Buck Rogers in the 25th century: Transmedia extensions of a pulp hero

2019 ◽  
Vol 5 (2) ◽  
pp. 200-219
Author(s):  
Paolo Bertetti
Keyword(s):  
Science Fiction ◽  
Comic Book ◽  
Popular Literature ◽  
Comic Strip ◽  
Main Character ◽  
Cultural Industry ◽  
Radio Drama ◽  
Comic Strips ◽  
Book Series ◽  
History Of

AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.

scholarly journals La vida imaginaria del científico. El caso del cómic ‘Los Proyectos Manhattan’

2015 ◽  
pp. 117
Author(s):  
Francisco Sáez de Adana Herrero
Keyword(s):  
Twentieth Century ◽  
Science Fiction ◽  
History Of Science ◽  
Comic Book ◽  
Manhattan Project ◽  
Second World War ◽  
World War ◽  
Book Series ◽  
History Of ◽  
Second World

This article analyses the Manhattan Project comic-book series, which recounts an alternative ending to the Second World War, where the Manhattan Project hides another mission more closely related to science fiction. Here we discuss how the concept of the so-called «imaginary life», a term coined by Marcel Schwob, has been applied to the history of science in the twentieth century.

scholarly journals APLICAÇÃO DE UMA HISTÓRIA EM QUADRINHOS, TRINITY, NA EDUCAÇÃO EM QUÍMICA

Química Nova ◽  
2021 ◽  
Author(s):  
Guilherme Silva ◽  
Carolina Sotério ◽  
Salete Queiroz
Keyword(s):  
Chemistry Education ◽  
Science Learning ◽  
Atomic Bomb ◽  
Comic Strip ◽  
Educational Tool ◽  
Instructional Tool ◽  
Comic Strips ◽  
Chemistry Teachers ◽  
History Of

THE APPLICATION OF A COMIC STRIP, TRINITY, IN CHEMISTRY EDUCATION. Faced with obstacles encountered in lessons and the search for actions that meet current educational needs, some attention has been paid to the role of comics as instructional tool. This article focuses on the use of a comic strip, Trinity: A Graphic History of the First Atomic Bomb, to develop knowledge and promote science learning. Three case studies were extracted from the comic and implemented to a group of pre-service chemistry teachers. A questionnaire was utilized to assess their perceptions about the usefulness of comics for their learning. One hundred percent of students indicated that comics helped improve their understanding of the nature of science. On the basis of the data, comic strips may be utilized as an acceptable educational tool in science education.

scholarly journals Шедевры учебной литературы по японскому языку как иностранному (2): Комикс «Мальчуган» (по одноимённой повести Нацумэ Сосэки)

2020 ◽  
Vol 46 (2) ◽  
pp. 110-117
Author(s):  
Александр Сергеевич ДЫБОВСКИЙ
Keyword(s):  
Comic Book ◽  
Japanese Literature ◽  
Educational Process ◽  
Japanese Culture ◽  
Japanese Language ◽  
Comic Strip ◽  
Literature Teaching ◽  
History Of ◽  
Japanese Writer ◽  
Outstanding Work

В статье даётся краткий обзор учебной литературы по японскому языку, составленной в виде комиксов, а также описываются основные параметры учебника, построенного на материале повести выдающегося японского писателя Нацумэ Сосэки «Мальчуган», а именно: его структура, содержание, приложения, особенности введения лексики, иероглифики и грамматики, система упражнений и связанные с учебником интернет-ресурсы. Описываемый учебник представляет уникальный материал для преподавания японского языка на среднем и продвинутом уровнях, он вводит обучаемых в историю японской культуры, стимулирует интерес к изучению японской литературы. преподавание японского языка, шедевры учебной литературы, жанр комикса в преподавании иностранного языка, комикс «Мальчуган» This publication is dedicated to the Japanese language textbook for foreigners published in Tokyo in 2011 and based on the story of the outstanding Japanese writer Soseki Natsume “Botchan”, which is presented in the textbook in the form of a comic strip. The article gives a brief overview of the Japanese language textbooks compiled in the form of comics. The author describes the main parameters of the above-mentioned textbook, its structure, content and applications, as well as vocabulary, hieroglyphics and grammar, the exercise system, and the Internet-related textbook resources. The creation of an educational comic strip on the basis of an outstanding work of Japanese literature seems to us extremely fruitful, since the educational process is enriched with aesthetic elements. Drawings provide important keys for understanding the text, and the content of a literary masterpiece gives us rich topics for various types of communication in the classroom. The described textbook contains wonderful material for teaching Japanese at intermediate and advanced levels. It introduces students to the history of Japanese culture and stimulates interest in the study of Japanese literature. teaching Japanese language, masterpieces of educational literature, comic book genre in teaching a foreign language, comic book “Botchan”

How Nauchnaia Fantastika Was Made: The Debates about the Genre of Science Fiction from NEP to High Stalinism

Slavic Review ◽  
2013 ◽  
Vol 72 (2) ◽  
pp. 224-246 ◽  
Author(s):  
Matthias Schwartz
Keyword(s):  
Science Fiction ◽  
Interest Groups ◽  
Cultural History ◽  
Cultural Context ◽  
Popular Literature ◽  
Social Progress ◽  
Soviet Science ◽  
Literary Politics ◽  
History Of ◽  
Soviet Science Fiction

Based on a detailed analysis of published and unpublished sources, Matthias Schwartz reconstructs the making of Soviet science fiction in the cultural context of Soviet literary politics. Beginning in the 1920s, nauchnaia fantastika (scientific fantasy) became one of the most popular forms of light fiction, though literary critics and activists tended to dismiss it because of its origins in popular adventure, its ties to the so-called Pinkerton literature, and its ambiguous relationship to scientific inventions and social progress. Schwartz's analysis shows that even during high Stalinism, socialist realism's norms were far from being firmly established, but in the case of nauchnaia fantastika had to be constantly negotiated and reconstituted as fragile compromises involving different interest groups (literary politicians, writers, publishers, readers). A cultural history of Soviet science fiction also contributes to a better understanding of what people actually wanted to read and sheds new light on the question of how popular literature adapts to political changes and social destabilizations.

Performing ‘Jiggs’: Irish Caricature and Comedic Ambivalence toward Assimilation and the American Dream in George McManus's Bringing Up Father

2005 ◽  
Vol 4 (2) ◽  
pp. 173-213
Author(s):  
Kerry Soper
Keyword(s):  
Twentieth Century ◽  
Social History ◽  
Comic Strip ◽  
Comic Strips ◽  
Call And Response ◽  
History Of ◽  
Innovative Work ◽  
Street Corner ◽  
Newspaper Comics ◽  
Almost All

Many fans and scholars of newspaper comics have observed that an excellent way to chart a social history of American culture in the twentieth century is to look at the mainstream comic strip page. This may be especially true of the first half of the twentieth century when comic strips were avidly followed by readers from almost all age, class, and ethnic demographics. Because of this breadth of popularity, the comics page was a fairly accurate reflector (and occasionally, shaper) of fashions, fads, humor, politics, and racial prejudices. Early cartoonists' ability to place their fingers on the American pulse can largely be attributed to the industry's eagerness to please readers: as a lowbrow entertainment that targeted broad audiences through street corner sales, and later, national syndication, it tried to anticipate the characters, comedy, and ideological content that would attract and retain devoted readers. A few iconoclastic cartoonists such as Al Capp (Li'l Abner) and George Herriman (Krazy Kat) challenged readers with topical satire or appealed to niche audiences with quirky humor and aesthetics; but even the most innovative work in the medium relied on a sort of call and response between core readers, syndicates, editors, and artists—a back and forth that insured that the cartoonist's work resonated with, or spoke for, its fans.

Comics

2018 ◽  
Author(s):  
Glenn Willmott
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Social Norms ◽  
Close Association ◽  
Comic Book ◽  
Comic Strip ◽  
Comic Strips ◽  
Narrative Art ◽  
Graphic Narrative ◽  
Folk Traditions

The early twentieth century saw the rise of the modern comic strip, the comic book and the artist’s book as distinctive forms of graphic narrative art that merged literary and graphic traditions into new modes of expression. As with literature more broadly, comics have ranged in quality and aims from the banal to the bizarre, from the blandly conventional to the wildly original. Their close association, from their very inception, with a network of advertising and commodity tie-ins has kept them at an uneasy distance from the anti-commercialist culture of High Modernism. Yet the ubiquity of comics in newspapers internationally, and the often absurd, transgressive, and episodic worlds they depicted, ensured their interest to modernist writers and artists more widely. Comic strips developed out of roots in the satirical genre of editorial and humor cartoons of the nineteenth-century periodical, and, in their unique invention of personified ‘funny animals’, drew as well from folk traditions of the trickster and the animal fable. They often explored subaltern class and ethnic life worlds not prominent in other modern arts, or offered flights of fantasy that directly challenged or therapeutically escaped from social norms.

The Sign of the Joker

2020 ◽  
Vol 2 (1) ◽  
pp. vi-82
Author(s):  
Joel West
Keyword(s):  
Comic Books ◽  
Comic Book ◽  
Popular Media ◽  
Fan Fiction ◽  
Book Series ◽  
History Of

Abstract The Joker both fascinates and repels us. From his origin in Detective Comics in 1940, the Joker has committed obscene crimes, some of the worst the Batman universe has ever known. Conversely fans have made him the topic of erotic and pornographic “fan fiction.” Speculation about the Joker abounds; some fans have even claimed that the Joker is “queer coded.” This work explores various popular claims about the Joker, and delves into the history of comic books and of other popular media from a semiotic viewpoint to understand “The Clown Prince of Crime” in the contexts in which he existed to understand his evolution. From his roots as a “typical hoodlum,” The Joker even starred in his own eponymous comic book series and he was recently featured in a non-canonical movie. This work examines what it is about the Joker which fascinates us.

scholarly journals Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability

2021 ◽  
Vol 6 (2) ◽  
pp. 10-27
Author(s):  
Artem A. Zubov
Keyword(s):  
Science Fiction ◽  
Popular Literature ◽  
Final Part ◽  
Individual Experience ◽  
Social Imaginary ◽  
Cognitive Poetics ◽  
Literary Genres ◽  
History Of ◽  
Fictional Space

In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.

scholarly journals 30 años de La Crónica de Leodegundo: aproximación a la gran saga de la historieta histórica española

2021 ◽  
Author(s):  
Jacobo Hernando
Keyword(s):  
Comic Book ◽  
Comic Strip ◽  
Reading Public ◽  
Release Date ◽  
Historical Sources ◽  
Prolific Author ◽  
The Public ◽  
History Of ◽  
Second Chance

RESUMEN: En 1991 vio la fecha de venta al público el inicio de una de las más importantes sagas de la historieta histórica española. Marcada por una palpable consulta de estudios y fuentes históricas, convirtió en su autor, Gaspar Meana, en uno de los mejores y más prolíficos autores de tebeos del género en España. Originalmente, una serie de desatinos a la hora de su comercialización le hizo difícil su difusión en la mayoría del público lector de historieta español que ahora ve una segunda oportunidad gracias a la reedición por una universidad española, garante de la soberbia calidad del título. Pese a que los amantes del género conocen o saben de su existencia, los estudios sobre cómic no han podido sino hacer aproximaciones ligeras a la obra precisamente por su gran extensión. Nuestro estudio pretende recopilar comentarios de la crítica de cómic acerca La Crónica de Leodegundo en el 30.º aniversario de su publicación y profundizar en ella mediante una aproximación al estudio de sus páginas como un documento desde la óptica de la corriente de la Historia de la Cultura Escrita. ABSTRACT: In 1991 the release date to the public saw the beginning of one of the most important sagas of the Spanish historical comic strip. Distinguished by an obvious consultation of studies and historical sources, its author, Gaspar Meana, became one of the best and the most prolific author of comics of the genre in Spain. Originally, a series of mistakes at the time of its commercialization made it difficult for it to be known among the majority of the Spanish comic reading public. Nowadays it sees a second chance thanks to the reprinting by a Spanish university, guarantor of the superb quality of the title. Despite the fact that lovers of the genre know or they are aware of its existence, studies on comics have only been able to make light approaches to the work precisely because of its great extension. Our study aims to compile commentary from comic book critics about La Crónica de Leodegundo on the 30th anniversary of its publication and to deepen it through an approach to the study of its pages as a document from the perspective of the current of the History of Written Culture

The Comic Stripped and Ash Canned: A Review Essay

2020 ◽  
pp. 120-134
Author(s):  
Albert Boime
Keyword(s):  
Vietnam War ◽  
Review Essay ◽  
Art History ◽  
Fine Art ◽  
Comic Strip ◽  
Comic Strips ◽  
University Of Maryland ◽  
Social Art ◽  
History Of ◽  
The Vietnam War

This 1972 essay by UCLA art history professor Albert Boime services as a review of the exhibition The Art of the Comic Strip (University of Maryland, 1971), a social art history of artists working in comic strips, magazine illustration, editorial comics, and the Ash Can School fine art movement, and the crossover between these artists. This essay includes commentary on High art versus Low art, comics as art, and the Vietnam War.

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