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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.
Andalucia
The war with the colonies is almost over—a war that was not only mishandled but costly. Spain became allies of the Americans, taking many unsuspecting ships and numerous lives. Considering this treachery, the British government feels Spain must pay, and a plan is made to raid the Manila-Acapulco treasure galleons. Gabe Anthony, now a Commodore, leads a squadron to the Pacific via the Magellan Strait in search of the galleon Andalucia. How long will the operation take? Will he survive the Spanish guns and the harsh elements for which the Magellan Strait is famous?
Images of Colonialism and Decolonisation in the Italian Media
The twentieth century saw a proliferation of media discourses on colonialism and, later, decolonisation. Newspapers, periodicals, films, radio and TV broadcasts contributed to the construction of the image of the African “Other” across the colonial world. In recent years, a growing body of literature has explored the role of these media in many colonial societies. As regards the Italian context, however, although several works have been published about the links between colonial culture and national identity, none have addressed the specific role of the media and their impact on collective memory (or lack thereof). This book fills that gap, providing a review of images and themes that have surfaced and resurfaced over time. The volume is divided into two sections, each organised around an underlying theme: while the first deals with visual memory and images from the cinema, radio, television and new media, the second addresses the role of the printed press, graphic novels and comics, photography and trading cards.
Placar Magazine
PLACAR: a maior revista brasileira de futebol. Notícias, perfis, entrevistas, fotos exclusivas.
Official Gazette
None
Great Risks Had to be Taken
The renovation of the Jesuits after the Second Vatican Council has been a sign of hope and a cause for consternation. Especially during the turbulence right after the Council, the Jesuits were in the eye of the storm. In this historical memoir, Patrick Howell gives personal insight into how the Council impacted the Society of Jesus and precipitated a radical rethinking of the mission of the Jesuits today. The Council mandated a return of religious orders to the vision of their founders. The Jesuits fortunately had a strong, charismatic founder in St. Ignatius of Loyola with a rich religious and intellectual tradition. By rediscovering their spiritual heritage and restructuring their mission around the signs of the times and the needs of the world, the Jesuits were able to move adroitly into the twenty-first century as a continuing dynamic force for the Church and for the world. Fr. Howell brings a unique personal perspective to the nature and style of the Church prior to the Council and "an insider's view" throughout his fifty-seven years as a Jesuit in which he has met many of the personages, witnessed all the changes, and been a direct participant in many of them.
