Marvel Comics in the 1970s
explores a forgotten chapter in the story of the rise of
comics as an art form. Bridging Marvel's dizzying
innovations and the birth of the underground comics scene in the
...1960s and the rise of the prestige graphic novel and postmodern
superheroics in the 1980s, Eliot Borenstein reveals a generation of
comic book writers whose work at Marvel in the 1970s established
their own authorial voice within the strictures of corporate
comics.
Through a diverse cast of heroes (and the occasional
antihero)-Black Panther, Shang-Chi, Deathlok, Dracula, Killraven,
Man-Thing, and Howard the Duck-writers such as Steve Gerber, Doug
Moench, and Don McGregor made unprecedented strides in exploring
their characters' inner lives. Visually, dynamic action was still
essential, but the real excitement was taking place inside their
heroes' heads. Marvel Comics in the 1970s highlights the
brilliant and sometimes gloriously imperfect creations that laid
the groundwork for the medium's later artistic achievements and the
broader acceptance of comic books in the cultural landscape
today.
The creation of the Fantastic Four effectively launched the Marvel Comics brand in 1961. Within ten years, the introduction (or reintroduction) of characters such as Spider-Man, the Hulk, Iron Man, ...Captain America, and the X-Men catapulted Marvel past its primary rival, DC Comics, for domination of the comic book market. Since the 2000s, the company’s iconic characters have leaped from page to screens with the creation of the Marvel Cinematic Universe, which includes everything from live-action film franchises of Iron Man and the Avengers to television and streaming media, including the critically acclaimed Netflix series Daredevil and Jessica Jones. Marvel, now owned by Disney, has clearly found the key to transmedia success. Make Ours Marvel traces the rise of the Marvel brand and its transformation into a transmedia empire over the past fifty years. A dozen original essays range across topics such as how Marvel expanded the notion of an all-star team book with The Avengers, which provided a roadmap for the later films, to the company’s attempts to create lasting female characters and readerships, to its regular endeavors to reinvigorate its brand while still maintaining the stability that fans crave. Demonstrating that the secret to Marvel’s success comes from adeptly crossing media boundaries while inviting its audience to participate in creating Marvel’s narrative universe, this book shows why the company and its characters will continue to influence storytelling and transmedia empire building for the foreseeable future.
Reader Superhelden Lukas Etter, Thomas Nehrlich, Joanna Nowotny / Lukas Etter, Thomas Nehrlich, Joanna Nowotny
2018, 201806, Letnik:
133
eBook
Sind Superheldinnen feministisch? Welche Rolle spielten antike Mythen, die biblische Geschichte des Simson oder Nietzsches Philosophie für die Schöpfer von Superman? Und was hat die Nibelungensage ...mit Marvel zu tun?Antworten auf diese und weitere Fragen - u.a. nach der vielfältigen Medialität und Rezeptionsgeschichte von Superhelden-Stories, der Perspektive der Comicschaffenden auf ihre Kunst und dem sich wandelnden Bild des Superhelden in der aktuellen Forschung - gibt dieser Reader, der erstmals in deutscher Sprache und für ein breites Publikum Texte zu Theorie und Geschichte der Superhelden versammelt und kommentiert.Mit Texten u.a. von Shilpa Davé, Umberto Eco, Stan Lee, Friedrich Nietzsche und Véronique Sina und Interviews u.a. mit Frank Miller, Alan Moore und Roy Lichtenstein.
We are living in the age of the superhero and we cannot deny it.Avengers Assemble!is a vibrant and theoretically informed interrogation of one of the defining and most financially successful film ...franchises of the new millennium. In the first single-authored monograph on the topic of the Marvel cinematic universe, Terence McSweeney asks, "Why has the superhero genre reemerged so emphatically in recent years?" In an age where people have stopped going to the cinema as frequently as they used to, they returned to it in droves for the superhero film. What is it about these films that has resonated with audiences all around the globe? Are they just disposable pop culture artifacts or might they have something interesting to say about the fears and anxieties of the world we live in today?Beginning withIron Manin 2008, this study provocatively explores both the cinematic and the televisual branches of the series across ten dynamic and original chapters from a diverse range of critical perspectives which analyse their status as an embodiment of the changing industrial practices of the blockbuster film and their symbolic potency as affective cultural artifacts that are profoundly immersed in the turbulent political climate of their era.
In the late 1970s and early 1980s, writer-artist Frank Miller turnedDaredevilfrom a tepid-selling comic into an industry-wide success story, doubling its sales within three years. Lawyer by day and ...costumed vigilante by night, the character of Daredevil was the perfect vehicle for the explorations of heroic ideals and violence that would come to define Miller's work.
Frank Miller's Daredevil and the Ends of Heroismis both a rigorous study of Miller's artistic influences and innovations and a reflection on how his visionary work onDaredevilimpacted generations of comics publishers, creators, and fans. Paul Young explores the accomplishments of Miller the writer, who fused hardboiled crime stories with superhero comics, while reimagining Kingpin (a classic Spider-Man nemesis), recuperating the half-baked villain Bullseye, and inventing a completely new kind ofDaredevilvillain in Elektra. Yet, he also offers a vivid appreciation of the indelible panels drawn by Miller the artist, taking a fresh look at his distinctive page layouts and lines.
A childhood fan of Miller'sDaredevil, Young takes readers on a personal journey as he seeks to reconcile his love for the comic with his distaste for the fascistic overtones of Miller's controversial later work. What he finds will resonate not only with Daredevil fans, but with anyone who has contemplated what it means to be a hero in a heartless world.
Other titles in the Comics Culture series includeTwelve-Cent Archie,Wonder Woman: Bondage and Feminism in the Marston/Peter Comics,1941-1948, andConsidering Watchmen:
Poetics, Property, Politics.
Iconic characters in popular culture, such as Sherlock Holmes, Dracula and Frankenstein's monster, are in the public domain, allowing anyone to use them to create new stories. Spider-Man should be ...too.
Iconic characters in popular culture, such as Sherlock Holmes, Dracula and Frankenstein's monster, are in the public domain, allowing anyone to use them to create new stories. Spider-Man should be ...too.
Comic books, once associated with geeky adolescent boys and low-budget entertainment, now are linked to celebrities and big money. What's changed since the dawn of the concept in the 1930s? Movies!
