Handbook of American Popular Culture, Vol. 3: Propaganda-Women

Politics & Social Sciences

Inge, M. Thomas

Social Sciences

Greenwood Press,London

Huck Finn among the Critics: A Centennial Selection

Literature & Fiction

History & Criticism

Praeger

United States

"The first volume was hailed as a cornerstone volume in fascilitating research.' This revision, appearing all at one time, deserves that designation even more. . . . essential for large public and academic libraries." Reference Books Bulletin "Eight new articles describing business, catalogs, computers, dance, fashion, gardening, graffiti, and musical theater. Several other chapters are essentially new since they have new authors. There is a superb article on pornography from Joseph Slade, an expanded article on magic from Steve Tigner, and a new article on science from Elizabeth Keeney. Richard Nelson's article on propaganda, the longest in the first edition, is now greatly expanded and provides one of the most detailed treatments of the subject anywhere." Library Journal "This essential tool for the study of American popular culture serves as introductory textbook; bibliographic guide; bibliography; and, through its index, an informal survey of that discipline's concerns." Wilson Library Bulletin

Handbook of American Popular Culture, Vol. 1: Advertising-The Western

Inge

Greenwood Pub Group

Handbook of American Popular Culture, Vol. 2: Illustration-Pornography

Interviews with Capote cover his writing methods, his observations on the wealthy, his outlook on life, and his feelings about the writers who influenced his work

Truman Capote: Conversations (Literary Conversations Series)

CAPOTE, TRUMAN

Univ Pr of Mississippi

Comics and cartoons are ingrained in American life.One critic has called comic books "crude, unimaginative, banal, vulgar, ultimately corrupting." They have been regarded with considerable suspicion by parents, educators, psychiatrists, and moral reformers. They have been investigated by governmental committees and subjected to severe censorship.Yet more than 200 million copies are sold annually. Upon even casual examination BLONDIE, ARCHIE, MARY WORTH, THE WIZARD OF ID, and SHOE--among the many comic strips--will be found to support some commonly accepted notion or standard of society.Why do comics both amuse and arouse controversy? Here is an attempt at an answer in a sharp-eyed comic-book lover's probing look at this step-child genre. He finds comics both loved and hated, relished and sneered at. In their relying on dramatic conventions of character, dialogue, scene, gesture, compressed time, and stage devices, he finds the comics close to the drama but probably closer kin to the movies.

Comics as Culture

Comics & Graphic Novels

History & Price Guides

UNIVERSITY PRESS OF MISSISSIPPI

To American black newspapers of the 1930s and 1940s "Ollie" Harrington was a prolific contributor of humorous and editorial cartoons. He emerged as an artist during the Harlem Renaissance and created Bootsie, the popular cartoon figure that became a fixture in black newspapers. Langston Hughes praised Harrington as America's greatest black cartoonist. After serving as a war correspondent in Italy, he returned to his homeland and the impediment of racism that pervaded American life. As director of public relations for the NAACP, he crusaded against America's policies of institutionalized racism, openly supporting leftist reform leaders. Upon hearing in this era of "red-baiting" that he was targeted for investigation, Harrington left America. In the culturally rich American community on the Left Bank in Paris that would come to include Chester Himes, James Baldwin, and Richard Wright, he became a fixture. In 1961 he found himself trapped behind the Berlin Wall, but he chose to remain in East Germany. His cartoons appeared in East German magazines and in the American Communist newspaper The Daily World. Although he became a favorite with Eastern Bloc students and intellectuals, in America Harrington was mainly forgotten. The autobiographical pieces included in Why I Left America and Other Essays, written mainly during the 1960s and 1970s, detail Oliver W. Harrington's experiences as an African American artist in exile. One theme that persists in these writings and his cartoons is his intolerance of racism. Hence, as an artist, he has found it impossible not to be political. "Although I believe that 'art for art's sake' has its merits," he says, "I personally feel that my art must be involved, and the most profound involvement must be with the Black liberation struggle." One essay, from Ebony magazine, fuels speculation about the mysterious circumstances in the death of his friend Richard Wright. In another piece Harrington details how he created the celebrated Bootsie. He writes in others of his life in New York during the Harlem Renaissance and in Paris with fellow black expatriate figures. Why did this African American choose to live in exile for over forty years? In an affectionate foreword to this volume Richard Wright's daughter Julia gives clues to the answer. Her insights, along with M. Thomas Inge's introductory essay about Harrington's life and achievements, bring special focus to the experiences of an outstanding African American artist and social critic who has been virtually without recognition in his homeland.

Why I Left America and Other Essays

Biographies & Memoirs

Harrington, Oliver W.

Community & Culture

The catalog of an exhibition of comic strips is accompanied by an essay tracing how the strips have commented on their own nature as cartoon art and on other strips

Anything Can Happen in a Comic Strip: Centennial Reflections on an American Art Form

Arts & Photography

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