deakaan onorynah wedell
Niklas Terki
Circulating Now welcomes guest blogger David Cantor. Dr. Cantor has published on the histories of cancer, meat, medical film, and the after-life of Hippocrates, the father of medicine. His most recent book, co-edited with Edmund Ramsden, is Stress, Shock, and Adaptation in the Twentieth Century.
Part of the reason for this innovation was the audience the ACS hoped to reach. The movie was one of a growing number of educational films that targeted men, supplementing the traditional focus of the organization on women. The problem was that the ACS was not convinced that the sorts of motion pictures that worked for women would also work for men, and it began to experiment with new approaches that it hoped would better appeal to its new male audience. Man Alive! was one of these experiments, and its success (it was nominated for an Oscar) helped the ACS come to believe that the antic-humor of cartoon animation was crucial to its efforts to persuade men to accept and adopt its approach to cancer. Movies aimed at women occasionally used animation and humor, but throughout the 1950s only films aimed at men made consistent use of both together.
But Man Alive! also did something new in addition to its use of humorous cartoon animation. It focused on the psychology of cancer. Many films before 1952 had warned viewers that fear of cancer and its treatment might prompt them to delay seeking help. But no cancer education film before Man Alive! had dealt with the psychological consequences of fear in such detail. The movie not only taught its male audiences about the early warning signs of cancer (such as an upset stomach), but also about the warning signs that fear might be clouding their judgment (signs such as denial, sarcasm, icy disdain, and unreasoning anger).
Rollin Kirby studied art in New York and Paris before working as a cartoonist for the New York Mail, New York World and the New York Post. He established himself as America's leading political cartoonist after the First World War and he won the Pulitzer Prize for cartooning in 1921, 1924 and 1928. Kirby was sympathetic to woman suffrage and contributed cartoons to the Women Voter and the Suffragist. He was also an advocate of civil liberties and the New Deal and attacked political corruption and the Ku Klux Klan.
Robert Taft, although quite willing to run, was not nominated in 1952. Instead, the Republicans put up the popular Dwight D. Eisenhower. This caused a split in the Republican Party between Taft's and Eisenhower's supporters. Eisenhower, however, succeeded in winning Taft over to his camp (42A-1067124).
Adlai Stevenson, reluctant to run at first, was nominated by the Democrats after Truman announced that he wouldn't run again. Stevenson appealed to the more liberal intellectuals, hence this advice from "Coach Truman." (42B-1067125) But in the wake of McCarthyism, the people were suspicious of Stevenson's wit and preferred the homespun wisdom of Eisenhower.
The Republicans campaigned on the slogan "it's time for a change," and criticized the Democrats for scandalous practices. But the Republicans were not immune from accusations themselves. Vice presidential candidate Richard M. Nixon had to appear on television to defend himself from allegations of illegal financing while a senator. Nixon was seen as a blemish on the Republican Party (42C-1067126, 42D-1067127). But his famous "cloth coat," or "Checkers" speech brought a favorable response from the American people and he remained on the ticket to be elected to the White House with "Ike."
This late-1930's American-styled coupe car model is heavily modified and recolored from these free police car instructions as seen at this Rebrickable MOC by user Leewan. I remade it into both yellow (not shown) and blue varieties from the original black-and-white, removed the doors, and revised some other stuff "under the hood". Also, the model bears a resemblance to the titular car from the 1952 Disney short film 'Susie the little blue coupe'.
(Picture from Wikipedia - the short's music is still under copyright, but the pictures are not, strangely!) I couldn't do the radio antenna on my MOC, as it changes sides on the car from scene to scene. Also, I couldn't get the eyes on the windscreen.
- Bill Peet wrote the story treatment for Susie the little blue coupe. (he was quite prolific as a writer and animator for Disney, see his wiki page) Later, he also write the book 'The Caboose Who got Loose', another one of my favorite books - and MOC's!
The language, images, and ideas presented in The Bulletin were often racist, anti-Semitic, and sexist. You won't have to look far within this collection to find something offensive. This was, after all, the journal whose slogan for many years was 'Australia for the white man'.
This dataset includes a collection of 3,471 full-page editorial cartoons downloaded from issues of The Bulletin published between 1886 and 1952. In most cases there is one cartoon per issue. Metadata describing each image is available in a CSV-fromatted file, and in an SQLite database that can be explored using Datasette-Lite. The full collection of high-resolution images can be downloaded as a single 62gb zip file.
I like this cartoon of poor weatherman Robert Hudson getting rained on by "The Weather." Like some of these old TV shows, The Weather with Robert Hudson is lost to history -- at least that was the result of my cursory internet search.
Police Story was a 30 minute Live TV anthology series produced live in NYC. Twenty four episodes were produced from April to September 1952. Of course, the title was revived for another series some years later.
Studio One (1948 - 1958): "Created by Fletcher Markle. With Betty Furness, Paul Branson, Charlton Heston, Mary Sinclair. A pinnacle of the Golden Age of Television, 'Studio One' presented a wide range of memorable dramas and received eighteen Emmy nominations and five wins during its prestigious nine-year run on CBS." - IMDB
Watch and Win with Ben Alexander has a lovely title card with the cartoon TV viewer with dollar signs in his eyes. I'm not sure, but this may be the same Ben Alexander who was a child star beginning in 1915, and was in the 1930 version of All Quiet On the Western Front. Ben Alexander then went to be an early partner of Jack Webb's Joe Friday on Dragnet.
"Man Against Crime starring Ralph Bellamy, one of the first television programs about private eyes, ran on CBS, the DuMont Television Network and NBC from October 7, 1949, to June 27, 1954, and was briefly revived, starring Frank Lovejoy, during 1956. The show was created by Lawrence Klee and was broadcast live until 1952." - Wikipedia
Maybe "Thrifty Theater/Thrillers" were sponsored by the Thrifty drug store chain, on a local or regional basis if it wasn't syndicated or network.
Otherwise the branding may have been that watching a movie on TV was thriftier than going out. A peculiar pitch, since television movie slots usually tried to imply a bit of glamor and/or indulgence with words like theater, showcase, matinee, Hollywood, etc. Envisioning a local host welcoming viewers with "Hello cheapskates!"
A Second City sketch might have a host enthusing over the cheapness of the films themselves: "Look at how empty the sets are! This is real thrift!"
The following is a list of predominant people, places and subjects appearing in the editorial cartoons in this collection. The list is not exhaustive. Some subjects may require you to browse with alternative terms.
In 1983, Kraft left Marvel, which had changed from a looser environment to a lucrative but tighter editorial structure under Jim Shooter. Hoping that DC under new management would be looser than its mid-1970s days, he found himself disappointed and soon left both companies behind. Kraft was still industrious, as he continued his Fictioneer Publishing and, in 1983, began Comics Interview to expand on the comics journalism harnessed by Fantagraphics' The Comics Journal and Amazing Heroes.
Publishing 150 issues through 1995, Kraft and fellow cohorts interviewed the likes of Chris Claremont, Stan Lee and Larry Houston, getting the scoop on publishing, comics and animation. His connection to the latter led him to become involved as writer and story editor on the 1990s cartoons G.I. Joe Extreme and Street Fighter: The Animated Series. He eventually went into self-publishing his own comics series with Onrie Kompan, beginning in 2009: Yi Soon Shin, about a 1500s Korean admiral.
Kraft was asked during his Comic Book Historians interview to name three mentors who had a profound impact on him. He mentioned Kline acolyte E. Hoffmann Price, who encouraged specificity in writing; Leigh Brackett, who encouraged storytelling through dialogue; and Stan Lee, whose dialogue he loved reading as a teenager in the early 1960s. By all accounts, Kraft had a lust for life, not afraid to travel to unknown places and meet interesting and influential people. He expressed this through various media in comics, books, animation and publishing.
He is survived by his wife, Jennifer Bush-Kraft, their son Bryce William Davidson Bush-Kraft, and step-children Jenniferann Bush, Jacqueline Bush, Kizzie Bush, and Adam Bush. In lieu of flowers, DAK and his family asked that donations be made to comic writers in need via The Hero Initiative.
Alex Grand is a comics history consultant quoted in projects for Marvel Studios, Lego, The Wall Street Journal, CGTN America and The Today Show. He appears in documentaries like Slugfest and Life According to Stan Lee, writes and animates an ongoing comics history docu-series and co-hosts the Comic Book Historians podcast.
From the days of my childhood I always knew that lilacs should be around the kitchen door, but I like them everywhere. While they are in bloom they perfume the air, and one can bring armsful into the house. And when the blossoms go, their foliage stays green for the rest of the summer.
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