The Bronze Age of Comics c.1970-c.1985
•Télécharger en tant que PPTX, PDF•
1 j'aime•419 vues
Slides for guest lecture on Bronze Age of comics for Eng 3370 http://libguides.uta.edu/comics/3370 with @StephanieNNoell on 4/21/2014 CC license applied for any original content.
Recommandé
Contenu connexe
Plus de librarianrafia
Plus de librarianrafia (20)
Dernier
Dernier (20)
The Bronze Age of Comics c.1970-c.1985
- 1. The Bronze Age of Comics c.1970-c.1985 1
- 2. • Bronze Age • Second Wave Feminism • Civil Rights Movement • Intersectionality • Popular Culture • Readings 2
- 3. The Bronze Age 3
- 4. Second Wave Feminism 4
- 8. Readings 8
- 9. Ms. Marvel #1 9
- 10. Secret Origins #20 10
- 11. Giant-Size X-Men #1 11
Notes de l'éditeur
- Stephanie “Such darker and more pessimistic storylines heralded the beginning of the Bronze Age, a period lasting from the 1970s through the mid-1980s. While the popularity of Silver Age superheroes persisted through this era, its negative themes laid the groundwork for the dystopias prevalent in the more recent Modern Age. Bronze Age storylines typically centered on urban unrest and real-world issues such as illegal drug use, racism, poverty, and social injustice. Many heroes experienced the effects of these social problems on a personal level. Several ethnic minority characters appeared, including Marvel's Luke Cage, who debuted in Luke Cage: Hero for Hire #1 in 1972, and the African American Green Lantern, John Stewart, who debuted in Green Lantern volume 2 #87 in 1971.” Tim, Bryant. "Ages of Comics." Encyclopedia of Comic Books and Graphic Novels. Ed. M. Keith Booker. Vol. 1. Santa Barbara, CA: Greenwood Press, 2010. 12-14. Gale Virtual Reference Library. Web. 21 Jan. 2014. “While there is no clear break between the end of the Silver Age and the start of the Bronze Age, several changes in superhero comics between 1968 and 1973 are generally recognized as marking a shift in the tone and nexus of concerns of the genre, with 1970 being the most commonly designated year for the changeover of ages. Some extra-textual events of 1970 that mark the end of the Silver Age include Jack Kirby's shift from Marvel to DC; the purge of veteran writers at DC that was nearly complete in that year; the fading of MLJ and Charlton as superhero publishers; the publication of The Comic Book Price Guide by Robert Overstreet, which provided a nearly complete index of comics published since 1933 and standards for grading and pricing comics, making public knowledge that had been the private preserve of specialists and institutionalizing the monetary value of old comic books; and the publication of All in Color for a Dime, edited by Don Thompson and Dick Lupoff, and Jim Steranko's The Steranko History of Comics, both of which looked back with nostalgic fondness on the Golden Age of superheroes. Within the comics themselves the deaths of Gwen Stacey and the Green Goblin (Amazing Spider-Man #122–123, July-August 1973); Captain America's disillusionment at discovering the President of the United States to be the head of the Secret Empire, a fictionalized depiction of Watergate, and his subsequent adoption of the Nomad identity (#175–76, July-August 1974); the end of the Teen Titans’ experiment in social activism, and the series return to formula (Teen Titans #31–32, January-April 1971). These issues can be seen as the end of relevance for these characters. The Bronze Age featured few innovations in the superhero genre, with the primary movement being to refine the advances of the Silver Age. Few new characters were created at either Marvel or DC during the 1970s—Nova and Firestorm seem to be new versions of Peter Parker, but neither was groundbreaking, as the troubled teen superhero soap-operatic saga had already been around for over a decade. Peter Parker himself shifted from being a nerdy loser high school student to a handsome, successful, Pulitzer Prize-winning college graduate and professional photo-journalist. African Americans as both superheroes and supporting characters became more common. The Defenders, proclaimed as a “non-team,” began in 1971, a twist on the pro-social vision of Julius Schwarz's Silver Age Justice League. Superman's powers were reduced with the creation of the Qward sand-Superman, and Kryptonite was denuded and transformed into K-iron. Other refinements included the cosmic stories (Kirby's Fourth World, Starlin's Warlock), and the growth of team books (the X-Men, the Avengers, the JLA, and the Legion of Super-Heroes all expanded). The Iron Age, which began about 1980, featured a turning inward of the genre, driven by two industry trends. First, the creative staffs of the companies changed from primarily professional writers and artists who viewed their work as merely one way to make a living, to fans who specifically wanted to work in the comics industry, a trend begun in the 1960s. Second, as the traditional system of newsstand distribution and sales waned in the late 1970s, comic book publishers increasingly turned to direct distribution and comic-book specialty shops because of the higher profit margin the new system offered. The primary customers of these stores were self-identified comic-book (especially superhero) fans, and these fans became the target market for the publishers. With the producers and consumers largely coming from the same small segment of the population and sharing the same cultural and literary interests, the superhero genre turned in on itself away from the larger social concerns that had driven the genre in the Golden Age and the interest in relevance in the late Silver Age. A primary thrust of the Iron Age was the reinvigoration of old, tired concepts. Self-conscious revivals sprouted everywhere: the Fantastic Four and Superman by John Byrne; Daredevil and Batman by Frank Miller; Thor by Walter Simonson; Captain Marvel in Miracleman and the Charlton heroes in Watchmen, both by Alan Moore; the new Teen Titans by Marv Wolfman and George Pérez. Perhaps the greatest example of reinvigoration in the Iron Age is the Crisis on Infinite Earths, which combined DC's multiple Earths into a single planet with a single unified history and necessitated a rewriting of the history of the DC multiverse.” Coogan, Peter. "Superheroes." Encyclopedia of Comic Books and Graphic Novels. Ed. M. Keith Booker. Vol. 2. Santa Barbara, CA: Greenwood Press, 2010. 605-613. Gale Virtual Reference Library. Web. 29 Jan. 2014. Race Sexuality Drugs Distrust in authority (Watergate) QUILTBAG ignored
- Rafia Sexual revolution (skimpy costumes) Wonder Woman #178 1968 Ms Magazine (July 1972) Got powers back in February 1973
- Stephanie Black Panther -- Fantastic Four #52 (July 1966) – first African superhero Falcon -- Captain America #117 (Sept. 1969) – first African-American superhero John Stewart (Green Lantern) -- Green Lantern vol. 2, #87 (December 1971/January 1972) Luke Cage (Power Man) -- Luke Cage, Hero for Hire #1 (June 1972) Storm (X-Men #1 1975) & Bumblebee --Teen Titans #45 (December 1976)
- Rafia Setting up for Modern Age issues/third wave feminism issues (from left to right, top to bottom) 1) Manitou Dawn, Kimiyo Hoshi (Doctor Light), Kiran Singh (Solstice), Sira Baz, Rhonda Pineda (Atomica), Tana Moon, Mari McCabe (Vixen), Traci Thirteen. 2) Anissa Pierce (Thunder), Renee Montoya (The Question), Kate Kane (Batwoman), Ev Crawford (Starling), Shen Li-Min (Swift), Ya’Wara, Dawnstar, Holly Robinson (Catwoman II). 3) Kate Godwin (Coagula), Alysia Yeoh 4) Barbara Gordon (Oracle), Beth Chapel (Doctor Midnight) 5) Grace Choi, Amanda Waller, Cassandra Cain (Batgirl/Blackbat), Karen Starr (Power Girl) 6) Koriand’r (Starfire), Lois Lane, Kahina
- Stephanie The 70s gave “the world the first black Bond girl, the first black model on the cover of Vogue magazine, and, in 1975, the first major black comic book superheroine”—Storm. The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines By Mike Madrid
- What did you guys think?
- “Perhaps the quintessential superheroine of the 70s was Storm. The decade had given the world the first black Bond girl, the first black model on the cover of Vogue magazine, and, in 1975, the first major black comic book superheroine. Ororo Munroe was the daughter of a Kenyan princess and an African American photojournalist, born in Harlem and later orphaned in Cairo, where she became a pickpocket and expert thief. As a teenager she wandered to the Serengeti, where her powers to control the weather made her the object of worship among the native people. Ororo was recruited by Professor X to join the new incarnation of his X-Men, and to find her place in the world. “You are no goddess, Ororo. You are a mutant—and have responsibilities,” the professor tells her. “Come with me, child. Taste the world outside. You may find its flavor bitter—or surprisingly sweet.” With these words, Professor X lured Ororo from her life of isolation to discover a new one. The limitless promise of a new world of sights and sensations was what women in the real world were experiencing as new doors opened for them, allowing them a new life exploration. Ororo was code-named Storm, one of the first heroines to bear a modern nom de guerre that didn’t use “girl,” “woman,” or “lady.” After her would come a long line of woman with names like Apparition, Mystique, Mirage, and Fahrenheit. Tall, stately and elegant, with a mane of long white hair, angular exotic features, and blue eyes, Storm eschewed the blaxpoitation aesthetic of the times by forgoing hot pants and giant afros. Storm wore a typically sexy costume of the early disco era—a shiny black swimsuit with skin baring cutouts and thigh high boots with heels. But, the costume didn’t look sleezy or salacious due to Storm’s regal air of confidence and power. She was sexy without being overtly sexual—her allure came from her powerful persona, and goddess-like quality.” The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines By Mike Madrid