES HOLLYWOOD! Davis Lewis Trondheim Hubert Chevillard’s Travis Dandro Aimee de Jongh Dandro Sergio Toppi. The Comics & Graphic Novel Bulletin of Far away from the 3D blockbuster on funny animal comics stands out Galvan follows that pattern, but to emphasize the universality of mentality of commercial comics, a from the madding crowd. As usu- cools it down with geometric their stories as each make their new breed of cartoonists are ex- al, this issue of KE also runs mate- figures and a low-key approach to way through life in the Big City. In panding the means and meaning of rial from the past; this time, it’s narrative. Colors and shapes from contrast, Nickerson’s buildings the Ninth Art. Like its forebears Gasoline Alley Sunday pages and a Suprematist painting overlay a and backgrounds are very de- RAW and Blab!, the anthology Kra- Shary Flenniken’s sweet but sala- alien yet familiar world of dehu- tailed and life-like. That same mer’s Ergot provides a showcase of cious Trots & Bonnie strips from manized relationships defined by struggle between coherence and today’s most outrageous cartoon- the heyday of National Lampoon. hope and paranoia. In contrast to chaos is the central aspect of ists presenting comics that verge But most of this issue features Press Enter to Continue, Sylvia Tommi Masturi’s The Anthology of on avant garde art. The 10th issue work that comes on like W.S.
    [Show full text]
  • It's Garfield's World, We Just Live in It
    Bard College Bard Digital Commons Senior Projects Fall 2019 Bard Undergraduate Senior Projects Fall 2019 It’s Garfield’s World, We Just Live in It: An Exploration of Garfield the Cat as Icon, Money Maker, and Beast Iris B. Engel Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2019 Part of the American Art and Architecture Commons, Animal Studies Commons, Arts Management Commons, Business Intelligence Commons, Commercial Law Commons, Contemporary Art Commons, Economics Commons, Finance and Financial Management Commons, Folklore Commons, Historic Preservation and Conservation Commons, Modern Art and Architecture Commons, Operations and Supply Chain Management Commons, Social Influence and oliticalP Communication Commons, Social Media Commons, Strategic Management Policy Commons, and the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution-Share Alike 4.0 License. Recommended Citation Engel, Iris B., "It’s Garfield’s World, We Just Live in It: An Exploration of Garfield the Cat as Icon, Money Maker, and Beast" (2019). Senior Projects Fall 2019. 3. https://digitalcommons.bard.edu/senproj_f2019/3 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected].
    [Show full text]
  • Network Map of Knowledge And
    Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W.
    [Show full text]
  • Art Spiegelman's Experiments in Pornography
    ORE Open Research Exeter TITLE Art Spiegelman’s ‘Little Signs of Passion’ and the Emergence of Hard-Core Pornographic Feature Film AUTHORS Williams, PG JOURNAL Textual Practice DEPOSITED IN ORE 20 August 2018 This version available at http://hdl.handle.net/10871/33778 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Art Spiegelman’s ‘Little Signs of Passion’ and the emergence of hard-core pornographic feature film Paul Williams In 1973 Bob Schneider and the underground comix1 creator Art Spiegelman compiled Whole Grains: A Book of Quotations. One of the aphorisms included in their book came from D. H. Lawrence: ‘What is pornography to one man is the laughter of genius to another’.2 Taking a cue from this I will explore how Spiegelman’s comic ‘Little Signs of Passion’ (1974) turned sexually explicit subject matter into an exuberant narratological experiment. This three-page text begins by juxtaposing romance comics against hard-core pornography,3 the former appearing predictable and artificial, the latter raw and shocking, but this initial contrast breaks down; rebutting the defenders of pornography who argued that it represented a welcome liberation from repressive sexual morality, ‘Little Signs of Passion’ reveals how hard-core filmmakers turned fellatio and the so-called money shot (a close-up of visible penile ejaculation) into standardised narrative conventions yielding lucrative returns at the box office.
    [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]
  • Západočeská Univerzita V Plzni Fakulta Pedagogická
    Západočeská univerzita v Plzni Fakulta pedagogická Bakalářská práce VZESTUP AMERICKÉHO KOMIKSU DO POZICE SERIÓZNÍHO UMĚNÍ Jiří Linda Plzeň 2012 University of West Bohemia Faculty of Education Undergraduate Thesis THE RISE OF THE AMERICAN COMIC INTO THE ROLE OF SERIOUS ART Jiří Linda Plzeň 2012 Tato stránka bude ve svázané práci Váš původní formulář Zadáni bak. práce (k vyzvednutí u sekretářky KAN) Prohlašuji, že jsem práci vypracoval/a samostatně s použitím uvedené literatury a zdrojů informací. V Plzni dne 19. června 2012 ……………………………. Jiří Linda ACKNOWLEDGMENTS I would like to thank to my supervisor Brad Vice, Ph.D., for his help, opinions and suggestions. My thanks also belong to my loved ones for their support and patience. ABSTRACT Linda, Jiří. University of West Bohemia. May, 2012. The Rise of the American Comic into the Role of Serious Art. Supervisor: Brad Vice, Ph.D. The object of this undergraduate thesis is to map the development of sequential art, comics, in the form of respectable art form influencing contemporary other artistic areas. Modern comics were developed between the World Wars primarily in the United States of America and therefore became a typical part of American culture. The thesis is divided into three major parts. The first part called Sequential Art as a Medium discusses in brief the history of sequential art, which dates back to ancient world. The chapter continues with two sections analyzing the comic medium from the theoretical point of view. The second part inquires the origin of the comic book industry, its cultural environment, and consequently the birth of modern comic book.
    [Show full text]
  • Rip Off Press Mail Order • PO Box 4686 • Auburn, CA 95604 • 530 885
    Rip Off Press Mail Order • PO Box 4686 • Auburn, CA 95604 • 530 885-8183 Toll Free inside the U.S.: 888-978-3049 • e-mail: [email protected] •www.ripoffpress.com MINI ORDER FORM AND IN-STOCK PRODUCT LIST - MARK ITEMS WANTED AND MAIL WITH PAYMENT or charge card information SHIP TO: PAYMENT WORKSHEET Name___________________________________________________ MERCHANDISE TOTAL__________ Address_________________________________________________ (This is the amount on which your Shipping Rate is based - see the chart below) City_____________________________________________________ CALIFORNIA SALES TAX__________ State_________ ZIP_____________________________ (For shipment inside CALIF. ONLY: 7.5%--No tax outside Calif.) Day Phone_____________________e-mail___________________ SHIPPING & HANDLING CHARGE__________ Based on the Merchandise Total for each type of items ordered -- See the CHARTS below. I AM OVER 18 (Sign for ordering * titles) ___________________________ SUBTRACT ANY CREDITS__________ For Charge Card orders please fill in the blanks: YOUR COPY OF CREDIT MEMO/GIFT CERT./DISCOUNT CERT. MUST BE ENCLOSED ACCT. No._____________________________________________ Sec. Code_______ ADD ANY BALANCE DUE FROM BEFORE__________ Thank you!! Signature________________________________________________Exp.__________ GRAND TOTAL__________ Cardholder name (print)_________________________________________________ Enclose check or money order made out in U.S. dollars Acct. Addr. (if different from “Ship To”)_________________________________________ Or fill
    [Show full text]
  • 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
    [Show full text]