Relevant bibliographies by topics / Captain Marvel (Comic strip)

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

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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

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Flanagan, Martin. "“Things are Complicated”: Paul Cornell at Marvel and DC." Authorship 6, no. 2 (December 21, 2017). http://dx.doi.org/10.21825/aj.v6i2.7701.

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Paul Cornell’s work for the ‘Big Two’ U.S. comic publishers transfers a distinctly British (mostly English) sensibility into a field where cues normally revolve around American cultural iconography and values. The key to his authorship is Cornell’s homespun method which, unlike 1970s and 1980s efforts of Marvel’s UK wing that transplanted American characters into a postcard-like Britain, explores a British dimension of the Marvel Universe that offers a challenge to the codes of that realm. Whether working with established heroes such as Captain Britain, twists on archetypes like Knight and Squire (English analogues of Batman and Robin), or superheroic ‘big guns’ like Wolverine, Cornell writes against tired, automatic canonicity. This paper mainly focuses on the directly British representations in the Cornell titles Captain Britain and MI-13 (2008-9) and Knight and Squire (2010).
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Books on the topic "Captain Marvel (Comic strip)"

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1948-, Moench Doug, Englehart Steve, and Broderick Pat, eds. Captain Marvel: The death of Captain Marvel. 2nd ed. New York, NY: Marvel Worldwide, 2013.

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2

Mike, Friedrich, and Englehart Steve, eds. The life of Captain Marvel. New York, NY: Marvel Comics, 1990.

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3

Starlin, Jim. The life of Captain Marvel. New York: Marvel Comica, 1990.

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DeConnick, Kelly Sue. Captain Marvel: Earth's mightiest hero. New York, NY: Marvel Worldwide, Incorporated, 2016.

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author, Gage Christos, Anka Kris, Failla Marco, and Silas Thony, eds. Captain Marvel: Civil War II. New York, NY: Marvel Worldwide, Incorporated, 2017.

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Phil, Noto, Caramagna Joe, Arciniega Erick 1989-, and Bandini Michele (Illustrator), eds. The Mighty Captain Marvel: Dark origins. New York: Marvel Worldwide, Incorporated, 2018.

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DeConnick, Kelly Sue. Captain Marvel: Alis volate propriis. New York, NY: Marvel Worldwide, Incorporated, 2015.

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Geoff, Spear, ed. Shazam!: The golden age of the world's mightiest mortal. New York: Abrams ComicArts, 2010.

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Shazam!: The Monster Society of Evil. New York, NY: DC Comics, 2007.

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Lee, Stan. Marvel masterworks presents the X-men. New York, N.Y: Marvel Comics, 1987.

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

1

Cremins, Brian. "Wertham’s Little Goblins." In Captain Marvel and the Art of Nostalgia. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496808769.003.0006.

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After Fawcett’s legal settlement with National in 1953, the original Captain Marvel did not return to comic books until 1973. In the meantime, comic book fans and amateur historians began writing about the character in the 1960s. This chapter traces Captain Marvel’s afterlife in these fanzines, publications that helped to establish the foundation for comics studies in the United States. The chapter also includes an overview of recent developments in the field of memory and nostalgia studies. These recent studies of the history of nostalgia in medicine, psychology, and the arts are essential for an understanding of how childhood memories have shaped comics studies as a discipline.
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Cremins, Brian. "“Tiny Flashes of Light”." In Captain Marvel and the Art of Nostalgia. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496808769.003.0001.

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The relationship between comic books, comics scholarship, and nostalgia is complex. This chapter explores the history of Captain Marvel, the popular comic book hero created by Bill Parker and C. C. Beck for Fawcett Publications in 1939. In addition to sections about the National Comics Publications, Inc. v. Fawcett Publications, Inc. copyright infringement case, the chapter also examines Captain Marvel’s place in early fanzines and comics scholarship published in the 1960s and early 1970s in the U. S. As an overview of the book, the introduction sets out to understand why the character was so tremendously popular in the 1940s only to disappear from popular discourse after the conclusion of the lawsuit in 1953.
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Cremins, Brian. "“A Fabric of Illusion”." In Captain Marvel and the Art of Nostalgia. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496808769.003.0002.

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C. C. Beck was one of the most influential artists working in comics in the U. S. in the 1940s and 1950s. As the co-creator of Captain Marvel, he and his assistants worked on one of the best-selling comic book characters of the era. Later in his career, he also developed a reputation as a comics critic. In addition to his columns for The Comics Journal, he established the Critical Circle in the late 1980s, a group of friends, fellow artists, and fans with whom he shared his unpublished essays on the form. Like Will Eisner, Beck was significant as a cartoonist and as a theorist of comic art. This chapter explores how he applied those theories to his work, which is known for its narrative economy and simplicity.
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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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5

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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6

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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7

Morton, Drew. "Derived from Comic Strip Graphics: Remediation beyond Comic Book Adaptations in The Matrix (1999), The Good, the Bad, and the Ugly (1966), and The Dark Tower: The Gunslinger Born (2007)." In Panel to the Screen. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496809780.003.0006.

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This chapter examines stylistic remediation beyond comic book films and the industrial practice beyond case studies in adaptation by focusing on three films: The Matrix (1999), The Good, the Bad, and the Ugly (1966), and The Dark Tower: The Gunslinger Born (2007). It first considers “bullet time” in The Matrix, showing that its formal migration is an example of transmedia style: narratives delivered across multiple platforms that are united by stylistic remediation. It then compares comic book space and caricature in Sergio Leone's The Good, the Bad, and the Ugly and the Marvel Comics adaptation of Stephen King's The Dark Tower novels. It also explains how The Matrix stylistically remediates the motion lines of comics within its bullet time sequences while Leone's construction of space eschews the conventions of the continuity system in favor of the spatial discontinuity present across comic book panels.
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