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From the early animated creations of Hollywood like Betty Boop, Felix, and Mickey Mouse to the later sensations of television like the Jetsons, the Flintstones, and Yogi Bear, this book has something to please every cartoon toy lover. Featuring over 800 color photos, it's a feast of color, cartoon memories, and pure American nostalgia that will be treasured for years to come by every toy collector, young and old. 8.5 x 11. Current values.
This splendid book of cartoon figural toys shows your favorite characters, tells a bit of history, and offers over 200 color photographs. They're all here: Bugs Bunny*t, the Peanuts Gang*t, Casper*t, The Cat in the Hat*t, Popeye*t, and Underdog*t.This is a volume for cartoon buffs and toy collectors--and there's a price guide.
Photos, captions, and prices for 1,500 collectibles--toys, lunch boxes, and more--of comic characters from the past 100 years.
From Sideshow Collectibles, a renowned specialty manufacturer of collectible figures, comes Capturing Archetypes, a gallery of Sideshow’s best art pieces. A deluxe gallery of Sideshow Collectibles’ best work, Capturing Archetypes: The Art of Sideshow Collectibles showcases the stunning creations produced by one of the world’s premier manufacturers of collectible figures and statues. Featuring iconic and universally beloved characters from franchises such as Star Wars, DC Comics, Marvel Comics, G.I. Joe, and Indiana Jones, this collection celebrates Sideshow’s astonishing ability to capture the essence of archetypal characters in its phenomenal art pieces. A must-have collectible in its own right, this elegant book is the artistic culmination of Sideshow’s incredible ambition and undeniable skill. With a removable acetate belly band over a debossed cover, Capturing Archetypes will delight pop culture enthusiasts and dedicated collectors alike.
"THE CATALOGUE OF AMERICAN COLLECTIBLES covers the range of the most common collectibles from advertising and packaging, through toys and dolls, music, china, glass, plastic and everyday domestic items to commemorative items from all areas of life, including entertainment, politics, and sport. Beautifully illustrated with color photography, each of these areas is fully explored, with illustrations of the most likely finds, and the occasional rarity that the lucky buyer may stumble upon." THis book has 176 pages and is profusely illustrated.
Holly and Matt MacNabb look at the fascinating world of Toy Story collectibles.
The twentieth century was, by any reckoning, the age of the child in America. Today, we pay homage at the altar of childhood, heaping endless goods on the young, reveling in memories of a more innocent time, and finding solace in the softly backlit memories of our earliest years. We are, the proclamation goes, just big kids at heart. And, accordingly, we delight in prolonging and inflating the childhood experiences of our offspring. In images of the naughty but nice Buster Brown and the coquettish but sweet Shirley Temple, Americans at mid-century offered up a fantastic world of treats, toys, and stories, creating a new image of the child as "cute." Holidays such as Christmas and Halloween became blockbuster affairs, vehicles to fuel the bedazzled and wondrous innocence of the adorable child. All this, Gary Cross illustrates, reflected the preoccupations of a more gentle and affluent culture, but it also served to liberate adults from their rational and often tedious worlds of work and responsibility. But trouble soon entered paradise. The "cute" turned into "cool" as children, following their parental example, embraced the gift of fantasy and unrestrained desire to rebel against the saccharine excesses of wondrous innocence in deliberate pursuit of the anti-cute. Movies, comic books, and video games beckoned to children with the allures of an often violent, sexualized, and increasingly harsh worldview. Unwitting and resistant accomplices to this commercial transformation of childhood, adults sought-over and over again, in repeated and predictable cycles-to rein in these threats in a largely futile jeremiad to preserve the old order. Thus, the cute child-deliberately manufactured and cultivated--has ironically fostered a profoundly troubled ambivalence toward youth and child rearing today. Expertly weaving his way through the cultural artifacts, commercial currents, and parenting anxieties of the previous century, Gary Cross offers a vibrant and entirely fresh portrait of the forces that have defined American childhood.
Spider-Man meets his deadliest foe, as a rivalry for the ages is born! When Spidey's symbiotic alien black costume takes a new host, Eddie Brock - who hates Spider-Man - together they become the lethal Venom! They'll stop at nothing to take their revenge on Peter Parker...Plus the sinister symbiote sinks his teeth into Wolverine, Ghost Rider, Quasar, Darkhawk and the Avengers, in this complete compendium of Venom's earliest appearances! COLLECTING: AMAZING SPIDER-MAN (1963) 258, 300, 315-317, 332-333, 346-347, 361-363, 374, 378-380; WEB OF SPIDER-MAN (1985) 1, 95-96, 101-103; QUASAR 6; AVENGERS: DEATHTRAP - THE VAULT GN; DARKHAWK 13-14; SPIDER-MAN: THE TRIAL OF VENOM; GHOST RIDER/BLAZE: SPIRITS OF VENGEANCE 5-6; SPIDER-MAN (1990) 35-37; SPECTACULAR SPIDER-MAN (1976) 201-203; MATERIAL FROM AMAZING SPIDER-MAN (1963) 373, 375, 388, ANNUAL 25-26; SPECTACULAR SPIDER-MAN ANNUAL 12; WEB OF SPIDER-MAN ANNUAL 8; MARVEL COMICS PRESENTS (1988) 117-122; SPIDER-MAN UNLIMITED (1993) 1-2; VENOM SUBPLOT PAGES
Nostalgia isn't what it used to be. For many of us, modern memory is shaped less by a longing for the social customs and practices of the past or for family heirlooms handed down over generations and more by childhood encounters with ephemeral commercial goods and fleeting media moments in our age of fast capitalism. This phenomenon has given rise to communities of nostalgia whose members remain loyal to the toys, television, and music of their youth. They return to the theme parks and pastimes of their upbringing, hoping to reclaim that feeling of childhood wonder or teenage freedom. Consumed nostalgia took definite shape in the 1970s, spurred by an increase in the turnover of consumer goods, the commercialization of childhood, and the skillful marketing of nostalgia. Gary Cross immerses readers in this fascinating and often delightful history, unpacking the cultural dynamics that turn pop tunes into oldies and childhood toys into valuable commodities. He compares the limited appeal of heritage sites such as Colonial Williamsburg to the perpetually attractive power of a Disney theme park and reveals how consumed nostalgia shapes how we cope with accelerating change. Today nostalgia can be owned, collected, and easily accessed, making it less elusive and often more fun than in the past, but its commercialization has sometimes limited memory and complicated the positive goals of recollection. By unmasking the fascinating, idiosyncratic character of modern nostalgia, Cross helps us better understand the rituals of recall in an age of fast capitalism.
This final work in John Lent's series of bibliographies on comic art gathers together an astounding array of citations on American comic books and comic strips. Included in this volume are citations regarding anthologies and reprints; criticism and reviews; exhibitions, festivals, and awards; scholarship and theory; and the business, artistic, cultural, legal, technical, and technological aspects of American comics. Author John Lent has used all manner of methods to gather the citations, searching library and online databases, contacting scholars and other professionals, attending conferences and festivals, and scanning hundreds of periodicals. He has gone to great length to categorize the citations in an easy-to-use, scholarly fashion, and in the process, has helped to establish the field of comic art as an important part of social science and humanities research. The ten volumes in this series, covering all regions of the world, constitute the largest printed bibliography of comic art in the world, and serve as the beacon guiding the burgeoning fields of animation, comics, and cartooning. They are the definitive works on comic art research, and are exhaustive in their inclusiveness, covering all types of publications (academic, trade, popular, fan, etc.) from all over the world. Also included in these books are citations to systematically-researched academic exercises, as well as more ephemeral sources such as fanzines, press articles, and fugitive materials (conference papers, unpublished documents, etc.), attesting to Lent's belief that all pieces of information are vital in a new field of study such as comic art.