New PDF release: Comic Books and the Cold War, 1946-1962: Essays on Graphic

By Chris York, Rafiel York

ISBN-10: 0786449810

ISBN-13: 9780786449811

Traditional knowledge holds that comedian books of the post-World warfare II period are poorly drawn and poorly written courses, amazing just for the furor they raised. members to this considerate assortment, despite the fact that, exhibit that those comics represent complicated cultural records that create a discussion among mainstream values and replacement ideals that question or complicate the grand narratives of the period. shut research of person titles, together with EC comics, Superman, romance comics, and different, extra vague works, finds the methods chilly conflict culture--from atomic anxieties and the to communist hysteria and social inequalities--manifests itself within the comedian books of the period. via illuminating the complexities of mid-century photograph novels, this examine demonstrates that postwar pop culture was once faraway from monolithic in its illustration of yank values and ideology.

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Traditional knowledge holds that comedian books of the post-World conflict II period are poorly drawn and poorly written guides, awesome just for the furor they raised. individuals to this considerate assortment, besides the fact that, display that those comics represent complicated cultural records that create a discussion among mainstream values and substitute ideals that query or complicate the grand narratives of the period.

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Extra resources for Comic Books and the Cold War, 1946-1962: Essays on Graphic Treatment of Communism, the Code and Social Concerns

Sample text

Kent Blake of the Secret Service #13 (May 1953), 20th Century Comic [Marvel Comics]. Whitfield, Stephen. The Culture of the Cold War. Baltimore: Johns Hopkins University Press, 1991. Print. Whitney, Ogden (a). ” Spy-Hunters #6 ( June-July 1950), Best Syndicated Features [American Comics Group]. Winkler, Allan. Life Under a Cloud: American Anxiety About the Atom. New York: Oxford University Press, 1999. Print. “A Word Here ... ” Top Secret #1 ( Jan. 1952), Hillman Periodicals. Wright, Bradford.

In Whitfield 102). Primers and comics underscored the lurking threat communists posed to Americans and introduced their young audience to the anxieties and paranoia of the era. Since communism had no restrictions on demographics, “parlor pinks” could be anyone, and Cold War comic books vividly presented American traitors and sympathizers. ” (“Homicide”). S. Treasury agent Pete Trask observes Soviet-hired assassins that included English, French, Italians, and Americans. ” that he implored, “For heaven’s sake —tell me!

With such fundamental American values at stake, publishers conveyed real-life anxieties in their work. With the Hollywood blacklist, Alger Hiss’s trials for espionage and perjury, and public concerns about subversive threats from the 1940s onward, creators catered to those fears as they crafted espionage tales to simulate real-life suspense and thrills. In the uncredited story “A Word Here.... A Word There” one inspired agent describes the explosive uses of playing cards and brass bearings, while another comic inaugurates a “School for Spies” with lessons on invisible ink and truth serums.

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Comic Books and the Cold War, 1946-1962: Essays on Graphic Treatment of Communism, the Code and Social Concerns by Chris York, Rafiel York


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