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Billy Batson discovers a secret in a forgotten subway tunnel. There the young man meets a wizard who offers a precious gift: a magic word that will transform the newsboy into a hero. When Billy says, "Shazam!," he becomes Captain Marvel, the World's Mightiest Mortal, one of the most popular comic book characters of the 1940s. This book tells the story of that hero and the writers and artists who created his magical adventures. The saga of Captain Marvel is also that of artist C. C. Beck and writer Otto Binder, one of the most innovative and prolific creative teams working during the Golden Age of comics in the United States. While Beck was the technician and meticulous craftsman, Binder contributed the still, human voice at the heart of Billy's adventures. Later in his career, Beck, like his friend and colleague Will Eisner, developed a theory of comic art expressed in numerous articles, essays, and interviews. A decade after Fawcett Publications settled a copyright infringement lawsuit with Superman's publisher, Beck and Binder became legendary, celebrated figures in comic book fandom of the 1960s. What Beck, Binder, and their readers share in common is a fascination with nostalgia, which has shaped the history of comics and comics scholarship in the United States. Billy Batson's America, with its cartoon villains and talking tigers, remains a living archive of childhood memories, so precious but elusive, as strange and mysterious as the boy's first visit to the subway tunnel. Taking cues from Beck's theories of art and from the growing field of memory studies, Captain Marvel and the Art of Nostalgia explains why we read comics and, more significantly, how we remember them and the America that dreamed them up in the first place.
Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism. As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda. Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.
A childhood comic book fan turned comic book retailer, the author soon discovered the prevalence of scams in the world of comics collecting. This book is his tutorial on how to collect wisely and reduce risks. Drawing on skills learned from twenty years with the San Diego Police Department and as a Comic-Con attendee since 1972, he covers in detail the history and culture of collecting comic books and describes the pitfalls, including common deceptions of grading and pricing, as well as theft, and mail and insurance fraud.
Otto Binder: The Life and Work of a Comic Book and Science Fiction Visionary chronicles the career of Otto Binder, from pulp magazine author to writer of Supergirl, Captain Marvel, and Superman comics. As the originator of the first sentient robot in literature ("I, Robot," published in Amazing Stories in 1939 and predating Isaac Asimov's collection of the same name), Binder's effect on science fiction was profound. Within the world of comic books, he created or co-created much of the Superman universe, including Smallville; Krypto, Superboy's dog; Supergirl; and the villain Braniac. Binder is also credited with writing many of the first "Bizarro" storylines for DC Comics, as well as for being the main writer for the Captain Marvel comics. In later years, Binder expanded from comic books into pure science writing, publishing dozens of books and articles on the subject of satellites and space travel as well as UFOs and extraterrestrial life. Comic book historian Bill Schelly tells the tale of Otto Binder through comic panels, personal letters, and interviews with Binder's own family and friends. Schelly weaves together Binder's professional successes and personal tragedies, including the death of Binder's only daughter and his wife's struggle with mental illness. A touching and human story, Otto Binder: The Life and Work of a Comic Book and Science Fiction Visionary is a biography that is both meticulously researched and beautifully told, keeping alive Binder's spirit of scientific curiosity and whimsy.
Comix – A History of Comic Books in America (1988) : Covers the whole history of comic books in America to 1970–the major creations, the major creators, the major comic book lines, the major comic book enemies. Co-authors Les Daniels and The Mad Peck tell the story of how comic books captured the imagination of millions and became an American institution, and whether or not they deserved to. Adjoining the text, providing an illustrated history of their own, is a large selection of complete comic book stories. No selected snippets. Full stories. “It seems safe to say,” the authors write, “that no book to date has contained such a wide range of comic book tales Where else can one find in the same volume such divergent personalities as the Old Witch and Donald Duck, or Captain America and Those Fabulous Furry Freak Brothers?
Comic books and graphic novels, known collectively as "graphica," have long been popular with teenagers and adults. Recently graphica has grown in popularity with younger readers as well, motivating and engaging some of our most reluctant readers who often shun traditional texts. While some teachers have become curious about graphica's potential, many are confused by the overwhelming number of new titles and series, in both fiction and nonfiction, and are unsure of its suitability and function in their classrooms. Drawing on his own success using graphica with elementary students, literacy coach Terry Thompson introduces reading teachers to this popular medium and suggests sources of appropriate graphica for the classroom and for particular students. Taking cues from research that supports the use of graphica with students, Terry shows how this exciting medium fits into the literacy framework and correlates with best practices in comprehension, vocabulary, and fluency instruction. Adventures in Graphica contains numerous, easy-to-replicate, instructional strategies, including examples of how graphic texts can be used to create a bridge as students transfer abstract comprehension strategies learned through comics and graphic novels to traditional texts. Adventures in Graphica provides a roadmap for teachers to the medium that the New York Times recently hailed as possibly "the next new literary form."
Meet the world's mightiest Super Hero team: The Avengers! This comprehensive guide to the characters of Earth’s mightiest Super Hero team features in-depth profiles on every Avenger – their powers, their allies, their key storylines, and their foes. Features fan-favorites including Iron-Man, Spider-Man, Hulk, Black Widow, Captain America, Thor, Black Panther, and Captain Marvel. These are Marvel’s mighty Avengers. © 2021 MARVEL
After Fox released In Old Arizona, the first feature length western with sound, in 1929, Universal president Carl Laemmle decided that Universal's westerns should follow suit. Beginning that same year, with the release of The Wagon Master starring Ken Maynard, up until 1946, when the studio merged with International Pictures, Universal Pictures captivated audiences with its sound westerns. Individual entries for the approximately 180 feature films and serials released by Universal during that period are presented here. Each entry includes the film's title release date, alternate title, cast, credits, songs, location of filming, running time, source if the film was an adaptation, plot synopsis, commentary from the author and from the actors and directors, representative excerpts from reviews, and a tag line from the original advertising. Also provided is a chronological listing of Universal's short western films and a chronological listing of Universal's sound westerns.
"LOST IN THE WILDS OF HEAVEN," Part One Being a space trucker sounds like a cool job, but in reality, it can be boring as hell. So when recently widowed Gil gets a long-haul gig across the universe, he figures it's safe enough to bring his young son Kadyn along for the ride that is, until their "big rig" gets bitten in half by a gigantic Space Leviathan! Now separated from his son with a breached suit that's venting oxygen at an alarming rate Gil must defy the odds and stay alive long enough to rescue Kadyn. But meanwhile, Kadyn seems to be getting all the help he needs from a talking Space Monkey riding a Space Dolphin or maybe it's the strange powers he's suddenly manifesting?! From the writing duo of JASON AARON (SOUTHERN BASTARDS, Thor) and DENNIS HALLUM (Cloak and Dagger, Vader: Dark Visions), with dazzling art by STEPHEN GREEN (Hellboy and the B.P.R.D.) and cosmic colors by RICO RENZI (Spider-Gwen), comes a brand-new science fiction series with all the scope and heart of the The Neverending Story crossed with the imaginative weirdness of MiyazakiÑan intense, galaxy-spanning adventure thatÕs suitable for fans of all ages!