Chester Gould's fertile imagination continues at a breakneck pace, as he introduces The Brow, Flattop, Shaky, Breathless Mahoney, Measles, Gravel Gertie, B.O. Plenty, and the Summer Sisters! Edited and designed by Eisner Award-winner Dean Mullaney, and containing all daily and Sunday comic strips from March 23, 1944 through September 19, 1945, this volume features an introduction by Max Allan Collins, and includes a special feature by Jeff Kersten of the Dick Tracy Museum about the famous radio program, "Dick Tracy in B-Flat," starring Bing Crosby, Dinah Shore, Frank Sinatra, Jimmy Durante, and Bob Hope! -The Library of American Comics is the world's #1 publisher of classic newspaper comic strips, with 14 Eisner Award nominations and three wins for best book. LOAC has become "the gold standard for archival comic strip reprints... The research and articles provide insight and context, and most importantly the glorious reproduction of the material has preserved these strips for those who knew them and offers a new gateway to adventure for those discovering them for the first time." - Scoop
As Christopher Nolan’s Batman films and releases from the Marvel Cinematic Universe have regularly topped the box office charts, fans and critics alike might assume that the “comic book movie” is a distinctly twenty-first-century form. Yet adaptations of comics have been an integral part of American cinema from its very inception, with comics characters regularly leaping from the page to the screen and cinematic icons spawning comics of their own. Movie Comics is the first book to study the long history of both comics-to-film and film-to-comics adaptations, covering everything from silent films starring Happy Hooligan to sound films and serials featuring Dick Tracy and Superman to comic books starring John Wayne, Gene Autry, Bob Hope, Abbott & Costello, Alan Ladd, and Dean Martin and Jerry Lewis. With a special focus on the Classical Hollywood era, Blair Davis investigates the factors that spurred this media convergence, as the film and comics industries joined forces to expand the reach of their various brands. While analyzing this production history, he also tracks the artistic coevolution of films and comics, considering the many formal elements that each medium adopted and adapted from the other. As it explores our abiding desire to experience the same characters and stories in multiple forms, Movie Comics gives readers a new appreciation for the unique qualities of the illustrated page and the cinematic moving image.
A noted comics artist himself, Santiago García follows the history of the graphic novel from early nineteenth-century European sequential art, through the development of newspaper strips in the United States, to the development of the twentieth-century comic book and its subsequent crisis. He considers the aesthetic and entrepreneurial innovations that established the conditions for the rise of the graphic novel all over the world. García not only treats the formal components of the art, but also examines the cultural position of comics in various formats as a popular medium. Typically associated with children, often viewed as unedifying and even at times as a threat to moral character, comics art has come a long way. With such examples from around the world as Spain, France, Germany, and Japan, García illustrates how the graphic novel, with its increasingly global and aesthetically sophisticated profile, represents a new model for graphic narrative production that empowers authors and challenges longstanding social prejudices against comics and what they can achieve.
In October 1931, Dick Tracy made his debut on the pages of the Detroit Mirror. Since then America's most famous crime fighter has tangled with a variety of protagonists from locations as diverse as the inner city and outer space, all the time maintaining the moral high ground while reflecting American popular culture. Through extensive research and interviews with Chester Gould (the creator of "Dick Tracy"), his assistants, Dick Locher (the current artist), Max Allan Collins (who scripted the stories for more than 15 years) and many others associated with the strip, Dick Tracy as a cultural icon emerges. The strips use of both innovative and established police methods and the true-to-life portrayals of Tracy's family and fellow cops are detailed. The artists behind the strip are fully revealed and Dick Tracy paraphernalia and the 1990 movie Dick Tracy are discussed. Dick Tracy's appearances in other media--books, comics, radio, movie serials, "B" movies, television dramas, and animated cartoons--are fully covered.
Using Comics to Construct Your Transmedia Storyworld
Author: Tyler Weaver
Publisher: Taylor & Francis
In recent years, a new market of convergence culture has developed. In this new market, one story, idea, concept, or product can be produced, distributed, appreciated, and understood by customers in a variety of different media. We are at the tipping point of this new convergence culture, and comics is a key area affected by this emerging model. In Comics for Film, Games, and Animation Tyler Weaver teaches you how to integrate comics storytelling into your own work by exploring their past, present, and future. You will explore the creation of the unique mythologies that have endured for more than seventy years, and dig into the nitty gritty of their creation, from pacing and scripting issues to collaboration. Finally, you'll gain a love and appreciation of the medium of comics, so much so that you won't be able to wait to bring that medium into your story toolbox.