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Comix
While mainstream schoolboy comics have always graced the shelves of Western newsagents, there has also been an underground comics scene bubbling beneath the surface. The comix of the title emerged in 1960s America as a reaction to ultra-conservative and patriotic comics produced by the large corporations that featured characters such as Captain America and Superman. Bored with superheroes, many artists such as Robert Crumb and Gilbert Shelton produced their own pamphlets with a new and revolutionary style, freely attacking politicians, the war in Vietnam and corporate America. They found their first dedicated audience in the Flower Power generation, and having suffered badly as a result of p...
Dez Skinn
Biography of Dez Skinn, currently Owner at Quality Communications, previously Author: COMIC ART NOW at HarperCollins (US) - Ilex (UK) and Author: COMIC ART NOW at HarperCollins (US) - Ilex (UK).
Horror Comics in Black and White
In 1954, the comic book industry instituted the Comics Code, a set of self-regulatory guidelines imposed to placate public concern over gory and horrific comic book content, effectively banning genuine horror comics. Because the Code applied only to color comics, many artists and writers turned to black and white to circumvent the Code's narrow confines. With the 1964 Creepy #1 from Warren Publishing, black-and-white horror comics experienced a revival continuing into the early 21st century, an important step in the maturation of the horror genre within the comics field as a whole. This generously illustrated work offers a comprehensive history and retrospective of the black-and-white horror comics that flourished on the newsstands from 1964 to 2004. With a catalog of original magazines, complete credits and insightful analysis, it highlights an important but overlooked period in the history of comics.
Magic Words
Moore's graphic novels have inspired a number of Hollywood adaptations, including V for Vendetta, Watchmen and From Hell.
Great Magazine Covers of the World
A carefully selected presentation of more than 500 of the world's great magazine covers, this book is the first international survey of an expressive medium that has contributed an important esthetic legacy to our culture.
50 People Who Buggered Up Britain
From the Sunday Times bestselling author Which fifty people made Britain the wreck she is? From ludicrous propagandist Alastair Campbell to the Luftwaffe's allies, the modernist architects, it's time to name the guilty. Quentin Letts sharpens his nib and stabs them where they deserve it, from TV gardener Alan Titchmarsh, the dumbed-down buffoon who put the 'h' in Aspidistra, to the perpetrators of the 'Credit Crunch'. Margaret Thatcher ruptured our national unity. The creators of EastEnders trashed our brand over high tea. Thus, he argues, are the people who made our country the ugly, scheming, cheating, beer-ridden bum of the Western world. Here are the fools and knaves and vulgarians who ripped down our British glories and imposed the tawdry and the trite. In a half century we have gone from end-of-Empire to descent-into-Hell.
The Star Wars Phenomenon in Britain
Among the top-grossing Hollywood blockbusters of all time, Star Wars launched one of the most successful movie and licensing franchises in history. Yet much of the film's backstory was set in Britain, where the original trilogy was made and where early efforts at tie-in merchandising were spearheaded. The author provides a detailed account of the saga's British connection, including personal recollections of fans in the UK, exclusive interviews with staff members of Palitoy who took on the challenge of producing millions of toys, and the story of how a group of writers from the underground press in London combined with Marvel comics to produce the first Star Wars expanded universe.
The British Comic Book Invasion
What makes a successful comics creator? How can storytelling stay exciting and innovative? How can genres be kept vital? Writers and artists in the highly competitive U.S. comics mainstream have always had to explore these questions but they were especially pressing in the 1980s. As comics readers grew older they started calling for more sophisticated stories. They were also no longer just following the adventures of popular characters--writers and artists with distinctive styles were in demand. DC Comics and Marvel went looking for such mavericks and found them in the United Kingdom. Creators like Alan Moore (Watchmen, Saga of the Swamp Thing), Grant Morrison (The Invisibles, Flex Mentallo) and Garth Ennis (Preacher) migrated from the anarchical British comics industry to the U.S. mainstream and shook up the status quo yet came to rely on the genius of the American system.
Masquerade
In its conventional meaning, masquerade refers to a festive gathering of people wearing masks and elegant costumes. But traditional forms of masquerade have evolved over the past century to include the representation of alternate identities in the media and venues of popular culture, including television, film, the internet, theater, museums, sports arenas, popular magazines and a range of community celebrations, reenactments and conventions. This collection of fresh essays examines the art and function of masquerade from a broad range of perspectives. From African slave masquerade in New World iconography, to the familiar Guy Fawkes masks of the Occupy Wall Street movement, to the branded identities created by celebrities like Madonna, Beyonce and Lady Gaga, the essays show how masquerade permeates modern life.
Nasty Tales
From their origins in the 1960s, through to titles such as Cozmic Comics, Blood Sex, and Terror and Sin City, through to the emergence of Viz in the 1980's, Nasty Tales covers the turbulent history of these comics and the culturual instability from which they emerged. Incorporating many exclusive interviews with key artists and publishers, it offers a unique insight into an hitherto unseen and undocumented world.
