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2023 Peter C. Rollins Book Award, Southwest Texas Popular Culture
and American Culture Associations (SWPACA) A revisionist history of
women's pivotal roles as creators of and characters in comic books.
The history of comics has centered almost exclusively on men.
Comics historians largely describe the medium as one built by men
telling tales about male protagonists, neglecting the many ways in
which women fought for legitimacy on the page and in publishers’
studios. Despite this male-dominated focus, women played vital
roles in the early history of comics. The story of how comic books
were born and how they evolved changes dramatically when women like
June Tarpé Mills and Lily Renée are placed at the center rather
than at the margins of this history, and when characters such as
the Black Cat, Patsy Walker, and Señorita Rio are analyzed. Comic
Book Women offers a feminist history of the golden age of comics,
revising our understanding of how numerous genres emerged and
upending narratives of how male auteurs built their careers.
Considering issues of race, gender, and sexuality, the authors
examine crime, horror, jungle, romance, science fiction, superhero,
and Western comics to unpack the cultural and industrial
consequences of how women were represented across a wide range of
titles by publishers like DC, Timely, Fiction House, and others.
This revisionist history reclaims the forgotten work done by women
in the comics industry and reinserts female creators and characters
into the canon of comics history.
Christianity and Comics offers readers an 80-year history of how
comic book creators have used the Bible since the early 1940s. It
examines overtly religious comic books like Picture Stories From
the Bible and Catholic Comics, kids comics like Archie and Hot
Stuff, superhero comics from Marvel and DC starring Daredevil,
Ghost Rider and Batman as well as more recent titles like The
Sandman, Preacher and Hellboy offering more challenging approaches
to Christian themes, tropes and images. Early publishers used
Christianity for both educational and entertainment purposes, while
new generations of creators reimagined these aspects in later
decades as changes in where comics were sold and who read them
affected what kinds of stories could be told. Because stories shape
how our culture is developed and transformed, the evolution of how
comic books have represented Christianity demonstrates the visible
changes in religion’s role within both society and popular
culture.
Akira Kurosawa is widely known as the director who opened up
Japanese film to Western audiences, and following his death in
1998, a process of reflection has begun about his life's work as a
whole and its legacy to cinema. Kurosawa's 1950 film Rashomon has
become one of the best-known Japanese films ever made, and
continues to be discussed and imitated more than 60 years after its
first screening. This book examines the cultural and aesthetic
impacts of Akira Kurosawa's Rashomon, as well as the director's
larger legacies to cinema, its global audiences and beyond. It
demonstrates that these legacies are manifold: not only cinematic
and artistic, but also cultural and cognitive. The book moves from
an examination of one filmmaker and his immediate social context in
Japan, and goes on to explore how an artist's ideas might transcend
their cultural origins to ultimately provide global influences.
Discussing how Rashomon's effects began to multiply with the film
being re-imagined and repurposed in numerous media forms in the
decades that followed its initial release, the book also shows that
the film and its ideas have been applied to a wider range of social
and cultural phenomena in a variety of institutional contexts. It
addresses issues beyond the realm of Rashomon within film studies,
extending to the Rashomon effect, which itself has become a widely
recognized English term referring to the significantly different
interpretations of different eyewitnesses to the same dramatic
event. As the first book on Rashomon since Donald Richie's 1987
anthology, it will be invaluable to students and scholars of film
studies, film history, Japanese cinema and communication studies.
It will also resonate more broadly with those interested in
Japanese culture and society, anthropology and philosophy.
Christianity and Comics offers readers an 80-year history of how
comic book creators have used the Bible since the early 1940s. It
examines overtly religious comic books like Picture Stories From
the Bible and Catholic Comics, kids comics like Archie and Hot
Stuff, superhero comics from Marvel and DC starring Daredevil,
Ghost Rider and Batman as well as more recent titles like The
Sandman, Preacher and Hellboy offering more challenging approaches
to Christian themes, tropes and images. Early publishers used
Christianity for both educational and entertainment purposes, while
new generations of creators reimagined these aspects in later
decades as changes in where comics were sold and who read them
affected what kinds of stories could be told. Because stories shape
how our culture is developed and transformed, the evolution of how
comic books have represented Christianity demonstrates the visible
changes in religion’s role within both society and popular
culture.
The 1940s is a lost decade in horror cinema, undervalued and
written out of most horror scholarship. This collection revises,
reframes, and deconstructs persistent critical binaries that have
been put in place by scholarly discourse to label 1940s horror as
somehow inferior to a "classical" period or "canonical" mode of
horror in the 1930s, especially as represented by the monster films
of Universal Studios. The book's four sections re-evaluate the
historical, political, economic, and cultural factors informing
1940s horror cinema to introduce new theoretical frameworks and to
open up space for scholarly discussion of 1940s horror genre
hybridity, periodization, and aesthetics. Chapters focused on
Gothic and Grand Guignol traditions operating in forties horror
cinema, 1940s proto-slasher films, the independent horrors of the
Poverty Row studios, and critical reevaluations of neglected hybrid
films such as The Vampire's Ghost (1945) and "slippery" auteurs
such as Robert Siodmak and Sam Neufield, work to recover a decade
of horror that has been framed as having fallen victim to
repetition, exhaustion, and decline.
A revisionist history of women's pivotal roles as creators of and
characters in comic books. The history of comics has centered
almost exclusively on men. Comics historians largely describe the
medium as one built by men telling tales about male protagonists,
neglecting the many ways in which women fought for legitimacy on
the page and in publishers' studios. Despite this male-dominated
focus, women played vital roles in the early history of comics. The
story of how comic books were born and how they evolved changes
dramatically when women like June Tarpe Mills and Lily Renee are
placed at the center rather than at the margins of this history,
and when characters such as the Black Cat, Patsy Walker, and
Senorita Rio are analyzed. Comic Book Women offers a feminist
history of the golden age of comics, revising our understanding of
how numerous genres emerged and upending narratives of how male
auteurs built their careers. Considering issues of race, gender,
and sexuality, the authors examine crime, horror, jungle, romance,
science fiction, superhero, and Western comics to unpack the
cultural and industrial consequences of how women were represented
across a wide range of titles by publishers like DC, Timely,
Fiction House, and others. This revisionist history reclaims the
forgotten work done by women in the comics industry and reinserts
female creators and characters into the canon of comics history.
Akira Kurosawa is widely known as the director who opened up
Japanese film to Western audiences, and following his death in
1998, a process of reflection has begun about his life's work as a
whole and its legacy to cinema. Kurosawa's 1950 film Rashomon has
become one of the best-known Japanese films ever made, and
continues to be discussed and imitated more than 60 years after its
first screening. This book examines the cultural and aesthetic
impacts of Akira Kurosawa's Rashomon, as well as the director's
larger legacies to cinema, its global audiences and beyond. It
demonstrates that these legacies are manifold: not only cinematic
and artistic, but also cultural and cognitive. The book moves from
an examination of one filmmaker and his immediate social context in
Japan, and goes on to explore how an artist's ideas might transcend
their cultural origins to ultimately provide global influences.
Discussing how Rashomon's effects began to multiply with the film
being re-imagined and repurposed in numerous media forms in the
decades that followed its initial release, the book also shows that
the film and its ideas have been applied to a wider range of social
and cultural phenomena in a variety of institutional contexts. It
addresses issues beyond the realm of Rashomon within film studies,
extending to the Rashomon effect, which itself has become a widely
recognized English term referring to the significantly different
interpretations of different eyewitnesses to the same dramatic
event. As the first book on Rashomon since Donald Richie's 1987
anthology, it will be invaluable to students and scholars of film
studies, film history, Japanese cinema and communication studies.
It will also resonate more broadly with those interested in
Japanese culture and society, anthropology and philosophy.
Some comics fans view the industry’s Golden Age (1930s-1950s) as
a challenging time when it comes to representations of race, an era
when the few Black characters appeared as brutal savages, devious
witch doctors, or unintelligible minstrels. Yet the true portrait
is more complex and reveals that even as caricatures predominated,
some Golden Age comics creators offered more progressive and
nuanced depictions of Black people.  Desegregating
Comics assembles a team of leading scholars to explore how
debates about the representation of Blackness shaped both the
production and reception of Golden Age comics. Some essays showcase
rare titles like Negro Romance and consider the formal
innovations introduced by Black comics creators like Matt Baker and
Alvin Hollingsworth, while others examine the treatment of race in
the work of such canonical cartoonists as George Herriman and Will
Eisner. The collection also investigates how Black fans read and
loved comics, but implored publishers to stop including hurtful
stereotypes. As this book shows, Golden Age comics artists,
writers, editors, distributors, and readers engaged in heated
negotiations over how Blackness should be portrayed, and the
outcomes of those debates continue to shape popular culture today.
More than a century after its emergence, classical Hollywood cinema
remains popular today with cinephiles and scholars alike. Resetting
the Scene: Classical Hollywood Revisited, edited by Philippa Gates
and Katherine Spring, showcases cutting-edge work by renowned
researchers of Hollywood filmmaking of the studio era and proposes
new directions for classical Hollywood studies in the twenty-first
century. Resetting the Scene includes twenty-six accessible
chapters and an extensive bibliography. In Part 1, Katherine
Spring's introduction and David Bordwell's chapter reflect on the
newest methods, technological resources, and archival discoveries
that have galvanized recent research of studio filmmaking. Part 2
brings together close analyses of film style both visual and sonic
with case studies of shot composition, cinematography, and film
music. Part 3 offers new approaches to genre, specifically the film
musical, the backstudio picture, and the B-film. Part 4 focuses on
industry operations, including the origins of Hollywood,
cross-promotion, production planning, and talent management. Part 5
offers novel perspectives on the representation of race, in regard
to censorship, musicals, film noir, and science fiction. Part 6
illuminates forgotten histories of women's labor in terms of
wartime propaganda, below-the-line work, and the evolution of star
persona. Part 7 explores the demise of the studio system but also
the endurance of classical norms in auteur cinema and screenwriting
in the post-classical era. Part 8 highlights new methods for
studying Hollywood cinema, including digital resources as tools for
writing history and analyzing films, and the intersection of film
studies with emergent fields like media industry studies. Intended
for scholars and students of Hollywood film history, Resetting the
Scene intersects with numerous fields consonant with film studies,
including star studies, media industry studies, and critical race
theory.
Fans and scholars have long regarded the 1980s as a significant
turning point in the history of comics in the United States, but
most critical discussions of the period still focus on books from
prominent creators such as Frank Miller, Alan Moore, and Art
Spiegelman, eclipsing the work of others who also played a key role
in shaping comics as we know them today. The Other 1980s: Reframing
Comics' Crucial Decade offers a more complicated and multivalent
picture of this robust era of ambitious comics publishing. The
twenty essays in The Other 1980s illuminate many works hailed as
innovative in their day that have nonetheless fallen from critical
view, partly because they challenge the contours of conventional
comics studies scholarship: open-ended serials that eschew the
graphic-novel format beloved by literature departments; sprawling
superhero narratives with no connection to corporate universes;
offbeat and abandoned experiments by major publishers, including
Marvel and DC; idiosyncratic and experimental independent comics;
unusual genre exercises filtered through deeply personal
sensibilities; and oft-neglected offshoots of the classic
""underground"" comics movement of the 1960s and 1970s. The
collection also offers original examinations of the ways in which
the fans and critics of the day engaged with creators and
publishers, establishing the groundwork for much of the
contemporary critical and academic discourse on comics. By
uncovering creators and works long ignored by scholars, The Other
1980s revises standard histories of this major period and offers a
more nuanced understanding of the context from which the iconic
comics of the 1980s emerged.
More than a century after its emergence, classical Hollywood cinema
remains popular today with cinephiles and scholars alike. Resetting
the Scene: Classical Hollywood Revisited, edited by Philippa Gates
and Katherine Spring, showcases cutting-edge work by renowned
researchers of Hollywood filmmaking of the studio era and proposes
new directions for classical Hollywood studies in the twenty-first
century. Resetting the Scene includes twenty-six accessible
chapters and an extensive bibliography. In Part 1, Katherine
Spring's introduction and David Bordwell's chapter reflect on the
newest methods, technological resources, and archival discoveries
that have galvanized recent research of studio filmmaking. Part 2
brings together close analyses of film style both visual and sonic
with case studies of shot composition, cinematography, and film
music. Part 3 offers new approaches to genre, specifically the film
musical, the backstudio picture, and the B-film. Part 4 focuses on
industry operations, including the origins of Hollywood,
cross-promotion, production planning, and talent management. Part 5
offers novel perspectives on the representation of race, in regard
to censorship, musicals, film noir, and science fiction. Part 6
illuminates forgotten histories of women's labor in terms of
wartime propaganda, below-the-line work, and the evolution of star
persona. Part 7 explores the demise of the studio system but also
the endurance of classical norms in auteur cinema and screenwriting
in the post-classical era. Part 8 highlights new methods for
studying Hollywood cinema, including digital resources as tools for
writing history and analyzing films, and the intersection of film
studies with emergent fields like media industry studies. Intended
for scholars and students of Hollywood film history, Resetting the
Scene intersects with numerous fields consonant with film studies,
including star studies, media industry studies, and critical race
theory.
Careers from the Kitchen Table 3rd Edition features heart-to-heart
interviews with some of the world's leading business experts and
strategists PLUS over 50 Business Owners share their personal
stories and unique recipes for success You are the architect of
your life... It's time to Design it Your Way, on Your Terms.
Everyone - even YOU - needs a plan B It's time for you to take
control and stop depending on someone else to give you the
financial and lifestyle security you deserve. You CAN change your
lifestyle and your dreams really CAN come true Are you ready to
make a change for the better and begin designing the lifestyle you
were born to live?
Award Winning Talk Show Host (CNN & CBS Radio) & Celebrity
Interviewer Raven Blair Davis shows you how to turn up the heat in
your kitchen...without cookin' a thing Featuring heart-to-heart
interviews with some of the world's leading business experts and
strategists plus over 50 business owners share their personal
stories and unique recipes for success. This is a must read for
anyone who thinks or plans to become an entrepreneur and run their
business out of their home. You will find links to audios from the
greats as well as true business stories from entrepreneurs.
CBS Talk Radio Show Host & Celebrity Interviewer Raven Blair
Davis shows you how to turn up the heat in your kitchen...without
cookin' a thing Featuring heart-to-heart interviews with some of
the world's leading business experts and strategists plus over 50
business owners share their personal stories and unique recipes for
success.
Comic Book Movies explores how this genre serves as a source for
modern-day myths, sometimes even incorporating ancient mythic
figures like Thor and Wonder Woman's Amazons, while engaging with
the questions that haunt a post-9/11 world: How do we define
heroism and morality today? How far are we willing to go when
fighting terror? How can we resist a dystopian state? Film scholar
Blair Davis also considers how the genre's visual style is equally
important as its weighty themes, and he details how advances in
digital effects have allowed filmmakers to incorporate elements of
comic book art in innovative ways. As he reveals, comic book movies
have inspired just as many innovations to Hollywood's business
model, with film franchises and transmedia storytelling helping to
ensure that the genre will continue its reign over popular culture
for years to come.
This intriguing volume sheds light on the diverse world of
collecting film- and media-related materials. Lucy Fischer's
introduction explores theories of collecting and representations of
collecting and collections in film, while arguing that collections
of film ephemera and other media-related collections are an
important way in to understanding the relationship between material
culture and film and media studies; she notes that the collectors
have various motivations and types of collections. In the eleven
chapters that follow, media studies scholars analyze a variety of
fascinating collected materials, from Doris Day magazines to
Godzilla action figures and LEGOs. While most contributors discuss
their personal collections, some also offer valuable insight into
specific collections of others. In many cases, collections that
began as informal and personal have been built up, accessioned, and
reorganized to create teaching and research materials which have
significantly contributed to the field of film and media studies.
Readers are offered glimpses into diverse collections comprised of
films, fan magazines, records, comics, action figures, design
artifacts, costumes, props- including Buffy the Vampire Slayer
costumes, Planet of the Apes publicity materials, and Amazing
Spider Man comics. Recollecting Collecting interrogates and
illustrates the meaning and practical nature of film and media
collections while also considering the vast array of personal and
professional motivations behind their assemblage.
Fans and scholars have long regarded the 1980s as a significant
turning point in the history of comics in the United States, but
most critical discussions of the period still focus on books from
prominent creators such as Frank Miller, Alan Moore, and Art
Spiegelman, eclipsing the work of others who also played a key role
in shaping comics as we know them today. The Other 1980s: Reframing
Comics' Crucial Decade offers a more complicated and multivalent
picture of this robust era of ambitious comics publishing. The
twenty essays in The Other 1980s illuminate many works hailed as
innovative in their day that have nonetheless fallen from critical
view, partly because they challenge the contours of conventional
comics studies scholarship: open-ended serials that eschew the
graphic-novel format beloved by literature departments; sprawling
superhero narratives with no connection to corporate universes;
offbeat and abandoned experiments by major publishers, including
Marvel and DC; idiosyncratic and experimental independent comics;
unusual genre exercises filtered through deeply personal
sensibilities; and oft-neglected offshoots of the classic
""underground"" comics movement of the 1960s and 1970s. The
collection also offers original examinations of the ways in which
the fans and critics of the day engaged with creators and
publishers, establishing the groundwork for much of the
contemporary critical and academic discourse on comics. By
uncovering creators and works long ignored by scholars, The Other
1980s revises standard histories of this major period and offers a
more nuanced understanding of the context from which the iconic
comics of the 1980s emerged.
This intriguing volume sheds light on the diverse world of
collecting film- and media-related materials. Lucy Fischer's
introduction explores theories of collecting and representations of
collecting and collections in film, while arguing that collections
of film ephemera and other media-related collections are an
important way in to understanding the relationship between material
culture and film and media studies; she notes that the collectors
have various motivations and types of collections. In the eleven
chapters that follow, media studies scholars analyze a variety of
fascinating collected materials, from Doris Day magazines to
Godzilla action figures and LEGOs. While most contributors discuss
their personal collections, some also offer valuable insight into
specific collections of others. In many cases, collections that
began as informal and personal have been built up, accessioned, and
reorganized to create teaching and research materials which have
significantly contributed to the field of film and media studies.
Readers are offered glimpses into diverse collections comprised of
films, fan magazines, records, comics, action figures, design
artifacts, costumes, props- including Buffy the Vampire Slayer
costumes, Planet of the Apes publicity materials, and Amazing
Spider Man comics. Recollecting Collecting interrogates and
illustrates the meaning and practical nature of film and media
collections while also considering the vast array of personal and
professional motivations behind their assemblage.
Comic Book Movies explores how this genre serves as a source for
modern-day myths, sometimes even incorporating ancient mythic
figures like Thor and Wonder Woman's Amazons, while engaging with
the questions that haunt a post-9/11 world: How do we define
heroism and morality today? How far are we willing to go when
fighting terror? How can we resist a dystopian state? Film scholar
Blair Davis also considers how the genre's visual style is equally
important as its weighty themes, and he details how advances in
digital effects have allowed filmmakers to incorporate elements of
comic book art in innovative ways. As he reveals, comic book movies
have inspired just as many innovations to Hollywood's business
model, with film franchises and transmedia storytelling helping to
ensure that the genre will continue its reign over popular culture
for years to come.
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