Relevant bibliographies by topics / Captain America (Comic strip)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Captain America (Comic strip)'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Captain America (Comic strip)"

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Anggara, Dimas. "The Death Of Captain America Represents The Failure Of The American Dream." Paradigma, Jurnal Kajian Budaya 4, no. 2 (March 11, 2016): 89. http://dx.doi.org/10.17510/paradigma.v4i2.44.

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<p>American Dream is a concept that plays an important role in the American history and its society. The main values of the American Dream are life, liberty, and pursuit of happiness. These are represented in Captain America, carrier of the spirit of America to the world. Captain America, the main character in a comic, also preserved the values in the American Dream, so it is proven that there is a relation between Captain America and the American Dream. The problem is that there are changes in the way people see the concept of the American Dream today. It is because many people tend to simplify the values in which the concept off ers. This paper examines the relation between the change of perspective and the way the people in the U.S in applying the American Dream with the death of Captain America as the representation of the American Dream. This paper argues that the Death of Captain America can be a representation of the failure in the concept because Captain America died defending what he believed as the true American Dream that all the people in the U.S should preserve. Thus, many people believe the values which Captain America preserved are no longer suitable in the society today.</p>
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DUBOSE, MIKE S. "Holding Out for a Hero: Reaganism, Comic Book Vigilantes, and Captain America." Journal of Popular Culture 40, no. 6 (December 2007): 915–35. http://dx.doi.org/10.1111/j.1540-5931.2007.00478.x.

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Jefferson, Jasmine L. "Sources: Icons of the American Comic Book: From Captain America to Wonder Woman." Reference & User Services Quarterly 53, no. 1 (September 1, 2013): 87–88. http://dx.doi.org/10.5860/rusq.53n1.87.

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Mitchell, Jane P., and Joseph D. George. "What do Superman, Captain America, and Spiderman have in Common? The Case for Comics Books." Gifted Education International 11, no. 2 (January 1996): 91–94. http://dx.doi.org/10.1177/026142949601100205.

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The paper analyses the use of comic book super heroes who fight somebody's evils as useful for the teaching of values to exceptional children. The values can be presented in a popular medium which can be used to initiate discussion and critical thinking.
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Glasberg, Ronald. "Sam and His Laugh: A Comic Strip Reflection of Turn-of-the-Century America." Journal of American Culture 8, no. 1 (March 1985): 87–94. http://dx.doi.org/10.1111/j.1542-734x.1985.0801_87.x.

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Hagley, Annika, and Michael Harrison. "Fighting the Battles We Never Could: The Avengers and Post-September 11 American Political Identities." PS: Political Science & Politics 47, no. 01 (December 29, 2013): 120–24. http://dx.doi.org/10.1017/s1049096513001650.

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On June 26, 2012, Marvel'sThe Avengersbecame the third movie in history to earn $600 million dollars at the box office. The film was well received by fans and critics alike and it stood at the apex of a series of superhero movies released in the last decade. The mass appeal of the superhero, as evidenced by this success, has never seemed more powerful than in the years since September 11, a day that floored the likes of Captain America, who wept amidst the rubble with Spider-Man. “Some things are beyond words. Beyond comprehension. Beyond forgiveness” (Straczynski, Romita, and Hanna 2001, 2–3). In this atmosphere of uncertainty, comic book writers struggle to deal with the realization that, when America needed its heroes the most, they could only stand among the wreckage of the smoldering twin towers with the rest of us and ask “why?”
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Cosse, Isabella. "Mafalda: Middle Class, Everyday Life, and Politics in Argentina, 1964-1973." Hispanic American Historical Review 94, no. 1 (February 1, 2014): 35–75. http://dx.doi.org/10.1215/00182168-2390604.

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Abstract In this article I reconstruct the history of Mafalda, the famous comic strip by the Argentine cartoonist Quino that was read, discussed, and viewed as an emblematic representation of Argentina’s middle class. With the aim of contributing to discussions on the interpretation of the middle class in Argentina and Latin America, I examine the emergence, circulation, and sociopolitical significance of the comic from its first strips in 1964 until Quino stopped producing new installments in 1973, making use of two conceptual and methodological approaches: a perspective situated at the intersection of the everyday and the political, as well as a consideration of humor as a way of exploring social identities. I argue first that Mafalda’s ironic and conceptual humor worked with the contradictions of the middle class as it faced social modernization, cultural and political radicalization, and a weakening democracy. Second, I suggest that the strip contributed to a representation of a heterogeneous middle class marked by ideological differences but nonetheless conceived as one. Third, I claim that such a representation lost its relevance with the political polarization and violence of the 1970s, as portraying a middle class—or a society—united despite differences was no longer feasible in that context. To illustrate this, the article closes by noting that, shortly after Mafalda was discontinued, state terrorism would brutally demonstrate just how little space there was in Argentina for the young, antiestablishment generation depicted in the strip.
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Burt, Stephanie. "How to Write About Superheroes." American Literary History 32, no. 3 (2020): 598–608. http://dx.doi.org/10.1093/alh/ajaa018.

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Abstract Eighty years after the first Superman comic, scholars are catching up to the importance, and to the popularity, of superheroes in comics and in other media. Recent monographs and edited collections examine racial politics, disabilities, other identities, and reception history across a range of decades and of superhero characters. Most of these worthy works remain within the limits of critique, judging the comics on how well they handle one or another theme; the result is a picture of superhero comics that cannot do justice to the genre. To them and to their like, the academic critics of the future might add—what vernacular comics critics already contribute—additional attention to what one or another character does best, to the transformative potential of even minor superhero work, and to how commercially produced superhero comics at their best handle narrative form. One superhero symbol can work many ways, as Neal Curtis’s examination of Truth and other Captain America stories shows: Cap has repeatedly fought off right-wing doubles, alternatively costumed versions of himself who aspired to make America white again.
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Ivasyshyn, M. R. "Реализация вербального и визуально-графического аспектов мультимодальности в англоязычном комиксе." Science and Education a New Dimension VI(161), no. 48 (April 27, 2018): 27–30. http://dx.doi.org/10.31174/send-ph2018-161vi48-06.

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Martins, Giovana Maria Carvalho, Rebecca Carolline Moraes Da Silva, and Raquel De Medeiros Deliberador. "Considerações Sobre o Filme “Capitão América - O Primeiro Vingador” (2011) e suas Possibilidades para o Ensino de História." Revista de Ensino, Educação e Ciências Humanas 19, no. 1 (April 18, 2018): 36. http://dx.doi.org/10.17921/2447-8733.2018v19n1p36-43.

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O presente artigo problematiza a história do personagem Capitão América, originário dos quadrinhos, que ganhou uma adaptação fílmica no ano de 2011, intitulada “Capitão América – O Primeiro Vingador”. Considera-se o contexto histórico de sua criação e os contextos dos diferentes momentos em que reapareceu, analisando questões históricas representadas no flme. Objetiva-se discorrer sobre as relações entre História e cinema e seu uso no ensino de História. A partir dessas considerações e do entendimento do cinema como portador de um discurso, que pode proporcionar uma aprendizagem histórica, abordam-se possíveis maneiras de como os espectadores podem ser influenciados pelos valores e conhecimentos históricos, que o flme tenta transmitir e a importância do uso do cinema no ensino de História como mediador cultural. A metodologia do trabalho se baseia em revisão bibliográfca e análise historiográfca pautadas nas considerações de Ferro (2010) e Rosenstone (2010), que versam sobre a relação entre cinema e história. São utilizados os trabalhos de Souza (2002), Duarte (2009) e Napolitano (2009) sobre o uso do cinema nas salas de aula, pensando no ensino de História, e de Siman (2004) sobre os mediadores culturais. O resultado deste artigo é sua contribuição para a análise da relação do Cinema com a História, dos recursos fílmicos como fontes para o ensino de História, bem como a abordagem da personagem em seu contexto histórico. Conclui-se que o cinema é um difusor de conhecimentos e representações históricas, que devem ser pensadas e trabalhadas, pelos professores, como fontes históricas em sala de aula.Palavras-chave: Ficção Histórica. Cultura Histórica. Cinema e História.AbstractThis article problematizes the story of the character Captain America, originally from comic books that was adapted into a movie in 2011, entitled “Captain America – The First Avenger”. It was considered the historical context in which this character was created and the contexts of different moments when he reappeared, analyzing historical questions shown in the movie. The objective is to talk about the relationships between History and cinema and its use in History teaching. From these considerations and the understanding of cinema as a bearer of a speech able to provide historical learning, some feasible manners were approached in which spectators can be influenced by values and historical backgrounds that the movie tries to express and the importance of using movies in History teaching as cultural mediator. The methodology of this work is based on bibliographical review and historiographical analysis guided by considerations of Ferro (2010) andRosenstone (2010), both discussing the relationship between cinema and history. We also mention works of Souza (2002), Duarte (2009) and Napolitano (2009) about the use of movies inside the classroom, thinking about History teaching and Siman (2004) about cultural mediators. The result of this article is its contribution for the analysis of the associations between Cinema and History, of the flm features as sources for History teaching, as well as the character’s approach in its historical context. It is concluded that cinema is a broadcaster of knowledge and historical representations that must be thought and worked by the teachers as sources inside the classroom.Keywords: Historical Fiction. Historical Culture. Cinema and History.
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Dissertations / Theses on the topic "Captain America (Comic strip)"

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Serge, Evan John. "O Captain, My Captain! U.S Newspaper Framing of the Death of Captain America." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/32593.

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This thesis explores how U.S. newspapers framed the death of Captain America. Specifically, the presence of various frames and their classifications was determined via a content analysis of 139 newspaper articles. Additionally, this thesis explores relationships between frame substance and other frame classifications. Generic/recurring frames were more prevalent than issue-specific/recurring frames. Frames tended to be episodic more often than thematic. Frames were also most likely to be neutral in valence, though differences from this overall trend emerged in some individual frames. Frames tended to be ambiguous rather than substantive. No relationship emerged between frame substance and the classification of generic/issue-specific frames, nor did one emerge between frame substance and the episodic/thematic frame classification. However, frames possessing negative valence were more likely to be ambiguous than frames possessing positive valence. Implications for framing theory and the news coverageâ s treatment of Captain Americaâ s death as an indicator of post-9/11 American identity are also discussed. Limitations of this study and opportunities for future research are acknowledged.
Master of Arts
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Borrero, Brittni M. "Faded Glory: Captain America and the Wilted American Dream." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334586489.

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Steinmetz, Christian J. "A Genealogy of Absence & Evil: Tracing the Nation's Borders with Captain America." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-07162008-095222/.

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Thesis (M.A.)--Georgia State University, 2008.
Title from file title page. Mary E. Stuckey, committee chair; Greg Smith, Ted Friedman, committee members. Electronic text (220 p.) : digital, PDF file. Description based on contents viewed Sept. 19, 2008. Includes bibliographical references (p. 213-220).
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Cerencio, Priscilla Ferreira. "O escudo da América: o discurso patriótico na revista Captain America Comics (1941-1954)." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-17042014-112811/.

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Quando nos deparamos com a imagem do personagem Capitão América tendemos a relacioná-lo com um herói confiante, tão patriótico que veste a bandeira de seu país. O super-herói, criado por Joe Simon e Jack Kirby na década de 1940, ao longo do século XX se transformou em um ícone tão representativo da nação americana quanto o próprio Tio Sam. Nesta dissertação nos propomos a analisar os aspectos centrais do discurso patriótico contido na revista Captain America Comics, publicada nos Estados Unidos entre os anos de 1941 e 1954. Seguindo a metodologia americana, analisamos as publicações observando como esta mídia, ciente de sua influência na cultura popular e seu papel como um meio de comunicação de massa, busca entreter e formar a opinião do público leitor, acompanhando as transformações do país durante a Segunda Guerra Mundial e nos anos que a seguiram.
When we faced the image of the character Captain America we tend to relate him with a confident and such patriotic superhero that even wears the flag of his country. The superhero, created by Joe Simon and Jack Kirby in the 1940s, during the 20th century became an icon as representative of the American nation as Uncle Sam itself. In this M.A. thesis we intent to examine the most significant aspects of the patriotic speech contained in the comic book Captain America Comics, published in the United States between 1941 and 1954. Following the American methodology, we analyzed the publications noting how this media, aware of its influence on popular culture and its role as a mass communication media, tries to entertain as also form the opinion of the readership, accompanying the transformations of the country duringWorldWar II and the years that followed.
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Mussarelli, Felipe. "A narrativa transmídia como gênero do discurso : um estudo de caso do longa-metragem Capitão América 2 o soldado invernal." Universidade Federal de São Carlos, 2017. https://repositorio.ufscar.br/handle/ufscar/9349.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
The current entertainment industry finds itself dominated by big media groups, whose reach starts from production through distribution until the content exhibition in many platforms, with high revenue stream. This study aimed to compare the concept of transmedia storytelling by Henry Jenkins with Mikhail Bakhtin’s language theory by means of the hypothesis of that transmedia storytelling might be a bakhtinian speech genre. For this reason, we considered Captain American: the winter soldier (Anthony Russo and Joe Russo, 2014) and its narrative expansion produced in comic, short motion videos, television series and video games. Besides analyzing the motion picture, we sought to observe in which way the three speech genre elements (theme, style and compositional content) behaved in each narrative expansion of the motion picture in comparison to the character Captain America’s narratives not linked to the motion. As a result, we noticed that, while each narrative genre element not linked to the motion behaved independently, the linked narrative elements behaved similarly leading us to the conclusion that transmedia storytelling can be considered a bakhtinian speech genre.
O atual mercado do entretenimento encontra-se dominado por grandes grupos midiáticos cujo alcance abrange desde a produção, passando pela distribuição até a exibição de conteúdo em diversas plataformas e suportes, movimentando altos valores. Nesse cenário, o presente trabalho buscou cotejar o conceito de Narrativa Transmídia, tal como formulado de Henry Jenkins, com os estudos de linguagens de Mikhail Bakhtin, por meio da hipótese de que a narrativa transmídia pode se configurar como um gênero bakhtiniano do discurso. Para tal, tomamos como objeto da pesquisa o filme Capitão América 2: o soldado invernal (Captain America: the winter soldier, Anthony Russo e Joe Russo, 2014) e suas expansões narrativas produzidas em formato de história em quadrinhos, curtametragem, série televisiva e jogo eletrônico. Além de analisar o longa-metragem, buscamos observar de que maneira os três elementos constituintes do gênero do discurso (tema, estilo e forma composicional) comportam-se em cada uma das expansões narrativas do longa-metragem em comparação com narrativas do personagem Capitão América não vinculadas ao longa-metragem. Como resultado notamos que, enquanto os elementos do gênero de cada uma das narrativas não vinculadas comportam-se de forma independente entre si, os elementos de cada um dos gêneros das expansões narrativas ligadas ao longa-metragem comportam-se de forma bastante semelhante, o que nos levou a concluir que a narrativa transmídia pode ser considerada um gênero bakhtiniano do discurso.
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Sheppard, Natalie R. "Invincible: Legacy and Propaganda in Superhero Comics." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1943.

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Captain America and Iron Man are both iconic American heroes, representing different American values. Captain America was created during the Golden Age of comics and represents a longing for the past, while Iron Man was created at the height of the Cold War and looks forward to a new America. This paper will first establish the historical and cultural relationship between comic books and propaganda, beginning with the first appearance of Superman. It will pay special attention to the similarities and differences of Captain America and Iron Man, focusing on their representation of American values over time, and discuss how that aspect of the characters affects their ongoing titles today.
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Ledbetter, Forest L. "A narrative analysis of Captain America's new deal." Thesis, 2012. http://hdl.handle.net/1957/30054.

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In response to the events on September the Eleventh, various media attempted to make sense of the seemingly radical altered political landscape. Comic books, though traditionally framed as low brow pulp, were no exception. This thesis is a work of rhetorical criticism. It applies Walter Fisher's Narrative Paradigm to a specific set of artifacts: John Ney Rieber and John Cassaday's six-part comic series, collectively titled Captain America: The New Deal (2010). The question that is the focus of this thesis is: Does The New Deal, framed as a response to the events surrounding September the Eleventh, form a rhetorically effective narrative? The analysis that follows demonstrates the importance of meeting audience expectations when presenting them with controversial viewpoints.
Graduation date: 2012
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Books on the topic "Captain America (Comic strip)"

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Waid, Mark. Captain America: Operation rebirth. New York: Marvel Comics, 1996.

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Stern, Roger. Stan Lee presents Captain America. Edited by Lee Stan and Byrne John 1950-. New York: Marvel Comics, 1990.

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1974-, Acuña Daniel, Choi Mike, Renaud Paul 1975-, and Caramagna Joe, eds. Captain America: Not my Captain America : Sam Wilson. New York, NY: Marvel Worldwide, Incorporated, 2016.

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Priest. Captain America. New York: Marvel Comics, 2004.

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Lee, Stan. Captain America, the movie!: The living legend of World War II faces his greatest foe ... the red skull. Edited by Simon Joe and Kirby Jack. New York, N.Y: Marvel Comics, 1992.

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Brubaker, Ed. Captain America. New York: Marvel Comics, 2006.

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Brubaker, Ed. Captain America. New York: Marvel Comics, 2006.

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Stan, Lee, Adams Arthur, Thibert Art, and Milgrom A, eds. Stan Lee presents The new Fantastic Four: Monsters unleashed. New York N.Y: Marvel Comics, 1992.

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Jones, R. A. Wolverine, Captain America. New York: Marvel, 2012.

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1961-, Pacheco Carlos, ed. Captain America: Loose nuke. New York: Marvel, 2014.

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Book chapters on the topic "Captain America (Comic strip)"

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Cremins, Brian. "Steamboat’s America." In Captain Marvel and the Art of Nostalgia. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496808769.003.0005.

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Steamboat, Billy Batson’s friend and valet, was a stereotypical African American character who appeared in Fawcett’s comic books until 1945, when a group of New York City middle school students visited Captain Marvel editor Will Lieberson. Those students, all part of a program called Youthbuilders, Inc., successfully argued for the character’s removal. Drawing on the work of Ralph Ellison, Toni Morrison, and George Yancy, this chapter studies the character and his similarities to other racial caricatures in U. S. popular culture of the era. It also provides a short history of the Youthbuilders, an organization created by social worker Sabra Holbrook. The chapter concludes with a discussion of Alan Moore’s Evelyn Cream, a black character who appears in the 1980s series Miracleman. Although not directly based on Steamboat, Moore’s character was an attempt to address racial stereotypes in superhero comic books, figures that have their origins in the narratives of the 1930s and 1940s.
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Barbour, Chad A. "From the Nineteenth to the Twentieth Century." In From Daniel Boone to Captain America. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806840.003.0004.

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Chapter three follows the lineage of frontier and Western fantasies from the nineteenth century to the twentieth via the comic book adaptations of novels like The Last of the Mohicans and comic depictions of frontier figures like Boone and Girty. Following in the line of late-nineteenth century dime novels and early twentieth century film, comic books inherited many of the tropes and conventions of the Western and frontier genres, including those of the white Indian and playing Indian. Multiple adaptations of The Last of the Mohicans, from the 1940s to the 2000s, testify to that story's persistent appeal. In the 1950s, a flurry of Boone comics demonstrates his popularity as an American hero while engaging in many of the themes and cultural implications that are essential to this book's focus.
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Ball, Blake Scott. "Introduction." In Charlie Brown's America, 1–10. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190090463.003.0001.

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Many critics have assumed that Peanuts was popular in Cold War America because it was apolitical and inoffensive, yet the opposite is actually true. This introduction reviews how Charles Schulz’s comic strip regularly engaged in political and social commentary. Even more, thousands of fans wrote regular letters to discuss, critique, and debate the messages they read in Peanuts each day. For nearly fifty years, Peanuts was an important part of popular discourse around political and social events. Schulz’s unique wishy-washy style allowed fans from across the American political spectrum to see their values, concerns, and hopes reflected in this enduring comic strip.
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Ball, Blake Scott. "Crosshatch Is Beautiful." In Charlie Brown's America, 64–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190090463.003.0005.

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In 1968, Charles Schulz made pop-culture history when Peanuts became the first national comic strip to racially integrate. This event was a long time in the making. Even in Schulz’s earliest works he experimented with racial commentary. But in 1968 a California teacher and mother wrote to Schulz to persuade him to introduce a black character in his comic strip. Through a series of passionate letters, Schulz finally created Franklin to honor the memory of Martin Luther King Jr. Franklin made a major splash in American culture, especially when he integrated the school classroom. Despite his best efforts, though, Schulz struggled to find a unique personality for Franklin and he ultimately failed to make the lasting difference in Peanuts that some fans had hoped.
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Barbour, Chad A. "“White Blood Turns Red”." In From Daniel Boone to Captain America. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806840.003.0005.

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Chapter four engages more directly with playing Indian in comic books, examining a host of titles in the 1940s and 1950s and afterwards that feature a white hero adopted by Indians or appropriating Indian ways. This depiction implements specific recurring characteristics: adoption by Indians, the white hero with Indian clothing or weapons, Indianness as strength and valor, the Indianized hero as upholder of justice on the frontier, and, in some cases, echoes of superhero conventions in a secret identity or sidekick. These stories not only engage in the frontier lineage discussed in previous chapters but also potentially reveal cultural values of the United States in the post-war years, especially concerning the construction and performance of gender, representations of nationalism and loyalty, and the construction of race and difference.
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Barbour, Chad A. "When Superheroes Play Indian." In From Daniel Boone to Captain America. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806840.003.0006.

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Chapter five continues the discussion of playing Indian in comic books, with the focus on superheroes in particular. In the late 1940s and early 1950s, Plastic Man, Captain Marvel, Superman, and Batman play Indian. This chapter then examines Green Arrow’s Indian masquerade and its interaction with the social consciousness of Dennis O'Neil's Green Lantern. This chapter then considers Captain America as Indian and the repercussions of playing Indian for his role as national superhero and representative of U.S. identity. In Neil Gaiman’s 1602 (2003-04) and Tony Bedard’s one-shot story, What If? Featuring Captain America (2006), these reimagined visions of the Captain America mythos appropriate and perform Indianness in order to possess virile masculinity and physical strength. Furthermore, this appropriation of Indianness to produce heroic masculinity accompanies the comics’ conventions of superheroism. The white superhero as Indian encapsulates the major themes of this study and provides a fitting resolution for this book.
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Cole, Jean Lee. "The Comic Grotesque." In How the Other Half Laughs, 29–66. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826527.003.0002.

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A particularly grotesque form of the comic sensibility emerged in the closing years of the nineteenth century in the works of George Luks. Luks was called on to take over Richard Outcault’s phenomenally popular Yellow Kid comic strip at Joseph Pulitzer’s New York World in 1896; he soon made the Yellow Kid his own. As Outcault’s duplicate or twin, Luks capitalized on the grotesque potential of twinning, doubling, and replication to question the social order from below, laying bare—and then savagely mocking—fears of the rapidly growing immigrant and ethnic populations in the United States. In subsequent strips, including The Little Nippers and Mose’s Incubator, his representations of polyglot America become positively fantastical, even monstrous, reflecting the interchangeability and reproducibility of ethnic identity that formed the logical basis of the “melting pot.”
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Broughton, Lee. "Captain Swing the Fearless: A Turkish Film Adaptation of an Italian Western Comic Strip." In Impure Cinema. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755694389.ch-006.

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9

Ball, Blake Scott. "Epilogue." In Charlie Brown's America, 184–96. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190090463.003.0009.

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Peanuts persists to this day as an important shorthand in political and social commentary. The legacy Schulz established in his comic strip has been caught and carried on by his fans. Despite his passing in 2000, Peanuts is one of the highest grossing cartoon properties in the world. As Peanuts’ relationship with insurer MetLife demonstrates, however, the twenty-first century has presented new challenges to the continued relevance of Peanuts in American pop culture. While some were unsure that the characters could survive without Schulz, Peanuts has been remarkably resilient and enjoyed a resurgence in film, television, and publication in recent years.
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Costanzo, William V. "Film Comedy in South America." In When the World Laughs, 267–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0013.

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From Brazil’s Hello, Hello, Carnival! to Argentina’s Wild Tales, films from south of the US border have both adapted and defied Hollywood conventions for performing memorable comedy. Along the way, they have explored the region’s varied landscape and inhabitants through comic road movies (The Voyage, Rolling Family), satirical experiments in social consciousness (How Tasty Was My Little Frenchman, Stadium Coup), scheme-and-swindler flicks (Nine Queens, A Cab for Three), ironic commentaries on aging (The Last Train, Whisky), and sexy spoofs (Captain Pantoja and the Special Services, Destiny Has No Favorites), adding their own brand to the global stock of movie comedy.
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