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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. -
Captain America
The Star-spangled Avenger Adapted from Wikipedia, the free encyclopedia Captain America first appeared in Captain America Comics #1 (Cover dated March 1941), from Marvel Comics' 1940s predecessor, Timely Comics, and was created by Joe Simon and Jack Kirby. For nearly all of the character's publication history, Captain America was the alter ego of Steve Rogers , a frail young man who was enhanced to the peak of human perfection by an experimental serum in order to aid the United States war effort. Captain America wears a costume that bears an American flag motif, and is armed with an indestructible shield that can be thrown as a weapon. An intentionally patriotic creation who was often depicted fighting the Axis powers. Captain America was Timely Comics' most popular character during the wartime period. After the war ended, the character's popularity waned and he disappeared by the 1950s aside from an ill-fated revival in 1953. Captain America was reintroduced during the Silver Age of comics when he was revived from suspended animation by the superhero team the Avengers in The Avengers #4 (March 1964). Since then, Captain America has often led the team, as well as starring in his own series. Captain America was the first Marvel Comics character adapted into another medium with the release of the 1944 movie serial Captain America . Since then, the character has been featured in several other films and television series, including Chris Evans in 2011’s Captain America and The Avengers in 2012. The creation of Captain America In 1940, writer Joe Simon conceived the idea for Captain America and made a sketch of the character in costume. -
Sacks Checchetto Mossa
8 MARVEL.COM $3.99 ADVISORY PARENTAL 0 0 8 1 1 US MOSSA CHECCHETTO SACKS 7 5 9 6 0 6 0 8 8 3 6 2 FORTY-FIVE YEARS AGO, THE WORLD’S SUPER VILLAINS ORGANIZED UNDER THE RED SKULL AND COLLECTIVELY WIPED OUT NEARLY ALL OF THE SUPER HEROES. FEW SURVIVED THE CARNAGE THAT FATEFUL DAY, AND NONE OF THEM UNSCATHED. THE UNITED STATES WAS DIVIDED UP INTO TERRITORIES CONTROLLED BY THE VILLAINS, AND THE GOOD PEOPLE SURVIVE IN THESE WASTELANDS AS BEST THEY CAN. AMONG THEM LIVES A FORMER HERO WHO’S GIVEN UP ON THAT WAY OF LIFE. HE IS CLINT BARTON, BUT SOME KNOW HIM AS… AN EYE FOR AN EYE PART 8 SLINGS AND ARROWS CLINT BARTON IS GOING BLIND. HE WANTS TO SEE THROUGH ONE FINAL MISSION—EXACTING REVENGE ON HIS FORMER THUNDERBOLTS COLLEAGUES THAT HELPED BRING ABOUT THE DEATHS OF THE AVENGERS—BEFORE HE LOSES HIS SIGHT FOR GOOD. HE’S TAKEN OUT ATLAS AND THE BEETLE, AND AFTER SUFFERING AN INJURY, TURNED TO FORMER CO-HAWKEYE KATE BISHOP TO HELP HIM COMPLETE HIS QUEST. AFTER REGALING HER WITH THE GORY DETAILS OF THE MASSACRE, SHE RELUCTANTLY AGREED TO HELP HER FORMER MENTOR. MEANWHILE, THE MARSHAL BULLSEYE CLOSES IN HAWKEYE, DESPERATE TO FACE A LIVING SUPER HERO ONE MORE TIME… WRITER... ETHAN SACKS ARTIST... MARCO CHECCHETTO COLORIST... ANDRES MOSSA LETTERER... VC’s JOE CARAMAGNA COVER ARTIST... MARCO CHECCHETTO LOGO DESIGN... ADAM DEL RE GRAPHIC DESIGN... ANTHONY GAMBINO EDITOR... MARK BASSO EDITOR IN CHIEF... C.B. CEBULSKI CHIEF CREATIVE OFFICER... JOE QUESADA PRESIDENT.. -
Activity Kit Proudly Presented By
ACTIVITY KIT PROUDLY PRESENTED BY: #BatmanDay dccomics.com/batmanday #Batman80 Entertainment Inc. (s19) Inc. Entertainment WB SHIELD: TM & © Warner Bros. Bros. Warner © & TM SHIELD: WB and elements © & TM DC Comics. DC TM & © elements and WWW.INSIGHTEDITIONS.COM BATMAN and all related characters characters related all and BATMAN Copyright © 2019 DC Comics Comics DC 2019 © Copyright ANSWERS 1. ALFRED PENNYWORTH 2. JAMES GORDON 3. HARVEY DENT 4. BARBARA GORDON 5. KILLER CROC 5. LRELKI CRCO LRELKI 5. 4. ARARBAB DRONGO ARARBAB 4. 3. VHYRAE TEND VHYRAE 3. 2. SEAJM GODORN SEAJM 2. 1. DELFRA ROTPYHNWNE DELFRA 1. WORD SCRAMBLE WORD BATMAN TRIVIA 1. WHO IS BEHIND THE MASK OF THE DARK KNIGHT? 2. WHICH CITY DOES BATMAN PROTECT? 3. WHO IS BATMAN'S SIDEKICK? 4. HARLEEN QUINZEL IS THE REAL NAME OF WHICH VILLAIN? 5. WHAT IS THE NAME OF BATMAN'S FAMOUS, MULTI-PURPOSE VEHICLE? 6. WHAT IS CATWOMAN'S REAL NAME? 7. WHEN JIM GORDON NEEDS TO GET IN TOUCH WITH BATMAN, WHAT DOES HE LIGHT? 9. MR. FREEZE MR. 9. 8. THOMAS AND MARTHA WAYNE MARTHA AND THOMAS 8. 8. WHAT ARE THE NAMES OF BATMAN'S PARENTS? BAT-SIGNAL THE 7. 6. SELINA KYLE SELINA 6. 5. BATMOBILE 5. 4. HARLEY QUINN HARLEY 4. 3. ROBIN 3. 9. WHICH BATMAN VILLAIN USES ICE TO FREEZE HIS ENEMIES? CITY GOTHAM 2. 1. BRUCE WAYNE BRUCE 1. ANSWERS Copyright © 2019 DC Comics WWW.INSIGHTEDITIONS.COM BATMAN and all related characters and elements © & TM DC Comics. WB SHIELD: TM & © Warner Bros. Entertainment Inc. (s19) WORD SEARCH ALFRED BANE BATMOBILE JOKER ROBIN ARKHAM BATMAN CATWOMAN RIDDLER SCARECROW I B W F P -
The Evolution of Batman and His Audiences
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 12-2009 Static, Yet Fluctuating: The Evolution of Batman and His Audiences Perry Dupre Dantzler Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Dantzler, Perry Dupre, "Static, Yet Fluctuating: The Evolution of Batman and His Audiences." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/73 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STATIC, YET FLUCTUATING: THE EVOLUTION OF BATMAN AND HIS AUDIENCES by PERRY DUPRE DANTZLER Under the Direction of H. Calvin Thomas ABSTRACT The Batman media franchise (comics, movies, novels, television, and cartoons) is unique because no other form of written or visual texts has as many artists, audiences, and forms of expression. Understanding the various artists and audiences and what Batman means to them is to understand changing trends and thinking in American culture. The character of Batman has developed into a symbol with relevant characteristics that develop and evolve with each new story and new author. The Batman canon has become so large and contains so many different audiences that it has become a franchise that can morph to fit any group of viewers/readers. Our understanding of Batman and the many readings of him gives us insight into ourselves as a culture in our particular place in history. -
The Reflection of Sancho Panza in the Comic Book Sidekick De Don
UNIVERSIDAD DE OVIEDO FACULTAD DE FILOSOFÍA Y LETRAS MEMORIA DE LICENCIATURA From Don Quixote to The Tick: The Reflection of Sancho Panza in the Comic Book Sidekick ____________ De Don Quijote a The Tick: El Reflejo de Sancho Panza en el sidekick del Cómic Autor: José Manuel Annacondia López Directora: Dra. María José Álvarez Faedo VºBº: Oviedo, 2012 To comic book creators of yesterday, today and tomorrow. The comics medium is a very specialized area of the Arts, home to many rare and talented blooms and flowering imaginations and it breaks my heart to see so many of our best and brightest bowing down to the same market pressures which drive lowest-common-denominator blockbuster movies and television cop shows. Let's see if we can call time on this trend by demanding and creating big, wild comics which stretch our imaginations. Let's make living breathing, sprawling adventures filled with mind-blowing images of things unseen on Earth. Let's make artefacts that are not faux-games or movies but something other, something so rare and strange it might as well be a window into another universe because that's what it is. [Grant Morrison, “Grant Morrison: Master & Commander” (2004: 2)] TABLE OF CONTENTS 1. Acknowledgements v 2. Introduction 1 3. Chapter I: Theoretical Background 6 4. Chapter II: The Nature of Comic Books 11 5. Chapter III: Heroes Defined 18 6. Chapter IV: Enter the Sidekick 30 7. Chapter V: Dark Knights of Sad Countenances 35 8. Chapter VI: Under Scrutiny 53 9. Chapter VII: Evolve or Die 67 10. -
The Incredible Hulk
The Incredible Hulk Monster, Man, Hero Dana McKnight Texas Christian University hen Marvel Comics introduced The Incredible Hulk in 1962, the following question was displayed prominently within a bold yellow question mark on W the front page: “Is he man or monster or…is he both?”1 Today, it seems easy to dismiss questions about the Incredible Hulk being a monster by merit of the popular Marvel Universe films, which brought the Incredible Hulk to a wide audience. I suspect that most Americans recognize the Incredible Hulk as a member of the Avengers: a hero, not a monster. However, when the Incredible Hulk first made his debut, Stan Lee expected his readers to wonder whether or not the Hulk would be a villain or a hero.2 Drawing from the first six issues of The Incredible Hulk I will discuss how the Incredible Hulk is simultaneously a hero and a monster, both an allegory of the military might of the United States in the atomic age and of the tenuous relationship between security and safety manifest in the uncontrolled destructive power of nuclear weapons. I will close with a glimpse into the contemporary post-9/11 Hulk. Man or Monster? First, it is cogent to get back to the “man or monster” question posed by Stan Lee in the very first issue of The Incredible Hulk, because the Hulk was both a man, Bruce Banner, and a monster, the Hulk. The “man-or-monster” question is not new and was 1 Stan Lee and Jack Kirby, “The Coming of the Hulk,” The Incredible Hulk, no. -
Limits, Malice and the Immortal Hulk
https://lthj.qut.edu.au/ LAW, TECHNOLOGY AND HUMANS Volume 2 (2) 2020 https://doi.org/10.5204/lthj.1581 Before the Law: Limits, Malice and The Immortal Hulk Neal Curtis The University of Auckland, New Zealand Abstract This article uses Kafka's short story 'Before the Law' to offer a reading of Al Ewing's The Immortal Hulk. This is in turn used to explore our desire to encounter the Law understood as a form of completeness. The article differentiates between 'the Law' as completeness or limitlessness and 'the law' understood as limitation. The article also examines this desire to experience completeness or limitlessness in the work of George Bataille who argued such an experience was the path to sovereignty. In response it also considers Francois Flahault's critique of Bataille who argued Bataille failed to understand limitlessness is split between a 'good infinite' and a 'bad infinite', and that it is only the latter that can ultimately satisfy us. The article then proposes The Hulk, especially as presented in Al Ewing's The Immortal Hulk, is a study in where our desire for limitlessness can take us. Ultimately it proposes we turn ourselves away from the Law and towards the law that preserves and protects our incompleteness. Keywords: Law; sovereignty; comics; superheroes; The Hulk Introduction From Jean Bodin to Carl Schmitt, the foundation of the law, or what we more readily understand as sovereignty, is marked by a significant division. The law is a limit in the sense of determining what is permitted and what is proscribed, but the authority for this limit is often said to derive from something unlimited. -
The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis
University of Alberta Telling Stories About Storytelling: The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis by Orion Ussner Kidder A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies ©Orion Ussner Kidder Spring 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-60022-1 Our file Notre référence ISBN: 978-0-494-60022-1 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. -
Stan Lee and the Marvel Revolution
HOME > PLANET ENGLISH > STAN LEE AND THE MARVEL REVOLUTION English Stan Lee and the Marvel Revolution Level A2 28 novembre 2018 Last 12 November one of the most important authors in the history of comic books passed away: his name was Stan Lee and he was 95 years old. Lee wrote hundreds of comics and invented dozens of characters. He worked for many years for the publisher Marvel Comics, for whom he created, among others, The Fantastic Four, Spider-Man, the Hulk, Iron Man, Thor, Daredevil, Black Panther and the X-Men. Today these characters are more than fifty years old, but they are still very popular. They are the protagonists of comic books, but also of video games, animated and live-action series and feature films. The ‘Marvel Cinematic Universe’ – which includes the films of just some of Marvel’s superheroes – is the highest- grossing film franchise in history, earning more than even the Star Wars and Harry Potter franchises. Lee ‘signed’ these films by appearing in them as an actor, playing short, funny cameos. Lee’s superheroes Lee was full of energy and ideas. He started working when he was very young. After a series of odd jobs, he began working for a comic book publisher, Timely Comics (later renamed Marvel Comics). It was 1939. He liked writing, but he felt that the comic books of the time were too simple. After many years of writing what he called “silly little comics” he was ready to quit, but his wife told him: “before you do, why don’t you do one comic book the way you would like to do it?” If his boss fired him it wouldn’t matter – he was going to quit anyway. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
Eleven Bullets: a Counter Assault on Subjectivity and the Creation of Meaning
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Fall 2014 Eleven Bullets: A Counter Assault on Subjectivity and the Creation of Meaning Jason Wayne Walker Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Graphic Design Commons, and the Illustration Commons Recommended Citation Walker, Jason Wayne, "Eleven Bullets: A Counter Assault on Subjectivity and the Creation of Meaning" (2014) This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. ELEVEN BULLETS: A COUNTER ASSAULT ON SUBJECTIVITY AND THE CREATION OF MEANING. by JASON WALKER (Under the Direction of Santanu Majumdar) ABSTRACT Eleven Bullets: A Counter Assault on Subjectivity and the Creation of Visual Meaning explores the sources of visual meaning as a combination of shared personal experience among the mass audience and the perpetuation of this meaning via popular cultural applications. It proposes that the analysis of an artist’s personal experience with sensory perception is the foundation for his or her ability to instill meaning within a design. By understanding how we make associations with experiences that are pleasurable, painful, safe, dangerous, passive, aggressive etc., we organize our world according to visual stereotypes. These stereotypes help us navigate the world efficiently and safely. They also directly influence our instinctual responses to visual stimuli.