THE GOLDEN AGE LOIS LANE
In May 1938, Action Comics #1 appeared on news stands and ushered in both the Gold- en Age and the superhero genre, personified by Jerry Siegel and Joe Schuster's toplined
Superman. The spectacular success of the character led to the creation of dozens more he- roes, all male, until Charles Moulton Marston came up with Wonder Woman. However, before Diana Prince, there stood Lois Lane, usually referred to as "Superman's girlfriend", but so much more than that. A hero with no powers who has endured as long as the Man of
Steel himself.
Lois Lane influence Torchy Blaine has a discussion with her editor.
Siegel and Schuster used two models for their heroine. One is the movie character Torchy
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When Lois finally reaches the ground the police are waiting with a net. All the way down she keeps hoping
Superman will show up. He doesn't, but as Jimmy comments: " You're terrific even without
Superman." As for the Jumper, her fall convinces him not to follow her: "I might have injured myself." One of the recurring motifs of the saga is Lois suspecting that Clark Kent and Superman are the same person and trying to prove it. Some people believe this started in the early 40's, but only one story ('Superman #17 (Jul. - Aug. 1941)) deals with this plot device.** Superman
#67 (Nov. - Dec. 1950) really got things rolling with 'Superman's Twin', a tale involving Lois seeing Clark enter a doorway and Superman come out. Meanwhile, across town, Joe Poleski, an ironworker and dead ringer for Clark, while heading to work, is accidentally hit on the head by a falling box from a passing truck. He develops amnesia and a doctor who comes to his aid identifies him as Clark Kent, Daily Planet reporter, and, after a check-up, Joe reports for work at the Planet. Lois stops him as he enters and accuses him of being Superman
Somewhere around 1939 and 1941 Detective Comics and its sister organization, All-American Publications, presented well known superheroes, for example, Batman and Robin, Wonder Woman, the Flash,
Now from what I have read from this article is that this author is trying to target
With regards to Superman himself, in his interview with Lois, Superman’s voice can be heard more clearly and is louder than Lois’s voice. This places him in a position of power and authority over Lois. Superman is often flying or hovering when he is seen by Lois Lane and Miss Teschmacher thus the camera is forced to be at a low angle to him. This, once again, places Superman in a position of power. This can also be seen in “Man of Steel”.
It’s a bird! It’s a plane! It’s Superman! In 1938, Action Comics #1, released the first Superman comic to the public. Superman, also known as Kal El, has shown many different powers since his first debut in 1938. This paper will discuss various topics about four of his major powers and explain why they are all impossible for anyone to achieve in real life. Superman’s four major powers that will be discussed in this paper are X-ray vision, being able to fly, super strength, and invulnerability.
In Superhero Worship by Virginia Postrel published in The Atlantic explores the glamour of comic heroes coming to live, and what that glamour really is. From paper to screen superheroes have caught the wonder of the American people. The most wellknown superheroes were introduced in the 1930s through the late 1950s, during the time of warfare and national pride. Superman was welcomed in America in 1937 to keep spirits alive during the breakout of WWII, fighting Nazis or the Japanese Imperial Army. These heroes that were created used propaganda
The mythology of Superman is a paradigm that embodies the cultural reality of the era; constructed around an archetype of ideology, fantasies of human spiritual ambiguity, a religious messiah, and a semiotic representation of modernity. In further study, Superman can be identified to have specifically changed to adhere to American culture in three distinctive periods; midst the Great Depression and WWII, post WWII and finally the socially progressive change of the Vietnam period. In each chapter Superman was re-imagined to meet the definition of the period, a tool of propaganda over that of entertainment. Currently, America is entering a new phase of cultural shift, and thus Superman will be redefined to represent the ideologies of truth, justice, and the American way of that required era. Yet, the mere surface mythology of Superman has applications to cultural ideologies, questions of human freedom, dreams in a Freudian nature, and the complex relation of fantasy and reality which required introduction before in-depth research.
The pressures of society and many factors against us can at times seem impossible to overcome, however, these limitations are only the ones we place on ourselves. Whether it’s during the adolescent years as Sherman Alexie explained in “The Joy of Reading and Writing: Superman and Me”, about the struggles of overcoming the stigma bound by his culture where “A smart Indian is a dangerous person, widely feared and ridiculed by Indians and non-Indians alike”, as well as having the courage to break free for his own benefit. In addition, this theme was also explored in the later years of adulthood as demonstrated in Malcolm X’s essay, “Learning to Read” where he’d become so frustrated while kept in prison, unable to quite express himself as he did
Millar, Mark [w], Johnson, Dave and Plunkett, Kilian [p]. Superman: Red Son. California: DC Comics. 2003. Print
After days of looking Spider-Man can’t find Gwen Stacy. He blames himself that she got abducted . Finally after a week of searching he finds the Green Goblin but not Gwen Stacy. In a dark alley in New York Spider-Man finds Gwen but is it a trap? Spider-Man runs to save her but Spider-Man falls into a pit filled with water. The Green Goblin says, “You always had a weakness for your loved ones Peter Parker.”
On one end of the spectrum lays Superman, an alien who from birth is comparable to god, and on the opposite side lays Lex Luthor, a genius human who comes from nothing and created a financial empire. Superman
The core of American myth is Superman consists of a few basic facts that remain unchanged throughout the infinitely varied ways in which the myth is told – facts with which everyone is familiar, however marginal their knowledge of the story. Superman is an orphan rocketed to Earth when his native planet Krypton explodes; he lands near Smallville and is adopted by Jonathan and Martha Kent, who inculcate in him their American middle-class ethic; as an adult he migrates to Metropolis there he defends America – no, the world! no, the universe – from all evil and harm while playing a romantic game in which, as Clark Kent, he hopelessly pursues Superman, who remains aloof until such time as Lois proves worthy of him by falling in live with his feigned identity as a weakling. That’s it. (Engle, 678).
And that's why he'd let Batman get a hold of some kryptonite, and why Superman won't dodge it as it's plunged into his chest.
Shortly after Superman made his appearance in 1939, a noted psychologist by the name of William Moulton Marston wrote an article in Family Circle magazine, praising comic books. According to Les Daniels in Wonder Woman: The Complete History (Chronicle Books, 2000, pp. 22-24), his article caught the eye of M.C. Gains of DC Comics. Gains was so impressed by the article, he hired Marston into a new position at DC Comics. Within a year, at the urging of his wife, Marston set out to create a female superhero. By February 1941, Marston handed in his first script for ‘Suprema: The Wonder Woman.’ (We owe a debt of thanks to whoever dropped the Suprema.) Marston created a unique heroine, based loosely on Greek Mythology. Diana was the Princess of Paradise Island, a mystical place inhabited by Amazons. Her mother, Hippolyte (sometimes referred to as Hippolyta), Queen of the Amazons, wanted a child and petitioned the Goddesses of Olympus to give her one. She was instructed to sculpt a child from clay. When she was done, the...
James Whitlark’s article, “Superheroes as Dream Doubles” articulates “that contemporary superheroes are more psychologically complex” (108). As a result of this complexity the superheroes show double identities the person “.... is divided into two selves: one ineffectual, the other heroic” (107). This idea of superheroes with dual identities is prevalent in “Heat” an episode from the Smallville television series. Throughout the episode the viewers see the main character, Clark Kent struggle with controlling his unconscious thoughts which are brought on by Desirée Atkins who also happens to have a doubling side. Though hers is predominantly evil. Throughout the episode the viewers get to watch Desirée try to spread her evil ways on Clark and it is up to him to be able to control his unconscious thoughts and expose Desirée’s secret.
However, this popularity has fluctuated throughout history. In the past few decades, demand for comics in the print media had been falling, in part due to the successes of other children 's media, such as cartoons. “Our biggest fear was that that audience was going to get to a point where we weren 't able to build it up again,” says Dan DiDio, co-publisher of DC Comics, “and a lot of what we do would be branded lost because there was nobody out there reading it" (Martin 14). Luckily, comic creators realized that the stories were perfect for screen adaptations: "they 're full of spectacle [and] adventure with an emotional arc for the hero. That 's what movies have always been about” (Humphries). The promise of lucrative merchandise sales and cross-promotion undoubtedly encouraged production, as well. Comic books were first adapted for television in the 40s and 50s, and met with huge success. Thus, superhero television programs set the stage for the inevitable point when comics took to the big screen with the first Superman movie in 1978 (Humphries). This cinematic moment ushered in a tricking of other superhero feature films, which eventually became the flood of superhero films that is taking place in the 21st