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| black images in the comics a visual history: Black Images in the Comics Fredrik Strömberg, 2003 Spotlighting over 100 comics featuring black characters from all over the world over the last century, this book provides an often appalling but fascinating journey through a history of racism and eventual change. Including such strips as Happy Hooligan, Moon Mullins, Tintin in the Congo, Peanuts, Fantastic Four, Wee Pals, Uncanny X-Men, Quincy, Beetle Bailey, Madam & Eve, The Boondocks and King, each strip is spotlighted with a 200-word essay and representative illustration, making this book ideal for the comics fan and sociologist alike. |
| black images in the comics a visual history: Comic Art Propaganda Fredrik Strömberg, 2010 As one of the most simple, effective and powerful forms of communication, it comes as no surprise that comic art has been misappropriated by governments, self-interest groups, do-gooders and sinister organisations to spread their messages. World War Two comic book propaganda with Superman, Batman, and Captain America bashing up cartoon enemies was so ubiquitous that there was barely a US comic untainted by the war effort. And theres no shortage of examples from the other side of the globe. This book examines every kind of propaganda, and how positive or pernicious messages have been conveyed in the pages of comic books over the last 100 years. Subject areas include racism and xenophobia, antidrugs comics, pro-drugs comics and religious comics. Plus, there is a look at social programming; how gender roles were re-enforced in comic book stereotyping, and how comics broke free to produce a whole slew of gay superheroes, no matter how ham-fistedly written. This book is a fascinating global, visual history of some of the most contentious, outrageous, unbelievably unusual and politically charged comics ever published. Written by renowned comics historian and author, Fredrik Strömberg. |
| black images in the comics a visual history: Encyclopedia of Black Comics Sheena Howard, Christopher Priest, 2017-09-15 The Encyclopedia of Black Comics, focuses on people of African descent who have published significant works in the United States or have worked across various aspects of the comics industry. The book focuses on creators in the field of comics: inkers, illustrators, artists, writers, editors, Black comic historians, Black comic convention creators, website creators, archivists and academics—as well as individuals who may not fit into any category but have made notable achievements within and/or across Black comic culture. |
| black images in the comics a visual history: The Blacker the Ink Frances Gateward, John Jennings, 2015-07-16 When many think of comic books the first thing that comes to mind are caped crusaders and spandex-wearing super-heroes. Perhaps, inevitably, these images are of white men (and more rarely, women). It was not until the 1970s that African American superheroes such as Luke Cage, Blade, and others emerged. But as this exciting new collection reveals, these superhero comics are only one small component in a wealth of representations of black characters within comic strips, comic books, and graphic novels over the past century. The Blacker the Ink is the first book to explore not only the diverse range of black characters in comics, but also the multitude of ways that black artists, writers, and publishers have made a mark on the industry. Organized thematically into “panels” in tribute to sequential art published in the funny pages of newspapers, the fifteen original essays take us on a journey that reaches from the African American newspaper comics of the 1930s to the Francophone graphic novels of the 2000s. Even as it demonstrates the wide spectrum of images of African Americans in comics and sequential art, the collection also identifies common character types and themes running through everything from the strip The Boondocks to the graphic novel Nat Turner. Though it does not shy away from examining the legacy of racial stereotypes in comics and racial biases in the industry, The Blacker the Ink also offers inspiring stories of trailblazing African American artists and writers. Whether you are a diehard comic book fan or a casual reader of the funny pages, these essays will give you a new appreciation for how black characters and creators have brought a vibrant splash of color to the world of comics. |
| black images in the comics a visual history: Black Comics Sheena C. Howard, Ronald L. Jackson II, 2013-03-14 Winner of the 2014 Will Eisner Award for Best Scholarly/Academic Work. Bringing together contributors from a wide-range of critical perspectives, Black Comics: Politics of Race and Representation is an analytic history of the diverse contributions of Black artists to the medium of comics. Covering comic books, superhero comics, graphic novels and cartoon strips from the early 20th century to the present, the book explores the ways in which Black comic artists have grappled with such themes as the Black experience, gender identity, politics and social media. Black Comics: Politics of Race and Representation introduces students to such key texts as: The work of Jackie Ormes Black women superheroes from Vixen to Black Panther Aaron McGruder's strip The Boondocks |
| black images in the comics a visual history: Jewish Images in the Comics Fredrik Strömberg, 2012 This scholarly book examines historical depictions of Jewish people in comics. |
| black images in the comics a visual history: Black USA and Spain Rosalía Cornejo-Parriego, 2019-07-24 During the 20th-century, Spaniards and African-Americans shared significant cultural memories forged by the profound impact that various artistic and historical events had on each other. Addressing three crucial periods (the Harlem Renaissance and Jazz Age, the Spanish Civil War, and Franco's dictatorship), this collection of essays explores the transnational bond and the intercultural exchanges between these two communities, using race as a fundamental critical category. The study of travelogues, memoirs, documentaries, interviews, press coverage, comics, literary works, music, and performances by iconic figures such as Josephine Baker, Langston Hughes, and Ramón Gómez de la Serna, as well as the experiences of ordinary individuals such as African American nurse Salaria Kea, invite an examination of the ambiguities and paradoxes that underlie this relationship: among them, the questionable and, at times, surprising racial representations of blacks in Spanish avant-garde texts and in the press during the years of Franco’s dictatorship; African Americans very unique view of the Spanish Civil War in light of their racial identity; and the oscillation between fascination and anxiety when these two communities look at each other. |
| black images in the comics a visual history: Comics through Time M. Keith Booker, 2014-10-28 Focusing especially on American comic books and graphic novels from the 1930s to the present, this massive four-volume work provides a colorful yet authoritative source on the entire history of the comics medium. Comics and graphic novels have recently become big business, serving as the inspiration for blockbuster Hollywood movies such as the Iron Man series of films and the hit television drama The Walking Dead. But comics have been popular throughout the 20th century despite the significant effects of the restrictions of the Comics Code in place from the 1950s through 1970s, which prohibited the depiction of zombies and use of the word horror, among many other rules. Comics through Time: A History of Icons, Idols, and Ideas provides students and general readers a one-stop resource for researching topics, genres, works, and artists of comic books, comic strips, and graphic novels. The comprehensive and broad coverage of this set is organized chronologically by volume. Volume 1 covers 1960 and earlier; Volume 2 covers 1960–1980; Volume 3 covers 1980–1995; and Volume 4 covers 1995 to the present. The chronological divisions give readers a sense of the evolution of comics within the larger contexts of American culture and history. The alphabetically arranged entries in each volume address topics such as comics publishing, characters, imprints, genres, themes, titles, artists, writers, and more. While special attention is paid to American comics, the entries also include coverage of British, Japanese, and European comics that have influenced illustrated storytelling of the United States or are of special interest to American readers. |
| black images in the comics a visual history: Teaching Asian North American Texts Jennifer Ho, Jenny Heijun Wills, 2022-07-28 From the short stories and journalism of Sui Sin Far to Maxine Hong Kingston's pathbreaking The Woman Warrior to recent popular and critical successes such as Viet Thanh Nguyen's The Sympathizer, Mohsin Hamid's The Reluctant Fundamentalist, and Kevin Kwan's Crazy Rich Asians, Asian North American literature and media encompass a long history and a diverse variety of genres and aesthetic approaches. The essays in this volume provide context for understanding the history of Asian immigrants to the United States and Canada and the experiences of their children, grandchildren, and great-grandchildren. Contributors address historical contexts, from the early enactment of Asian exclusion laws to the xenophobia following 9/11, and provide tools for textual analysis. The essays explore conventionally literary texts, genres such as mystery and speculative fiction, historical documents and legal texts, and visual media including films, photography, and graphic novels, emphasizing the ways that creators have crossed boundaries of genre and produced innovative new forms. |
| black images in the comics a visual history: The Black Imagination, Science Fiction and the Speculative Sandra Jackson, Julie Moody Freeman, 2013-10-18 This book expands the discourse as well as the nature of critical commentary on science fiction, speculative fiction and futurism – literary and cinematic by Black writers. The range of topics include the following: black superheroes; issues and themes in selected works by Octavia Butler; selected work of Nalo Hopkinson; the utopian and dystopian impulse in the work of W.E. B. Du Bois and George Schuyler; Derrick Bell’s Space Traders; the Star Trek Franchise; female protagonists through the lens of race and gender in the Alien and Predator film franchises; science fiction in the Caribbean Diaspora; commentary on select African films regarding near-future narratives; as well as a science fiction/speculative literature writer’s discussion of why she writes and how. This book was published as a special issue of African Identities: An International Journal. |
| black images in the comics a visual history: Comics and the U.S. South Brannon Costello, Qiana J. Whitted, 2012-01-20 Comics and the U.S. South offers a wide-ranging and long overdue assessment of how life and culture in the United States South is represented in serial comics, graphic novels, newspaper comic strips, and webcomics. Diverting the lens of comics studies from the skyscrapers of Superman's Metropolis or Chris Ware's Chicago to the swamps, backroads, small towns, and cities of the U.S. South, this collection critically examines the pulp genres associated with mainstream comic books alongside independent and alternative comics. Some essays seek to discover what Captain America can reveal about southern regionalism and how slave narratives can help us reread Swamp Thing; others examine how creators such as Walt Kelly (Pogo), Howard Cruse (Stuck Rubber Baby), Kyle Baker (Nat Turner), and Josh Neufeld (A.D.: New Orleans after the Deluge) draw upon the unique formal properties of the comics to question and revise familiar narratives of race, class, and sexuality; and another considers how southern writer Randall Kenan adapted elements of comics form to prose fiction. With essays from an interdisciplinary group of scholars, Comics and the U.S. South contributes to and also productively reorients the most significant and compelling conversations in both comics scholarship and in southern studies. |
| black images in the comics a visual history: How the Other Half Laughs Jean Lee Cole, 2020-01-27 2021 Honorable Mention Recipient of the Charles Hatfield Book Prize from the Comics Studies Society Taking up the role of laughter in society, How the Other Half Laughs: The Comic Sensibility in American Culture, 1895–1920 examines an era in which the US population was becoming increasingly multiethnic and multiracial. Comic artists and writers, hoping to create works that would appeal to a diverse audience, had to formulate a method for making the “other half” laugh. In magazine fiction, vaudeville, and the comic strip, the oppressive conditions of the poor and the marginalized were portrayed unflinchingly, yet with a distinctly comic sensibility that grew out of caricature and ethnic humor. Author Jean Lee Cole analyzes Progressive Era popular culture, providing a critical angle to approach visual and literary humor about ethnicity—how avenues of comedy serve as expressions of solidarity, commiseration, and empowerment. Cole’s argument centers on the comic sensibility, which she defines as a performative act that fosters feelings of solidarity and community among the marginalized. Cole stresses the connections between the worlds of art, journalism, and literature and the people who produced them—including George Herriman, R. F. Outcault, Rudolph Dirks, Jimmy Swinnerton, George Luks, and William Glackens—and traces the form’s emergence in the pages of Joseph Pulitzer’s New York World and William Randolph Hearst’s Journal-American and how it influenced popular fiction, illustration, and art. How the Other Half Laughs restores the newspaper comic strip to its rightful place as a transformative element of American culture at the turn into the twentieth century. |
| black images in the comics a visual history: Charlie Brown's America Blake Scott Ball, 2021-05-04 Despite--or because of--its huge popular culture status, Peanuts enabled cartoonist Charles Schulz to offer political commentary on the most controversial topics of postwar American culture through the voices of Charlie Brown, Snoopy, and the Peanuts gang. In postwar America, there was no newspaper comic strip more recognizable than Charles Schulz's Peanuts. It was everywhere, not just in thousands of daily newspapers. For nearly fifty years, Peanuts was a mainstay of American popular culture in television, movies, and merchandising, from the Macy's Thanksgiving Day Parade to the White House to the breakfast table. Most people have come to associate Peanuts with the innocence of childhood, not the social and political turmoil of the 1960s and 1970s. Some have even argued that Peanuts was so beloved because it was apolitical. The truth, as Blake Scott Ball shows, is that Peanuts was very political. Whether it was the battles over the Vietnam War, racial integration, feminism, or the future of a nuclear world, Peanuts was a daily conversation about very real hopes and fears and the political realities of the Cold War world. As thousands of fan letters, interviews, and behind-the-scenes documents reveal, Charles Schulz used his comic strip to project his ideas to a mass audience and comment on the rapidly changing politics of America. Charlie Brown's America covers all of these debates and much more in a historical journey through the tumultuous decades of the Cold War as seen through the eyes of Charlie Brown, Lucy, Linus, Peppermint Patty, Snoopy and the rest of the Peanuts gang. |
| black images in the comics a visual history: Bandits, Misfits, and Superheroes Josef Benson, Doug Singsen, 2022-03-08 Shortlisted Finalist for the 2023 Eisner Award for Best Academic/Scholarly Work American comics from the start have reflected the white supremacist culture out of which they arose. Superheroes and comic books in general are products of whiteness, and both signal and hide its presence. Even when comics creators and publishers sought to advance an antiracist agenda, their attempts were often undermined by a lack of awareness of their own whiteness and the ideological baggage that goes along with it. Even the most celebrated figures of the industry, such as Jerry Siegel and Joe Shuster, Jack Jackson, William Gaines, Stan Lee, Robert Crumb, Will Eisner, and Frank Miller, have not been able to distance themselves from the problematic racism embedded in their narratives despite their intentions or explanations. Bandits, Misfits, and Superheroes: Whiteness and Its Borderlands in American Comics and Graphic Novels provides a sober assessment of these creators and their role in perpetuating racism throughout the history of comics. Josef Benson and Doug Singsen identify how whiteness has been defined, transformed, and occasionally undermined over the course of eighty years in comics and in many genres, including westerns, horror, crime, funny animal, underground comix, autobiography, literary fiction, and historical fiction. This exciting and groundbreaking book assesses industry giants, highlights some of the most important episodes in American comic book history, and demonstrates how they relate to one another and form a larger pattern, in unexpected and surprising ways. |
| black images in the comics a visual history: Popular Culture Laura Buzzard, Don LePan, Nora Ruddock, Alexandria Stuart, 2023-07-24 Popular Culture: A Broadview Topics Reader is an accessible collection of non-fiction writing for composition students and students of popular culture. The anthology takes an expansive view of its subject, encompassing advertising, code-switching, social media, emerging technologies, the body positivity movement, cultural appropriation, and more. A wide variety of genres are represented, from personal and literary essays to journalism and academic writing. Selections are arranged by theme; the book also includes an alternative table of contents listing material by genre and rhetorical style, as well as suggested pairings of pieces that complement each other. Headnotes, explanatory notes, and discussion questions facilitate student engagement with each piece. A selection of color images features advertisements, journalistic photography, and other materials that aim to prompt classroom discussion. |
| black images in the comics a visual history: Encyclopedia of Comic Books and Graphic Novels M. Keith Booker, 2010-05-11 The most comprehensive reference ever compiled about the rich and enduring genre of comic books and graphic novels, from their emergence in the 1930s to their late-century breakout into the mainstream. At a time when graphic novels have expanded beyond their fan cults to become mainstream bestsellers and sources for Hollywood entertainment, Encyclopedia of Comic Books and Graphic Novels serves as an exhaustive exploration of the genre's history, its landmark creators and creations, and its profound influence on American life and culture. Encyclopedia of Comic Books and Graphic Novels focuses on English-language comics—plus a small selection of influential Japanese and European works available in English—with special emphasis on the new graphic novel format that emerged in the 1970s. Entries cover influential comic artists and writers such as Will Eisner, Alan Moore, and Grant Morrison, major genres and themes, and specific characters, comic book imprints, and landmark titles, including the pulp noir 100 Bullets, the post-apocalyptic Y: The Last Man, the revisionist superhero drama, Identity Crisis, and more. Key franchises such as Superman and Batman are the center of a constellation of related entries that include graphic novels and other imprints featuring the same characters or material. |
| black images in the comics a visual history: Migration, Diaspora, Exile Daniel Stein, Cathy C. Waegner, Geoffroy de Laforcade, Page R. Laws, 2020-05-27 Migration, Diaspora, Exile examines narratives of affiliation and escape that imagine migration to and in Europe and the Americas in terms of kinship, community, and refuge. They investigate a broad range of literary, cinematic, and civic interventions in past and present constructions of diasporic, migratory, or exilic identities. |
| black images in the comics a visual history: The New Nancy Jeff Karnicky, 2023-09 In The New Nancy Jeff Karnicky explores how today’s successful daily comic strips are flexible and relatable, and he uses Olivia Jaimes’s 2018 reboot of the long-running comic strip Nancy to illustrate the ways that contemporary comics have adapted to twenty-first-century technology and culture. Because comic creation has become part of the gig economy, flexible comics must be accessible to both online and print readers, and they must quickly grab readers’ attention. Flexible comic creators like Jaimes must focus both on the work of producing comics and on building an audience. Daily comics also must form a relatable connection with readers. Most contemporary comic creators cultivate an online persona through which they engage readers with specific identities, beliefs, and expectations. This work might form a mutually beneficial bond that results in a successful daily comic strip, but it risks becoming fraught, toxic, and sometimes even dangerous. Jaimes cultivates a relatable persona in connection with longtime readers and new fans. Nancy finds its humor in both nostalgic objects (like cookie jars) and contemporary technological objects (like smartphones). Rebooted comic strips like Nancy directly confront the stereotypical representations that haunt the past of comics. Focusing on Nancy’s role in contemporary culture, Karnicky uses literary studies, cultural studies, and media studies to argue that Jaimes’s comic strip has something to say about comics, contemporary culture, and the intersection of the two. |
| black images in the comics a visual history: Black Panther Dennis Culver, 2018 Explore over fifty years of history and art of the first mainstream black superhero, Marvel's Black Panther, with insight from those who helped create the character himself. From his first appearance in Fantastic Four (1966) to his current New York Times best-selling solo series, the King of Wakanda has been a force to be reckoned with on the page-and now, on the silver screen. A veteran Avenger and a member of the Illuminati, T'Challa's evolution from being a Jack Kirby and Stan Lee creation, to inspiring his own character-led film for Marvel Studios, to serving as a literal voice of the people and the state of race relations in twenty-first-century America has been legendary. As the first black superhero in mainstream American comics, debuting years before other industry heavy hitters like the Falcon, Luke Cage, and John Stewart (Green Lantern), Black Panther is a seminal figure in pop culture history. This deluxe hardcover book not only covers the history and creation of the character but also features exclusive concept art, layout and sketch art, and interviews.-- |
| black images in the comics a visual history: Desegregating Comics Qiana Whitted, 2023-05-12 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. |
| black images in the comics a visual history: The Phantom Comics and the New Left Robert Aman, 2020-02-14 This book is about the Phantom in Sweden, or, more correctly, about Sweden in the Phantom. Robert Aman uncovers how a peripheral American superhero – created in 1936 by Lee Falk – that has been accused of both racism and sexism has become a national concern in a country that several researchers have labelled the most antiracist and gender equal in the world. When a group of Swedish creators began their official production of licensed scripts based on The Phantomcomic in 1972, the character was redefined through the prism of New Left ideology. The plots of these comics, besides aiming to entertain, also sought to affirm for readers the righteousness and validity of an ideological doctrine that, at the time, was dominant among the Swedish public and influential in the country’s foreign policy. Ultimately, Aman demonstrates how the Swedish Phantom embodies values and a political point of view that reflect how Sweden sees itself and its role in the world. |
| black images in the comics a visual history: Redrawing the Historical Past Martha J. Cutter, Cathy J. Schlund-Vials, 2018-04 Redrawing the Historical Past examines how multiethnic graphic novels portray and revise U.S. history. This is the first collection to focus exclusively on the interplay of history and memory in multiethnic graphic novels. Such interplay enables a new understanding of the past. The twelve essays explore Mat Johnson and Warren Pleece’s Incognegro, Gene Luen Yang’s Boxers and Saints, GB Tran’s Vietnamerica, Scott McCloud’s The New Adventures of Abraham Lincoln, Art Spiegelman’s post-Maus work, and G. Neri and Randy DuBurke’s Yummy: The Last Days of a Southside Shorty, among many others. The collection represents an original body of criticism about recently published works that have received scant scholarly attention. The chapters confront issues of history and memory in contemporary multiethnic graphic novels, employing diverse methodologies and approaches while adhering to three main guidelines. First, using a global lens, contributors reconsider the concept of history and how it is manifest in their chosen texts. Second, contributors consider the ways in which graphic novels, as a distinct genre, can formally renovate or intervene in notions of the historical past. Third, contributors take seriously the possibilities and limitations of these historical revisions with regard to envisioning new, different, or even more positive versions of both the present and future. As a whole, the volume demonstrates that graphic novelists use the open and flexible space of the graphic narrative page—in which readers can move not only forward but also backward, upward, downward, and in several other directions—to present history as an open realm of struggle that is continually being revised. Contributors: Frederick Luis Aldama, Julie Buckner Armstrong, Katharine Capshaw, Monica Chiu, Jennifer Glaser, Taylor Hagood, Caroline Kyungah Hong, Angela Lafien, Catherine H. Nguyen, Jeffrey Santa Ana, and Jorge Santos. |
| black images in the comics a visual history: R. Crumb David Stephen Calonne, 2021-02-01 Robert Crumb (b. 1943) read widely and deeply a long roster of authors including Robert Louis Stevenson, Charles Dickens, J. D. Salinger, Jack Kerouac, William S. Burroughs, and Allen Ginsberg, as well as religious classics including biblical, Buddhist, Hindu, and Gnostic texts. Crumb’s genius, according to author David Stephen Calonne, lies in his ability to absorb a variety of literary, artistic, and spiritual traditions and incorporate them within an original, American mode of discourse that seeks to reveal his personal search for the meaning of life. R. Crumb: Literature, Autobiography, and the Quest for Self contains six chapters that chart Crumb’s intellectual trajectory and explore the recurring philosophical themes that permeate his depictions of literary and biographical works and the ways he responds to them through innovative, dazzling compositional techniques. Calonne explores the ways Crumb develops concepts of solitude, despair, desire, and conflict as aspects of the quest for self in his engagement with the book of Genesis and works by Franz Kafka, Jean-Paul Sartre, the Beats, Charles Bukowski, and Philip K. Dick, as well as Crumb’s illustrations of biographies of musicians Jelly Roll Morton and Charley Patton. Calonne demonstrates how Crumb’s love for literature led him to attempt an extremely faithful rendering of the texts he admired while at the same time highlighting for his readers the particular hidden philosophical meanings he found most significant in his own autobiographical quest for identity and his authentic self. |
| black images in the comics a visual history: Black Comics Sheena C. Howard, Ronald L. Jackson II, 2013-03-14 Winner of the 2014 Will Eisner Award for Best Scholarly/Academic Work. Bringing together contributors from a wide-range of critical perspectives, Black Comics: Politics of Race and Representation is an analytic history of the diverse contributions of Black artists to the medium of comics. Covering comic books, superhero comics, graphic novels and cartoon strips from the early 20th century to the present, the book explores the ways in which Black comic artists have grappled with such themes as the Black experience, gender identity, politics and social media. Black Comics: Politics of Race and Representation introduces students to such key texts as: The work of Jackie Ormes Black women superheroes from Vixen to Black Panther Aaron McGruder's strip The Boondocks |
| black images in the comics a visual history: The Funk Era and Beyond T. Bolden, 2016-04-30 The Funk Era and Beyond is the first scholarly collection to discuss the significance of funk music in America. Contributors employ a multitude of methodologies to examine this unique musical genre's relationship to African American culture and to music, literature, and visual art as a whole. |
| black images in the comics a visual history: Out of the Gutters Jorge J. Santos, Patrick Lawrence, 2025 How comics and graphic novels use obscenity and other taboos to shed light on important issues. |
| black images in the comics a visual history: Encyclopedia of African American Popular Culture Jessie Smith, 2010-12-17 This four-volume encyclopedia contains compelling and comprehensive information on African American popular culture that will be valuable to high school students and undergraduates, college instructors, researchers, and general readers. From the Apollo Theater to the Harlem Renaissance, from barber shop and beauty shop culture to African American holidays, family reunions, and festivals, and from the days of black baseball to the era of a black president, the culture of African Americans is truly unique and diverse. This diversity is the result of intricate customs forged in tightly woven communities—not only in the United States, but in many cases also stemming from the traditions of another continent. Encyclopedia of African American Popular Culture presents information in a traditional A–Z organization, capturing the essence of the customs of African Americans and presenting this rich cultural heritage through the lens of popular culture. Each entry includes historical and current information to provide a meaningful background for the topic and the perspective to appreciate its significance in a modern context. This encyclopedia is a valuable research tool that provides easy access to a wealth of information on the African American experience. |
| black images in the comics a visual history: The Routledge Companion to Comics Frank Bramlett, Roy Cook, Aaron Meskin, 2016-08-05 This cutting-edge handbook brings together an international roster of scholars to examine many facets of comics and graphic novels. Contributor essays provide authoritative, up-to-date overviewsof the major topics and questions within comic studies, offering readers a truly global approach to understanding the field. Essays examine: the history of the temporal, geographical, and formal development of comics, including topics like art comics, manga, comix, and the comics code; issues such as authorship, ethics, adaptation, and translating comics connections between comics and other artistic media (drawing, caricature, film) as well as the linkages between comics and other academic fields like linguistics and philosophy; new perspectives on comics genres, from funny animal comics to war comics to romance comics and beyond. The Routledge Companion to Comics expertly organizes representative work from a range of disciplines, including media and cultural studies, literature, philosophy, and linguistics. More than an introduction to the study of comics, this book will serve as a crucial reference for anyone interested in pursuing research in the area, guiding students, scholars, and comics fans alike. |
| black images in the comics a visual history: Shaolin Brew Troy D. Smith, 2024-06-17 Shaolin Brew: Race, Comics, and the Evolution of the Superhero looks at how the comic book industry developed from a white perspective and how minority characters were and are viewed through a stereotypical white gaze. Further, the book explores how voices of color have launched a shift in the industry, taking nonwhite characters who were originally viewed through a white lens and situating them outside the framework of whiteness. The financial success of Blaxploitation and Kung Fu films in the early 1970s led to major comics publishers creating, for the first time, Black and Asian superhero characters who headlined their own comics. The introduction of Black and Asian main characters, who previously only served as guest stars or sidekicks, launched a new kind of engagement between comics companies and minority characters and readers. However, scripted as they were by white writers, these characters were mired in stereotypes. Author Troy D. Smith focuses on Asian, Black, and Latinx representation in the comic industry and how it has evolved over the years. Smith explores topics that include Orientalism, whitewashing, Black respectability politics, the model minority myth, and political controversies facing fandoms. In particular, Smith examines how fans take the superheroes they grew up with—such as Luke Cage, Black Lightning, and Shang Chi—and turn them into the characters they wished they had as children. Shaolin Brew delves into the efforts of fans of color who urged creators to make these characters more realistic. This refining process increased as more writers and artists of color broke into the industry, bringing their own perspectives to the characters. As many of these characters transitioned from page to screen, a new generation of writers, artists, and readers have cooperated to evolve one-dimensional stereotypes into multifaceted, dynamic heroes. |
| black images in the comics a visual history: Encyclopedia of African American History, 1896 to the Present: O-T Paul Finkelman, 2009 Alphabetically-arranged entries from O to T that explores significant events, major persons, organizations, and political and social movements in African-American history from 1896 to the twenty-first-century. |
| black images in the comics a visual history: African Americans and Popular Culture Todd Boyd, 2008-10-30 The African American influence on popular culture is among the most sweeping and lasting this country has seen. Despite a history of institutionalized racism, black artists, entertainers, and entrepreneurs have had enormous impact on American popular culture. Pioneers such as Oscar Michaeux, Paul Robeson, Satchel Paige, Josh Gibson, Langston Hughes, Bill Bojangles Robinson, and Bessie Smith paved the way for Jackie Robinson, Nina Simone, James Baldwin, Bill Russell, Muhammad Ali, Sidney Poitier, and Bill Cosby, who in turn opened the door for Spike Lee, Dave Chappelle, Dr. Dre, Jay-Z, Tiger Woods, and Michael Jordan. Today, hip hop is the most powerful element of youth culture; white teenagers outnumber blacks as purchasers of rap music; black-themed movies are regularly successful at the box office, and black writers have been anthologized and canonized right alongside white ones. Though there are still many more miles to travel and much to overcome, this three-volume set considers the multifaceted influence of African Americans on popular culture, and sheds new light on the ways in which African American culture has come to be a fundamental and lasting part of America itself. To articulate the momentous impact African American popular culture has had upon the fabric of American society, these three volumes provide analyses from academics and experts across the country. They provide the most reliable, accurate, up-to-date, and comprehensive treatment of key topics, works, and themes in African American popular culture for a new generation of readers. The scope of the project is vast, including: popular historical movements like the Harlem Renaissance; the legacy of African American comedy; African Americans and the Olympics; African Americans and rock 'n roll; more contemporary articulations such as hip hop culture and black urban cinema; and much more. One goal of the project is to recuperate histories that have been perhaps forgotten or obscured to mainstream audiences and to demonstrate how African Americans are not only integral to American culture, but how they have always been purveyors of popular culture. |
| black images in the comics a visual history: Graphic Indigeneity Frederick Luis Aldama, 2020-06-04 Honorable Mention Recipient for the Comics Studies Society Prize for Edited Book Collection Contributions by Joshua T. Anderson, Chad A. Barbour, Susan Bernardin, Mike Borkent, Jeremy M. Carnes, Philip Cass, Jordan Clapper, James J. Donahue, Dennin Ellis, Jessica Fontaine, Jonathan Ford, Lee Francis IV, Enrique García, Javier García Liendo, Brenna Clarke Gray, Brian Montes, Arij Ouweneel, Kevin Patrick, Candida Rifkind, Jessica Rutherford, and Jorge Santos Cultural works by and about Indigenous identities, histories, and experiences circulate far and wide. However, not all films, animation, television shows, and comic books lead to a nuanced understanding of Indigenous realities. Acclaimed comics scholar Frederick Luis Aldama shines light on how mainstream comics have clumsily distilled and reconstructed Indigenous identities and experiences. He and contributors emphasize how Indigenous comic artists are themselves clearing new visual-verbal narrative spaces for articulating more complex histories, cultures, experiences, and narratives of self. To that end, Aldama brings together scholarship that explores both the representation and misrepresentation of Indigenous subjects and experiences as well as research that analyzes and highlights the extraordinary work of Indigenous comic artists. Among others, the book examines Daniel Parada’s Zotz, Puerto Rican comics Turey el Taíno and La Borinqueña, and Moonshot: The Indigenous Comics Collection. This volume’s wide-armed embrace of comics by and about Indigenous peoples of the Americas and Australasia is a first step to understanding how the histories of colonial and imperial domination connect the violent wounds that still haunt across continents. Aldama and contributors resound this message: Indigeneity in comics is an important, powerful force within our visual-verbal narrative arts writ large. |
| black images in the comics a visual history: The Cambridge Companion to Comics Maaheen Ahmed, 2023-08-31 Interweaving history and theory, this book unpacks the complexity of comics, covering formal, critical and institutional dimensions. |
| black images in the comics a visual history: Postcolonial Comics Binita Mehta, Pia Mukherji, 2015-04-24 This collection examines new comic-book cultures, graphic writing, and bande dessinée texts as they relate to postcolonialism in contemporary Anglophone and Francophone settings. The individual chapters are framed within a larger enquiry that considers definitive aspects of the postcolonial condition in twenty-first-century (con)texts. The authors demonstrate that the fields of comic-book production and circulation in various regional histories introduce new postcolonial vocabularies, reconstitute conventional image-functions in established social texts and political systems, and present competing narratives of resistance and rights. In this sense, postcolonial comic cultures are of particular significance in the context of a newly global and politically recomposed landscape. This volume introduces a timely intervention within current comic-book-area studies that remain firmly situated within the U.S.-European and Japanese manga paradigms and their reading publics. It will be of great interest to a wide variety of disciplines including postcolonial studies, comics-area studies, cultural studies, and gender studies. |
| black images in the comics a visual history: Super Black Adilifu Nama, 2011-10-01 Super Black places the appearance of black superheroes alongside broad and sweeping cultural trends in American politics and pop culture, which reveals how black superheroes are not disposable pop products, but rather a fascinating racial phenomenon through which futuristic expressions and fantastic visions of black racial identity and symbolic political meaning are presented. Adilifu Nama sees the value—and finds new avenues for exploring racial identity—in black superheroes who are often dismissed as sidekicks, imitators of established white heroes, or are accused of having no role outside of blaxploitation film contexts. Nama examines seminal black comic book superheroes such as Black Panther, Black Lightning, Storm, Luke Cage, Blade, the Falcon, Nubia, and others, some of whom also appear on the small and large screens, as well as how the imaginary black superhero has come to life in the image of President Barack Obama. Super Black explores how black superheroes are a powerful source of racial meaning, narrative, and imagination in American society that express a myriad of racial assumptions, political perspectives, and fantastic (re)imaginings of black identity. The book also demonstrates how these figures overtly represent or implicitly signify social discourse and accepted wisdom concerning notions of racial reciprocity, equality, forgiveness, and ultimately, racial justice. |
| black images in the comics a visual history: Multicultural Comics Frederick Luis Aldama, 2010-09-15 Frederick Aldama has done it again with another timely and valuable book about comics. Picking up from his pioneering book Your Brain on Latino Comics, he has gathered an insightful group of authors in Multicultural Comics that deftly engage, the intersectionality of race and identity, image and idea, theory and methods, and comics and politics. The impressive range of critical essays covers steep theoretical and cultural ground yet sure-footedly demonstrates that the grand fantasyscapes illustrated across various comic book configurations are a site of real and imagined racial differentiation intensely dialoguing with the self, the nation, and the world. |
| black images in the comics a visual history: Ugly Differences Yetta Howard, 2018-07-02 What would it mean to turn to ugliness rather than turn away from it? Indeed, the idea of ugly often becomes synonymous with non-white, non-male, and non-heterosexual physicality and experience. That same pejorative migrates to become a label for practices within underground culture. In Ugly Differences, Yetta Howard uses underground contexts to theorize queer difference by locating ugliness at the intersection of the physical, experiential, and textual. From that nexus, Howard contends that ugliness—as a mode of pejorative identification—is fundamental to the cultural formations of queer female sexuality. Slava Tsukerman's postpunk film Liquid Sky, Sapphire's poetry, Roberta Gregory's Bitchy Butch comix, New Queer Cinema such as High Art—these and other non-canonical works contribute to an audacious critique. Howard reveals how the things we see, read as, or experience as ugly productively account for non-dominant sexual identities and creative practices. Ugly Differences offers eye-opening ways to approach queerness and its myriad underground representations. |
| black images in the comics a visual history: Icons of the American Comic Book Randy Duncan, Matthew J. Smith, 2013-01-29 This book explores how the heroes and villains of popular comic books—and the creators of these icons of our culture—reflect the American experience out of which they sprang, and how they have achieved relevance by adapting to, and perhaps influencing, the evolving American character. Multiple generations have thrilled to the exploits of the heroes and villains of American comic books. These imaginary characters permeate our culture—even Americans who have never read a comic book grasp what the most well-known examples represent. But these comic book characters, and their creators, do more than simply thrill: they make us consider who we are and who we aspire to be. Icons of the American Comic Book: From Captain America to Wonder Woman contains 100 entries that provide historical background, explore the impact of the comic-book character on American culture, and summarize what is iconic about the subject of the entry. Each entry also lists essential works, suggests further readings, and contains at least one sidebar that provides entertaining and often quirky insight not covered in the main entry. This two-volume work examines fascinating subjects, such as how the superhero concept embodied the essence of American culture in the 1930s; and the ways in which comic book icons have evolved to reflect changing circumstances, values, and attitudes regarding cultural diversity. The book's coverage extends beyond just characters, as it also includes entries devoted to creators, publishers, titles, and even comic book related phenomena that have had enduring significance. |
| black images in the comics a visual history: Captain Marvel and the Art of Nostalgia Brian Cremins, 2017-01-03 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. |
| black images in the comics a visual history: The Art of Controversy Victor S. Navasky, 2013 A lavishly illustrated, witty, and learned look at the awesome power of the political cartoon throughout history to enrage, provoke, and amuse. Navasky, a former editor of The New York Times Magazine and the longtime editor of The Nation, guides readers through some of the greatest cartoons ever sketched. |
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r/PropertyOfBBC - Reddit
A community for all groups that are the rightful property of Black Kings. ♠️ Allows posting and reposting of a wide variety of content. The primary goal of the channel is to provide black men …
Black Women - Reddit
This subreddit revolves around black women. This isn't a "women of color" subreddit. Women with black/African DNA is what this subreddit is about, so mixed race women are allowed as well. …
Nothing Under - Reddit
r/NothingUnder: Dresses and clothing with nothing underneath. Women in outfits perfect for flashing, easy access, and teasing men.
Links to bs and bs2 : r/Blacksouls2 - Reddit
Jun 25, 2024 · Someone asked for link to the site where you can get bs/bs2 I accidentally ignored the message, sorry Yu should check f95zone.
r/blackbootyshaking - Reddit
r/blackbootyshaking: A community devoted to seeing Black women's asses twerk, shake, bounce, wobble, jiggle, or otherwise gyrate.
You can cheat but you can never pirate the game - Reddit
Jun 14, 2024 · Black Myth: Wu Kong subreddit. an incredible game based on classic Chinese tales... if you ever wanted to be the Monkey King now you can... let's all wait together, talk and …
How Do I Play Black Souls? : r/Blacksouls2 - Reddit
Dec 5, 2022 · sorry but i have no idea whatsoever, try the f95, make an account and go to search bar, search black souls 2 raw and check if anyone post it, they do that sometimes. Reply reply …
There's Treasure Inside - Reddit
r/treasureinside: Community dedicated to the There's Treasure Inside book and treasure hunt by Jon Collins-Black.
Black Twitter - Reddit
This sub is intended for exceptionally hilarious and insightful social media posts made by black people. To that end, only post social media content from black people. Do not post content just …
Cute College Girl Taking BBC : r/UofBlack - Reddit
Jun 22, 2024 · 112K subscribers in the UofBlack community. U of Black is all about college girls fucking black guys. And follow our twitter…
