Comic Books And The Cold War 1946 1962

Conventional wisdom holds that comic books of the post–World War II era are poorly drawn and poorly written publications, notable only for the furor they raised. Contributors to this thoughtful collection, however, demonstrate that these comics constitute complex cultural documents that create a dialogue between mainstream values and alternative beliefs that question or complicate the grand narratives of the era. Close analysis of individual titles, including EC comics, Superman, romance comics, and other, more obscure works, reveals the ways Cold War culture—from atomic anxieties and the nuclear family to communist hysteria and social inequalities—manifests itself in the comic books of the era. By illuminating the complexities of mid-century graphic novels, this study demonstrates that postwar popular culture was far from monolithic in its representation of American values and beliefs.

The X-Men comic book franchise is one of the most popular of all time and one of the most intriguing for critical analysis. With storylines that often contain overt social messages within its “mutant metaphor,” X-Men is often credited with having more depth than the average superhero property. In this collection, each essay examines a specific era of the X-Men franchise in relationship to contemporary social concerns. The essays are arranged chronologically, from an analysis of popular science at the time of the first X-Men comic book in 1963 to an interpretation of a storyline in light of rhetoric of President Obama’s first presidential campaign. Topics ranging from Communism to celebrity culture to school violence are addressed by scholars who provide new insights into one of America’s most significant popular culture products.

The Incredible Hulk is one of the earliest Marvel Comics superheroes. Through the decades, the character and his narrative elements--the causes of Bruce Banner's transformations, the Hulk's strength, intelligence and skin color, the stories' tone, theme and sources of conflict--have been continually reinvented to remain relevant. This collection of new essays explores Marvel's more than five decades of Hulk comics. The contributors analyze the Hulk and his supporting cast in their shifting historical contexts, offering insights into both our popular entertainment and our cultural history. Topics include the Cold War's influence on early Incredible Hulk issues, a feminist reading of She-Hulk and writer Peter David's focus on the AIDS crisis.

Focusing especially on American comic books and graphic novels from the 1930s to the present, this massive four-volume work provides a colorful yet authoritative source on the entire history of the comics medium. Comics and graphic novels have recently become big business, serving as the inspiration for blockbuster Hollywood movies such as the Iron Man series of films and the hit television drama The Walking Dead. But comics have been popular throughout the 20th century despite the significant effects of the restrictions of the Comics Code in place from the 1950s through 1970s, which prohibited the depiction of zombies and use of the word "horror," among many other rules. Comics through Time: A History of Icons, Idols, and Ideas provides students and general readers a one-stop resource for researching topics, genres, works, and artists of comic books, comic strips, and graphic novels. The comprehensive and broad coverage of this set is organized chronologically by volume. Volume 1 covers 1960 and earlier; Volume 2 covers 1960–1980; Volume 3 covers 1980–1995; and Volume 4 covers 1995 to the present. The chronological divisions give readers a sense of the evolution of comics within the larger contexts of American culture and history. The alphabetically arranged entries in each volume address topics such as comics publishing, characters, imprints, genres, themes, titles, artists, writers, and more. While special attention is paid to American comics, the entries also include coverage of British, Japanese, and European comics that have influenced illustrated storytelling of the United States or are of special interest to American readers.

This sweeping reference work covers every aspect of the Cold War, from its ignition in the ashes of World War II, through the Berlin Wall and the Cuban Missile Crisis, to the collapse of the Soviet Union in 1991. The Cold War superpower face-off between the Soviet Union and the United States dominated international affairs in the second half of the 20th century and still reverberates around the world today. This comprehensive and insightful multivolume set provides authoritative entries on all aspects of this world-changing event, including wars, new military technologies, diplomatic initiatives, espionage activities, important individuals and organizations, economic developments, societal and cultural events, and more. This expansive coverage provides readers with the necessary context to understand the many facets of this complex conflict. The work begins with a preface and introduction and then offers illuminating introductory essays on the origins and course of the Cold War, which are followed by some 1,500 entries on key individuals, wars, battles, weapons systems, diplomacy, politics, economics, and art and culture. Each entry has cross-references and a list of books for further reading. The text includes more than 100 key primary source documents, a detailed chronology, a glossary, and a selective bibliography. Numerous illustrations and maps are inset throughout to provide additional context to the material.

The Cold War was as much a battle of ideas as a series of military and diplomatic confrontations, and movies were a prime battleground for this cultural combat. As Tony Shaw and Denise Youngblood show, Hollywood sought to export American ideals in movies like Rambo, and the Soviet film industry fought back by showcasing Communist ideals in a positive light, primarily for their own citizens. The two camps traded cinematic blows for more than four decades. The first book-length comparative survey of cinema's vital role in disseminating Cold War ideologies, Shaw and Youngblood's study focuses on ten films—five American and five Soviet—that in both obvious and subtle ways provided a crucial outlet for the global "debate" between democratic and communist ideologies. For each nation, the authors outline industry leaders, structure, audiences, politics, and international reach and explore the varied relationships linking each film industry to its respective government. They then present five comparative case studies, each pairing an American with a Soviet film: Man on a Tightrope with The Meeting on the Elbe; Roman Holiday with Spring on Zarechnaya Street; Fail-Safe with Nine Days in One Year; Bananas with Officers; Rambo: First Blood Part II with Incident at Map Grid 36-80. Shaw breathes new life into familiar American films by Elia Kazan and Woody Allen, while Youngblood helps readers comprehend Soviet films most have never seen. Collectively, their commentaries track the Cold War in its entirety—from its formative phase through periods of thaw and self-doubt to the resurgence of mutual animosity during the Reagan years-and enable readers to identify competing core propaganda themes such as decadence versus morality, technology versus humanity, and freedom versus authority. As the authors show, such themes blurred notions regarding "propaganda" and "entertainment," terms that were often interchangeable and mutually reinforcing during the Cold War. Featuring engaging commentary and evocative images from the films discussed, Cinematic Cold War offers a shrewd analysis of how the silver screen functioned on both sides of the Iron Curtain. As such it should have great appeal for anyone interested in the Cold War or the cinematic arts.

Both conservative and liberal Baby Boomers have romanticized the 1950s as an age of innocence--of pickup ball games and Howdy Doody, when mom stayed home and the economy boomed. These nostalgic narratives obscure many other histories of postwar childhood, one of which has more in common with the war years and the sixties, when children were mobilized and politicized by the U.S. government, private corporations, and individual adults to fight the Cold War both at home and abroad. Children battled communism in its various guises on television, the movies, and comic books; they practiced safety drills, joined civil preparedness groups, and helped to build and stock bomb shelters in the backyard. Children collected coins for UNICEF, exchanged art with other children around the world, prepared for nuclear war through the Boy and Girl Scouts, raised funds for Radio Free Europe, sent clothing to refugee children, and donated books to restock the diminished library shelves of war-torn Europe. Rather than rationing and saving, American children were encouraged to spend and consume in order to maintain the engine of American prosperity. In these capacities, American children functioned as ambassadors, cultural diplomats, and representatives of the United States. Victoria M. Grieve examines this politicized childhood at the peak of the Cold War, and the many ways children and ideas about childhood were pressed into political service. Little Cold Warriors combines approaches from childhood studies and diplomatic history to understand the cultural Cold War through the activities and experiences of young Americans.

Created in 1941 by the psychologist William Marston, Wonder Woman would go on to have one of the longest continuous runs of published comic book adventures in the history of the industry. More than 70 years after her debut, Wonder Woman remains a popular culture icon. Throughout the intervening years many comic book creators have had a hand in guiding her story, resulting in different interpretations of the Amazon Princess. In this collection of new essays, each examines a specific period or storyline from Wonder Woman comic books and analyzes that story in regard to contemporary issues in American society.