Artículos by Jose Joaquin Rodriguez Moreno
Trocadero, 2020
Español: Desde la Crisis de Suez de 1956 hasta la Crisis Cubana de 1962, las tensiones entre Esta... more Español: Desde la Crisis de Suez de 1956 hasta la Crisis Cubana de 1962, las tensiones entre Estados Unidos y la Unión Soviética no dejaron de crecer, hasta el punto de que la guerra era una posibilidad cotidiana. Aunque el gobierno estadounidense y algunos expertos ofrecieron un discurso tranquilizador y diseñaron ejercicios de Defensa Civil para calmar a la población, varios novelistas reflejaron los miedos a una guerra nuclear y a sus consecuencias. A través de un análisis cultural de cuatro novelas escritas por cinco autores angloamericanos entre 1957 y 1962 podemos seguir el rastro de dichos miedos, comprenderlos mejor y entender de qué modo influyeron a su época.
Debate, 2019
Español: Cuando la industria del comic book dio sus primeros pasos en los primeros años treinta d... more Español: Cuando la industria del comic book dio sus primeros pasos en los primeros años treinta del siglo pasado, la forma de producir cómics se asemejaba a la de una cadena de montaje, con el personal creativo diferenciado y separado en función de su rol (escribir o dibujar), a los que los editores les imponían una serie de repetitivas fórmulas comerciales. Sin embargo, en los años sesenta Marvel Comics, con su editor Stan Lee a la cabeza, ganó popularidad gracias a su nuevo sistema de producción: el método Marvel, una nueva forma de trabajo garantizaba una gran libertad creativa al personal artístico. ¿Pero era un sistema de trabajo justo? ¿Se escondía bajo la etiqueta “libertad creativa” un ardid para cargar con nuevas responsabilidades al personal artístico, sin por ello remunerarlo ni reconocerlo adecuadamente? En este artículo se analizan las declaraciones de diferentes personas que trabajaron como personal creativo para Marvel, buscando a través de sus palabras una definición de qué era realmente el método Marvel y cómo los empleados de la editorial se sentían con respecto al mismo.
English: When the comic book industry get started in the early 1930s, comics were produced as in assemble line, with writers working apart of artists, and editors imposing repetitive commercial formulas. However, in the 1960s Marvel Comics and its editor Stan Lee started to gain popularity with a new production system – the Marvel Method, which gave great creative freedom to artists. But was it a fair work system? Where ‘creative freedom’ a ruse to overload artists with new responsibilities without gave them theirs rightful recognition and salary? This article analyzes declarations of diff erent Marvel artists and writers to know the exact way Marvel Method worked and how the Marvel employees felt about it.
History of Education & Children’s Literature, 2018
English: General Franco’s dictatorship imposed publications for children and teenagers a strict c... more English: General Franco’s dictatorship imposed publications for children and teenagers a strict censorship system, which generated an important limitation for authors and editors of comic books. This article analyses – through the legislation of the «Boletín Oficial» del Estado and theoretical texts published during the dictatorship- who were the people in charge of creating the regulations and supervising the contents, and what objective they were looking after in the case of female teen comics, which were publications aimed at female readers. We will also examine the different positions on this gender-based segregation, discovering the dissenting voices that appeared and the arguments they employed.
Spanish: La dictadura del general Franco impuso a las publicaciones españolas dirigidas a la infancia y la juventud un estricto control mediante el uso de la censura, la cual dio lugar a una limitación importante en lo que el personal creativo y las editoriales podían mostrar en los cómics y revistas que publicaban. El presente artículo estudia, a través de la legislación recogida en el Boletín Oficial del Estado, entrevistas y diferentes textos teóricos publicados durante la dictadura, quiénes eran las personas encargadas de crear y supervisar la normativa censora, y qué objetivos se marcaban en el caso de las publicaciones para mujeres jóvenes.
Tebeosfera, 2017
Entre 1961 y 1968, el Universo Marvel presentó, de la mano del guionista y editor Stan Lee, una s... more Entre 1961 y 1968, el Universo Marvel presentó, de la mano del guionista y editor Stan Lee, una serie de superhéroes que cautivaron al público y crearon los cimientos de uno de los universos de ficción más conocidos de nuestro tiempo. Pero la obra de Lee no solo generó superhéroes, sino también supervillanos, entre los que hubo un gran número de espías, agentes y dictadores comunistas. El presente artículo analiza el papel que tuvieron estos personajes a través de tres vías: primero, como un reflejo de los hechos bélicos y políticos que sucedían en la realidad; segundo, de acuerdo a la cantidad de veces que se recurrió al comunismo como amenaza; finalmente, a través de un análisis del mensaje de estas historietas. Con ello no solo esperamos encontrar la razón de por qué tuvieron tanto atractivo estos villanos, sino también por qué desaparecieron tras 1968.
Revista de Estudios Empresariales, 2017
ESPAÑOL: Las industrias culturales son negocios no convencionales que necesitan ofrecer incentivo... more ESPAÑOL: Las industrias culturales son negocios no convencionales que necesitan ofrecer incentivos particulares a sus empleados, entre ellos libertad creativa y reconocimiento artístico. Pese a ello, la industria del comic book se apoyó en un rígido sistema de producción que, durante sus primeras décadas de vida, daba poco o ningún reconocimiento a la mayoría de sus trabajadores. El presente artículo se adentra en las razones por las que ese primer sistema de trabajo comenzó a cambiar y el contexto que ayudó a dicha transformación. Para ello, analizamos el sistema de producción, las ventas y las propias impresiones del personal creativo.
ENGLISH: Cultural industries are nonconventional business which need to offer special incentives to their workers – creative freedom and recognition among them. Nonetheless, in its first decades of life the comic book industry used a rigid system of production and didn't give any recognition to most of its employees; it needed nearly thirty years to start to change to another production system. This text wants to know why that first system started to change, and what circumstances helped this change. In order to do it, we analyze the production system, the sales and the perspective of the creative staff.
Feminismo/s, 2016
ESPAÑOL: Los valores patriarcales católicos son clave para entender el ideal de feminidad que exa... more ESPAÑOL: Los valores patriarcales católicos son clave para entender el ideal de feminidad que exaltaba la España del General Franco. El Franquismo no dudó en utilizar la censura sobre las revistas femeninas infantiles y juveniles para educar y hacer aceptable este restrictivo rol femenino. De este modo, a través de la legislación censora podemos entender qué rol jugó el catolicismo ultracatólico tanto en crear como en hacer cumplir las normas de la censura. Además, para comprender mejor cómo la legislación cambió y cómo el ideal femenino evolucionó, compararemos las normas con las revistas juveniles más populares de aquellos años: Mis chicas (1941-1950), Florita (1949-1961), Sissi (1958-1967) y Lily (1970-1977), cuatro publicaciones que muestran una clara evolución desde los contenidos religiosos y pedagógicos de la primera, hasta la última, con una visión más comercial y centrada en el entretenimiento. De este modo intentaremos comprobar si los cambios experimentados por las publicaciones fueron puramente estéticos o si obedecieron a un auténtico cambio de los valores católicos que imponía la censura.
ENGLISH: Patriarchal Catholic values are key to understand the ideal of womanhood in Francoist Spain. In order to educate and to make acceptable this restrictive role, Franco's Regime didn't hesitate to use censorship over children and teenager publications. Through censorship regulations we will understand what role ultraconservative Catholicism played by both creating and to enforcing these laws. Besides, for a better understanding of how legislation changed and womanhood ideal evolved we will confront legislation against the most popular female teen magazines in their time - Mis chicas (1941-1950), Florita (1949-1961), Sissi (1958-1967), and Lily (1970-1977), four publications which show a clear evolution from the religious and educational first one to the more commercial and devoted to entertainment last one. In that way, we will try to understand if that changes were just aesthetic or if it was a real change in the Catholic values imposed by censorship.
El futuro del pasado, 2016
ESPAÑOL: Los personajes masculinos fueron los protagonistas principales de Marvel Comics durante ... more ESPAÑOL: Los personajes masculinos fueron los protagonistas principales de Marvel Comics durante el siglo XX. Dichos personajes mostraban algunas características de forma persistente que ayudaron a fraguar un mito de la masculinidad. A pesar de esto, dicho mito evolucionó a partir de 1961, ampliando los estrechos márgenes de la masculinidad. Los objetivos de este artículo son, en primer lugar, entender cuál fue el mensaje que lanzaba dicho mito, cómo afectaba a los hombres en función de si eran jóvenes, adultos o ancianos, y en qué modo cambió con el paso del tiempo. En segundo lugar, nos proponemos entender las transformaciones sociales, económicas y productivas que ayudaron a desarrollar un nuevo mito de la masculinidad. Para lograr esto, vamos a estudiar algo más de un centenar de publicaciones de Marvel Comics publicadas entre los años 1940 y 2000, analizando desde la perspectiva de los Estudios Culturales los arquetipos presentados. Entre las conclusiones a las que hemos llegado cabe destacar la existencia de un modelo patriarcal de masculinidad que sobrevivió sin problemas hasta 1960 debido a una mezcla de factores políticos, económicos y productivos, si bien los importantes cambios en la producción de cómics experimentada en las oficinas de Marvel durante 1961 condujeron a que dicho modelo dejase de ser el único existente; a esto ayudaron en los años sesenta y setenta los importantes problemas políticos, económicos y sociales que sacudieron los Estados Unidos. A pesar de todo ello, no podemos afirmar que el mito de la masculinidad evolucionara de una manera irreversible e imparable, antes al contrario, existió una relación dialéctica entre un nuevo y un viejo mito de masculinidad.
ENGLISH: Male characters were the main protagonists in Marvel Comics through 20th century. These male characters showed some recurrent characteristics that helped to create a manhood myth. However, this myth evolved since 1961, widening the until then tight masculinity borders. The goals of this article are, first of all, to understand what the manhood myth message was, how affected young, mature and old men, and in what way it changed. In second place, we aim to understand what social, economic and production transformations helped to develop a new manhood myth. To do it, we are going to study one hundred and something Marvel comic books from 1940 to 2000, analyzing archetypes from a Cultural Studies perspective. Between our conclusions we can highlight the existence of a Patriarchal Manhood model which survived without problem until 1960 because a mix of political, economic and productive factors, but this model started to be challenged in 1961 with important changes in the production process in the Marvel Comics bullpen, and was helped by the political, economic and social problems from the 60s and 70s. In spite of this, we cannot say that the manhood myth evolved in an irrevocable and stoppable way. On the contrary, we can observe a struggle between old and new manhood myths.
Revista Sans Soleil. Estudios de la Imagen, 2015
ESPAÑOL: La Era Atómica engendró un nuevo tipo de monstruo, el mutante. Esta criatura fue explota... more ESPAÑOL: La Era Atómica engendró un nuevo tipo de monstruo, el mutante. Esta criatura fue explotada en las historias de ciencia ficción y consumida principalmente por
una audiencia adolescente, pero fue más que un simple monstruo. A través de un análisis detenido, el mutante puede mostrarnos los miedos y las expectativas que
despertaba en su público. Para lograr eso, necesitamos conocer el modo en que estas historias eran creadas, cuál fue su contexto histórico y qué temas desarrollaron
los autores. Este trabajo estudia dos casos concretos producidos en Marvel Comics durante los primeros años sesenta: Hulk y los X-Men, gracias a los cuales
sabremos más sobre el tiempo y la sociedad en que fueron producidos.
ENGLISH: The Atomic Age spawned a new monster type – the mutant. This creature was exploited in science fiction narratives and mostly consumed by a teenage
audience, but it was more than a mere monster. Through an inquisitive analysis we can learn about the nightmares and hopes that mutants represented for its
audience. In order to do it, we need to learn how these narratives were created, what was its historical context and what topics were portrayed by the authors. We
are studying two concrete cases from Marvel Comics in the early 60s – Hulk and the X-Men, which will show us more about their time and society.
Pacarina del Sur, Apr 2015
ESPAÑOL: Los comic books estadounidenses tuvieron una gran popularidad entre los años treinta y s... more ESPAÑOL: Los comic books estadounidenses tuvieron una gran popularidad entre los años treinta y sesenta del siglo XX. Pero el público lector estadounidense no solo aprendió sobre heroísmo con aquellas lecturas, sino que también descubrió cómo era Latinoamérica, quiénes eran sus habitantes y de qué modo los pueblos del continente se suponían que se relacionaban entre sí. El presente artículo analiza el sistema de producción de los cómics y los vínculos de estos con la cultura popular para comprender cuál era el mensaje que calaba en los lectores y cómo estos eran elaborados.
ENGLISH: American comic books enjoyed enormous popularity between the '30s and '60s. But american readers did not just learn about heroism, they learned too about how was Latin America, who were its inhabitants and how American peoples were supposed to interact between them. This article studies the comics' production system and the links with Popular Culture to understand what was the messages that readers absorbed and how it was created.
PORTUGUÊS: Os quadrinhos dos Estados Unidos tiveram uma grande popularidades entre os anos trinta e setenta do século XX, mais os leitores desse pais não aprenderão só sobre heroísmo com aqueles quadrinhos, eles também aprenderam sobre a América Latina, seus habitantes e a forma na que supostamente os povos do continente se relacionavam uns com outros. Neste artigo se analisa o sistema de produção dos quadrinhos e os laços destes com a cultura popular para compreender qual era a mensagem que assimilabam e como este era construído.
Espacio, Tiempo y Forma. Serie V: Historia Contemporánea, 2014
ESPAÑOL: Catwoman fue una de las villanas más populares de la Edad de Oro del cómic estadounidens... more ESPAÑOL: Catwoman fue una de las villanas más populares de la Edad de Oro del cómic estadounidense, algo poco común en una industria donde la mayoría de los personajes populares eran héroes y hombres. Este artículo se plantea cuál fue el mensaje de las aventuras de Catwoman durante sus primeros años. Para responder a esta pregunta analizaremos tanto la forma en que se producían los comic books como lo que decían las historietas publicadas entre 1940 y 1954. Este análisis nos ayudará a comprender mejor los estereotipos de género y los mensajes subconscientes en la historieta y revelará el auténtico significado de los relatos de Catwoman.
ENGLISH: Catwoman was one of the most popular villains in Golden Age, something odd in an industry as comic books where most of the popular characters are male and heroes. This article wants to find out what was the message in Catwoman adventures throughout her first years. To answer it we will analyse both how comic books were created and what was told by the stories published between 1940 and 1954. This analysis will help us to understand better gender stereotypes and subconscious messages in comics and will uncover the actual meaning in Catwoman stories.
Revista de Historia y Geografía , 2014
ESPAÑOL: Las biografías están volviendo a ser utilizadas actualmente como herramientas historiogr... more ESPAÑOL: Las biografías están volviendo a ser utilizadas actualmente como herramientas historiográficas para el estudio del pasado. A través del estudio de las biografías, ideología y actuaciones de un alcalde democrático y otro franquista de Cádiz, descubriremos cómo el gobierno público local se vio influido más por la ideología que por los proyectos políticos de cada uno de ellos.
ENGLISH: Cadiz city management during the Second Spanish Republic and the Spanish Civil War: actions by the Republican Mayor Manuel de la Pinta and francoist Mayor Juan de Dios Molina (1932-1940)
Biographies are currently used as historiographical tools for studying the past. Through the study of biographies, ideology and actions of a democratic mayor and a Francoist mayor from Cadiz we will discover how the local public administration was influenced more by ideology than by their own political projects.
PORTUGUÊS: A gestão municipal de cádiz durante a Segunda República Espanhola e a Guerra Civil Espanhola: as ações do prefeito republicano Manuel de La Pinta e o prefeito Franquista Juan de Dios Molina (1932-1940)
As biografias estão retornando para serem utilizadas atualmente como ferramentas historiográficas para o estudo do passado. Através do estudo das biografias, ideologia e ações de um prefeito democrático e outro franquista de Cádiz, vamos descobrir como o governo público local viu-se mais influenciado pela ideologia do que os projetos políticos de cada um deles.
Historietas. Revista de estudios sobre la Historieta, 2013
ESPAÑOL: El Temerario fue un tebeo de escasa vida publicadoen la España de posguerra. A pesar de ... more ESPAÑOL: El Temerario fue un tebeo de escasa vida publicadoen la España de posguerra. A pesar de que no fue una publicaciónpropagandística, sus aventuras, chistes y personajes refl ejaban lasociedad española de la época, sus miedos y sus esperanzas. Eneste artículo se analizan las historias de El Temerario y el contextola sociedad española para descubrir cómo la fi cción de los tebeos yla realidad estaban conectadas entre sí.
ENGLISH: El Temerario was a short-lived comic book published in Post-war Spain. Although it was not a propaganda publication its adventures, humor stories and characters refl ected Spanish society-- its fears and hopes. In this article El Temerario stories and Spanish social context are analyzed to fi nd out how fi ction in comic books and reality were linked.
Revista de Historia Ubi Sunt?, 2014
ESPAÑOL: Es una vieja tradición en los estudios sobre cómics vincular el fin de los superhéroes d... more ESPAÑOL: Es una vieja tradición en los estudios sobre cómics vincular el fin de los superhéroes de la Edad Dorada con el fin de la II Guerra Mundial. Las causas principales que se dan para ello son el regreso de los combatientes, los cambios en la sociedad y la aparición de una gran cantidad de nuevos géneros literarios, pero quienes estudian los cómics se han limitado a dar algunos ejemplos sueltos en lugar de datos firmes. El presente artículo presenta las ideas comunes que existen sobre el ocaso de los superhéroes en los años de la posguerra y analiza datos de publicación de las principales editoriales para intentar así comprender qué sucedió realmente con los superhéroes durante la Edad Dorada.
ENGLISH: In comic history is an old tradition to link the end of the Golden Age of Superheroes to the end of the II World War. Return of soldiers, changes in society and a great spawn of new genres are pointed out like main causes, but comic historians have merely given some dispersed examples instead of real figures. This article looks over classic ideas about the end of Superheroes in the Postwar Era and analyzes major publisher's comic figures in order to understand what really happened with superheroes in the Golden Age.
Revista de Historia Ubi Sunt?, 2011
ESPAÑOL: De mediados de los años cuarenta a finales de los sesenta, Estados Unidos vivió una extr... more ESPAÑOL: De mediados de los años cuarenta a finales de los sesenta, Estados Unidos vivió una extraña relación con la energía atómica. Por un lado, estaban maravillados por aquel nuevo poder que podría aniquilar una ciudad enemiga u ofrecer energía infinita. Pero por otra parte, la población estaba atemorizada por la posibilidad de un accidente, una guerra que emplease armamento atómico o la lluvia radioactiva. El presente texto trata sobre las esperanzas y miedos que existieron, y sobre cómo fueron reflejadas en la cultura popular a través de horribles monstruos, extraños mutantes y maravillosos superhéroes.
ABSTRACT: United States lived a strange relationship with atomic power from middle 40s to late 60s. On the one hand, they were marveled with this new power which can to erase an enemy city from the map or create unlimited energy. On the other hand, people were terrorized by possible accidents, atomic wars of fallouts. This article deals with these dreams and nightmares, and how they were reflected in popular culture through tales of terrible monsters, strange mutants and amazing superheroes.
Tebeosfera, 2012
"ESPAÑOL: Cuando los comic books aparecieron en 1934, no tuvieron excesivo éxito. Sin embargo, po... more "ESPAÑOL: Cuando los comic books aparecieron en 1934, no tuvieron excesivo éxito. Sin embargo, pocos años después, se habían transformado en el entretenimiento más popular en los Estados Unidos. El mensaje de estos cómics estaba condicionado por un sistema de producción patriarcal, y transmitió a su público un discurso en el que se explicaba cómo debían de ser y cómo debían de comportarse las mujeres.
ENGLISH: When comic books were born in 1934 they were not a great hit. Nonetheless few years later they were the most popular children entertainment in America. Their message was conditioned for a patriarchal production system, and gave to America a discourse about how woman had to be and to live."
Investigaciones Históricas, 2011
"ESPAÑOL: El poder atómico fue una obsesión en la cultura popular estadounidense durante los años... more "ESPAÑOL: El poder atómico fue una obsesión en la cultura popular estadounidense durante los años de la Guerra Fría. Músicos, escritores, diseñadores de juegos, artistas de cómic y cineastas miraron a la energía y las armas atómicas con temor o esperanza, reflejando nuestros propios temores o esperanzas como sociedad. El presente artículo trata sobre dichas visiones y muestra el cambio de mentalidad que se dio en los Estados Unidos respecto al poder atómico.
ENGLISH: Atomic power obsessed American popular culture during the Cold War. Musicians, writers, game designers, comic book artists and filmmakers looked at atomic energy and weapons with horror or hope, reflecting our own horrors and hopes as society. This article deals with those visions and exposes America’s changes of mind towards atomic power."
Revista de Literatura, 2009
ESPAÑOL: Un repaso a la historia del cómic como herramienta educativa y algunos consejos para su ... more ESPAÑOL: Un repaso a la historia del cómic como herramienta educativa y algunos consejos para su empleo en el aula.
ENGLISH: This article revises comics as teching tools and offers some tips about their use in classroom.
Revista de Historia Ubi Sunt?, 2010
Español: Los comic books pueden ser una herramienta útil para entender tanto la Historia como la ... more Español: Los comic books pueden ser una herramienta útil para entender tanto la Historia como la Sociedad, sin embargo, primero debemos comprenderlos, conocer sus puntos fuertes y, también, sus defectos como fuente. El presente artículo presenta diversas ideas y sugerencias para facilitar una investigación que emplee comic books como fuente.
English:Comic books can be a useful tool to nderstand both History and Society. However, we nee to understand comic boos strong and week points, its virtues and its flaws, too. This article offer some ideas and suggestion tha can do easier the use of comics in a research.
Revista de Historia Ubi Sunt?, 2009
ESPAÑOL: Las mujeres de los cómics estadounidenses solían tener solamente dos roles, el de leales... more ESPAÑOL: Las mujeres de los cómics estadounidenses solían tener solamente dos roles, el de leales compañeras o el de malvadas villanas. Dichos roles y su evolución nos muestras los miedos y aspiraciones de la sociedad estadounidense a través de las décadas. El presente artículo describe a las villanas en los cómics de aventuras, romance y comedia adolescente, describiendo sus características, apariencia y objetivos.
ENGLISH: Women in American comics used to play only two roles -- either loyal partners or evil characters. These roles and their evolution reveal American society's fears and expectations and the changes they have experienced through the decades. This article studies female villains in comics of adventure, romance and teenage comedy, describing the traits, appearances and objetives of this role.
Trocadero. Revista del Departamento de Historia Moderna, Contemporánea, de América y del Arte, 2007
ESPAÑOL: Este artículo habla sobre el desarrollo de la imagen de la mujer en los cómics norteamer... more ESPAÑOL: Este artículo habla sobre el desarrollo de la imagen de la mujer en los cómics norteamericanos. Las siguientes líneas muestran los papeles tradicionales e innovadores que la sociedad pretendió que la mujer representara, y las razones que permitieron que estos cambios se produjeran. Además, géneros, personajes relevantes y estadísticas son dadas a lo largo del artículo, ayudando a comprender el papel jugado por las mujeres en la primera mitad del siglo XX.
ENGLISH: This article speaks about women image evolution in Nort American comics. The next lines show the old and new roles that society wanted women played, and the reasons that permitted these changes. Besides, genres, main characters and statistics are given across the article, helping to understand the women role in the first part of the 20th century.
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Artículos by Jose Joaquin Rodriguez Moreno
English: When the comic book industry get started in the early 1930s, comics were produced as in assemble line, with writers working apart of artists, and editors imposing repetitive commercial formulas. However, in the 1960s Marvel Comics and its editor Stan Lee started to gain popularity with a new production system – the Marvel Method, which gave great creative freedom to artists. But was it a fair work system? Where ‘creative freedom’ a ruse to overload artists with new responsibilities without gave them theirs rightful recognition and salary? This article analyzes declarations of diff erent Marvel artists and writers to know the exact way Marvel Method worked and how the Marvel employees felt about it.
Spanish: La dictadura del general Franco impuso a las publicaciones españolas dirigidas a la infancia y la juventud un estricto control mediante el uso de la censura, la cual dio lugar a una limitación importante en lo que el personal creativo y las editoriales podían mostrar en los cómics y revistas que publicaban. El presente artículo estudia, a través de la legislación recogida en el Boletín Oficial del Estado, entrevistas y diferentes textos teóricos publicados durante la dictadura, quiénes eran las personas encargadas de crear y supervisar la normativa censora, y qué objetivos se marcaban en el caso de las publicaciones para mujeres jóvenes.
ENGLISH: Cultural industries are nonconventional business which need to offer special incentives to their workers – creative freedom and recognition among them. Nonetheless, in its first decades of life the comic book industry used a rigid system of production and didn't give any recognition to most of its employees; it needed nearly thirty years to start to change to another production system. This text wants to know why that first system started to change, and what circumstances helped this change. In order to do it, we analyze the production system, the sales and the perspective of the creative staff.
ENGLISH: Patriarchal Catholic values are key to understand the ideal of womanhood in Francoist Spain. In order to educate and to make acceptable this restrictive role, Franco's Regime didn't hesitate to use censorship over children and teenager publications. Through censorship regulations we will understand what role ultraconservative Catholicism played by both creating and to enforcing these laws. Besides, for a better understanding of how legislation changed and womanhood ideal evolved we will confront legislation against the most popular female teen magazines in their time - Mis chicas (1941-1950), Florita (1949-1961), Sissi (1958-1967), and Lily (1970-1977), four publications which show a clear evolution from the religious and educational first one to the more commercial and devoted to entertainment last one. In that way, we will try to understand if that changes were just aesthetic or if it was a real change in the Catholic values imposed by censorship.
ENGLISH: Male characters were the main protagonists in Marvel Comics through 20th century. These male characters showed some recurrent characteristics that helped to create a manhood myth. However, this myth evolved since 1961, widening the until then tight masculinity borders. The goals of this article are, first of all, to understand what the manhood myth message was, how affected young, mature and old men, and in what way it changed. In second place, we aim to understand what social, economic and production transformations helped to develop a new manhood myth. To do it, we are going to study one hundred and something Marvel comic books from 1940 to 2000, analyzing archetypes from a Cultural Studies perspective. Between our conclusions we can highlight the existence of a Patriarchal Manhood model which survived without problem until 1960 because a mix of political, economic and productive factors, but this model started to be challenged in 1961 with important changes in the production process in the Marvel Comics bullpen, and was helped by the political, economic and social problems from the 60s and 70s. In spite of this, we cannot say that the manhood myth evolved in an irrevocable and stoppable way. On the contrary, we can observe a struggle between old and new manhood myths.
una audiencia adolescente, pero fue más que un simple monstruo. A través de un análisis detenido, el mutante puede mostrarnos los miedos y las expectativas que
despertaba en su público. Para lograr eso, necesitamos conocer el modo en que estas historias eran creadas, cuál fue su contexto histórico y qué temas desarrollaron
los autores. Este trabajo estudia dos casos concretos producidos en Marvel Comics durante los primeros años sesenta: Hulk y los X-Men, gracias a los cuales
sabremos más sobre el tiempo y la sociedad en que fueron producidos.
ENGLISH: The Atomic Age spawned a new monster type – the mutant. This creature was exploited in science fiction narratives and mostly consumed by a teenage
audience, but it was more than a mere monster. Through an inquisitive analysis we can learn about the nightmares and hopes that mutants represented for its
audience. In order to do it, we need to learn how these narratives were created, what was its historical context and what topics were portrayed by the authors. We
are studying two concrete cases from Marvel Comics in the early 60s – Hulk and the X-Men, which will show us more about their time and society.
ENGLISH: American comic books enjoyed enormous popularity between the '30s and '60s. But american readers did not just learn about heroism, they learned too about how was Latin America, who were its inhabitants and how American peoples were supposed to interact between them. This article studies the comics' production system and the links with Popular Culture to understand what was the messages that readers absorbed and how it was created.
PORTUGUÊS: Os quadrinhos dos Estados Unidos tiveram uma grande popularidades entre os anos trinta e setenta do século XX, mais os leitores desse pais não aprenderão só sobre heroísmo com aqueles quadrinhos, eles também aprenderam sobre a América Latina, seus habitantes e a forma na que supostamente os povos do continente se relacionavam uns com outros. Neste artigo se analisa o sistema de produção dos quadrinhos e os laços destes com a cultura popular para compreender qual era a mensagem que assimilabam e como este era construído.
ENGLISH: Catwoman was one of the most popular villains in Golden Age, something odd in an industry as comic books where most of the popular characters are male and heroes. This article wants to find out what was the message in Catwoman adventures throughout her first years. To answer it we will analyse both how comic books were created and what was told by the stories published between 1940 and 1954. This analysis will help us to understand better gender stereotypes and subconscious messages in comics and will uncover the actual meaning in Catwoman stories.
ENGLISH: Cadiz city management during the Second Spanish Republic and the Spanish Civil War: actions by the Republican Mayor Manuel de la Pinta and francoist Mayor Juan de Dios Molina (1932-1940)
Biographies are currently used as historiographical tools for studying the past. Through the study of biographies, ideology and actions of a democratic mayor and a Francoist mayor from Cadiz we will discover how the local public administration was influenced more by ideology than by their own political projects.
PORTUGUÊS: A gestão municipal de cádiz durante a Segunda República Espanhola e a Guerra Civil Espanhola: as ações do prefeito republicano Manuel de La Pinta e o prefeito Franquista Juan de Dios Molina (1932-1940)
As biografias estão retornando para serem utilizadas atualmente como ferramentas historiográficas para o estudo do passado. Através do estudo das biografias, ideologia e ações de um prefeito democrático e outro franquista de Cádiz, vamos descobrir como o governo público local viu-se mais influenciado pela ideologia do que os projetos políticos de cada um deles.
ENGLISH: El Temerario was a short-lived comic book published in Post-war Spain. Although it was not a propaganda publication its adventures, humor stories and characters refl ected Spanish society-- its fears and hopes. In this article El Temerario stories and Spanish social context are analyzed to fi nd out how fi ction in comic books and reality were linked.
ENGLISH: In comic history is an old tradition to link the end of the Golden Age of Superheroes to the end of the II World War. Return of soldiers, changes in society and a great spawn of new genres are pointed out like main causes, but comic historians have merely given some dispersed examples instead of real figures. This article looks over classic ideas about the end of Superheroes in the Postwar Era and analyzes major publisher's comic figures in order to understand what really happened with superheroes in the Golden Age.
ABSTRACT: United States lived a strange relationship with atomic power from middle 40s to late 60s. On the one hand, they were marveled with this new power which can to erase an enemy city from the map or create unlimited energy. On the other hand, people were terrorized by possible accidents, atomic wars of fallouts. This article deals with these dreams and nightmares, and how they were reflected in popular culture through tales of terrible monsters, strange mutants and amazing superheroes.
ENGLISH: When comic books were born in 1934 they were not a great hit. Nonetheless few years later they were the most popular children entertainment in America. Their message was conditioned for a patriarchal production system, and gave to America a discourse about how woman had to be and to live."
ENGLISH: Atomic power obsessed American popular culture during the Cold War. Musicians, writers, game designers, comic book artists and filmmakers looked at atomic energy and weapons with horror or hope, reflecting our own horrors and hopes as society. This article deals with those visions and exposes America’s changes of mind towards atomic power."
ENGLISH: This article revises comics as teching tools and offers some tips about their use in classroom.
English:Comic books can be a useful tool to nderstand both History and Society. However, we nee to understand comic boos strong and week points, its virtues and its flaws, too. This article offer some ideas and suggestion tha can do easier the use of comics in a research.
ENGLISH: Women in American comics used to play only two roles -- either loyal partners or evil characters. These roles and their evolution reveal American society's fears and expectations and the changes they have experienced through the decades. This article studies female villains in comics of adventure, romance and teenage comedy, describing the traits, appearances and objetives of this role.
ENGLISH: This article speaks about women image evolution in Nort American comics. The next lines show the old and new roles that society wanted women played, and the reasons that permitted these changes. Besides, genres, main characters and statistics are given across the article, helping to understand the women role in the first part of the 20th century.
English: When the comic book industry get started in the early 1930s, comics were produced as in assemble line, with writers working apart of artists, and editors imposing repetitive commercial formulas. However, in the 1960s Marvel Comics and its editor Stan Lee started to gain popularity with a new production system – the Marvel Method, which gave great creative freedom to artists. But was it a fair work system? Where ‘creative freedom’ a ruse to overload artists with new responsibilities without gave them theirs rightful recognition and salary? This article analyzes declarations of diff erent Marvel artists and writers to know the exact way Marvel Method worked and how the Marvel employees felt about it.
Spanish: La dictadura del general Franco impuso a las publicaciones españolas dirigidas a la infancia y la juventud un estricto control mediante el uso de la censura, la cual dio lugar a una limitación importante en lo que el personal creativo y las editoriales podían mostrar en los cómics y revistas que publicaban. El presente artículo estudia, a través de la legislación recogida en el Boletín Oficial del Estado, entrevistas y diferentes textos teóricos publicados durante la dictadura, quiénes eran las personas encargadas de crear y supervisar la normativa censora, y qué objetivos se marcaban en el caso de las publicaciones para mujeres jóvenes.
ENGLISH: Cultural industries are nonconventional business which need to offer special incentives to their workers – creative freedom and recognition among them. Nonetheless, in its first decades of life the comic book industry used a rigid system of production and didn't give any recognition to most of its employees; it needed nearly thirty years to start to change to another production system. This text wants to know why that first system started to change, and what circumstances helped this change. In order to do it, we analyze the production system, the sales and the perspective of the creative staff.
ENGLISH: Patriarchal Catholic values are key to understand the ideal of womanhood in Francoist Spain. In order to educate and to make acceptable this restrictive role, Franco's Regime didn't hesitate to use censorship over children and teenager publications. Through censorship regulations we will understand what role ultraconservative Catholicism played by both creating and to enforcing these laws. Besides, for a better understanding of how legislation changed and womanhood ideal evolved we will confront legislation against the most popular female teen magazines in their time - Mis chicas (1941-1950), Florita (1949-1961), Sissi (1958-1967), and Lily (1970-1977), four publications which show a clear evolution from the religious and educational first one to the more commercial and devoted to entertainment last one. In that way, we will try to understand if that changes were just aesthetic or if it was a real change in the Catholic values imposed by censorship.
ENGLISH: Male characters were the main protagonists in Marvel Comics through 20th century. These male characters showed some recurrent characteristics that helped to create a manhood myth. However, this myth evolved since 1961, widening the until then tight masculinity borders. The goals of this article are, first of all, to understand what the manhood myth message was, how affected young, mature and old men, and in what way it changed. In second place, we aim to understand what social, economic and production transformations helped to develop a new manhood myth. To do it, we are going to study one hundred and something Marvel comic books from 1940 to 2000, analyzing archetypes from a Cultural Studies perspective. Between our conclusions we can highlight the existence of a Patriarchal Manhood model which survived without problem until 1960 because a mix of political, economic and productive factors, but this model started to be challenged in 1961 with important changes in the production process in the Marvel Comics bullpen, and was helped by the political, economic and social problems from the 60s and 70s. In spite of this, we cannot say that the manhood myth evolved in an irrevocable and stoppable way. On the contrary, we can observe a struggle between old and new manhood myths.
una audiencia adolescente, pero fue más que un simple monstruo. A través de un análisis detenido, el mutante puede mostrarnos los miedos y las expectativas que
despertaba en su público. Para lograr eso, necesitamos conocer el modo en que estas historias eran creadas, cuál fue su contexto histórico y qué temas desarrollaron
los autores. Este trabajo estudia dos casos concretos producidos en Marvel Comics durante los primeros años sesenta: Hulk y los X-Men, gracias a los cuales
sabremos más sobre el tiempo y la sociedad en que fueron producidos.
ENGLISH: The Atomic Age spawned a new monster type – the mutant. This creature was exploited in science fiction narratives and mostly consumed by a teenage
audience, but it was more than a mere monster. Through an inquisitive analysis we can learn about the nightmares and hopes that mutants represented for its
audience. In order to do it, we need to learn how these narratives were created, what was its historical context and what topics were portrayed by the authors. We
are studying two concrete cases from Marvel Comics in the early 60s – Hulk and the X-Men, which will show us more about their time and society.
ENGLISH: American comic books enjoyed enormous popularity between the '30s and '60s. But american readers did not just learn about heroism, they learned too about how was Latin America, who were its inhabitants and how American peoples were supposed to interact between them. This article studies the comics' production system and the links with Popular Culture to understand what was the messages that readers absorbed and how it was created.
PORTUGUÊS: Os quadrinhos dos Estados Unidos tiveram uma grande popularidades entre os anos trinta e setenta do século XX, mais os leitores desse pais não aprenderão só sobre heroísmo com aqueles quadrinhos, eles também aprenderam sobre a América Latina, seus habitantes e a forma na que supostamente os povos do continente se relacionavam uns com outros. Neste artigo se analisa o sistema de produção dos quadrinhos e os laços destes com a cultura popular para compreender qual era a mensagem que assimilabam e como este era construído.
ENGLISH: Catwoman was one of the most popular villains in Golden Age, something odd in an industry as comic books where most of the popular characters are male and heroes. This article wants to find out what was the message in Catwoman adventures throughout her first years. To answer it we will analyse both how comic books were created and what was told by the stories published between 1940 and 1954. This analysis will help us to understand better gender stereotypes and subconscious messages in comics and will uncover the actual meaning in Catwoman stories.
ENGLISH: Cadiz city management during the Second Spanish Republic and the Spanish Civil War: actions by the Republican Mayor Manuel de la Pinta and francoist Mayor Juan de Dios Molina (1932-1940)
Biographies are currently used as historiographical tools for studying the past. Through the study of biographies, ideology and actions of a democratic mayor and a Francoist mayor from Cadiz we will discover how the local public administration was influenced more by ideology than by their own political projects.
PORTUGUÊS: A gestão municipal de cádiz durante a Segunda República Espanhola e a Guerra Civil Espanhola: as ações do prefeito republicano Manuel de La Pinta e o prefeito Franquista Juan de Dios Molina (1932-1940)
As biografias estão retornando para serem utilizadas atualmente como ferramentas historiográficas para o estudo do passado. Através do estudo das biografias, ideologia e ações de um prefeito democrático e outro franquista de Cádiz, vamos descobrir como o governo público local viu-se mais influenciado pela ideologia do que os projetos políticos de cada um deles.
ENGLISH: El Temerario was a short-lived comic book published in Post-war Spain. Although it was not a propaganda publication its adventures, humor stories and characters refl ected Spanish society-- its fears and hopes. In this article El Temerario stories and Spanish social context are analyzed to fi nd out how fi ction in comic books and reality were linked.
ENGLISH: In comic history is an old tradition to link the end of the Golden Age of Superheroes to the end of the II World War. Return of soldiers, changes in society and a great spawn of new genres are pointed out like main causes, but comic historians have merely given some dispersed examples instead of real figures. This article looks over classic ideas about the end of Superheroes in the Postwar Era and analyzes major publisher's comic figures in order to understand what really happened with superheroes in the Golden Age.
ABSTRACT: United States lived a strange relationship with atomic power from middle 40s to late 60s. On the one hand, they were marveled with this new power which can to erase an enemy city from the map or create unlimited energy. On the other hand, people were terrorized by possible accidents, atomic wars of fallouts. This article deals with these dreams and nightmares, and how they were reflected in popular culture through tales of terrible monsters, strange mutants and amazing superheroes.
ENGLISH: When comic books were born in 1934 they were not a great hit. Nonetheless few years later they were the most popular children entertainment in America. Their message was conditioned for a patriarchal production system, and gave to America a discourse about how woman had to be and to live."
ENGLISH: Atomic power obsessed American popular culture during the Cold War. Musicians, writers, game designers, comic book artists and filmmakers looked at atomic energy and weapons with horror or hope, reflecting our own horrors and hopes as society. This article deals with those visions and exposes America’s changes of mind towards atomic power."
ENGLISH: This article revises comics as teching tools and offers some tips about their use in classroom.
English:Comic books can be a useful tool to nderstand both History and Society. However, we nee to understand comic boos strong and week points, its virtues and its flaws, too. This article offer some ideas and suggestion tha can do easier the use of comics in a research.
ENGLISH: Women in American comics used to play only two roles -- either loyal partners or evil characters. These roles and their evolution reveal American society's fears and expectations and the changes they have experienced through the decades. This article studies female villains in comics of adventure, romance and teenage comedy, describing the traits, appearances and objetives of this role.
ENGLISH: This article speaks about women image evolution in Nort American comics. The next lines show the old and new roles that society wanted women played, and the reasons that permitted these changes. Besides, genres, main characters and statistics are given across the article, helping to understand the women role in the first part of the 20th century.
A pesar de su éxito, Kirby siempre ha sido una figura misteriosa y polémica. Sus defensores lo presentan como una víctima de empresarios malvados y editores ególatras. Sus detractores describen como un dibujante dotado cuyas ansias de grandeza le impidieron compartir la gloria. ¿Pero quién fue realmente Jack Kirby?
ENGLISH: Jack Kirby is known as The King of Comics by comic book fandom. In his half century as comic artist, plotter and writer Kirby developed comic strips, comic books and animation. He cocreated characters as Captain America, Fantastic Four, Avengers and X-Men, and he alone spawned the entire Fourth World line.
However his success Kirby ever was a mysterious and polemic artist. His defenders claim that he was a victim who was exploited by unscrupulous publishers and egomaniac editors. His detractors call him a gifted artist thirsty for glory. But who was really Jack Kirby?
ENGLISH: This books studies Marvel Comics' changes between 1968 and 1980, that resulted in his transformation in the first american comic books publisher. This book studies historial context, production system, censorship, fandom and meaning in comics. (I added a PDF were you can read the introductory chapter and the bibliography section).
ENGISH: This book studies Timely Comic in World War II, analizing production, historial context and meaning in his comics.
En este libro, se habla de aquellos que, en un momento determinado, soñaron con una Justicia bien distinta de las que sus gobernantes les proveyeron. Aquellos que, unas veces por el simple acto de nacer, o bien por el mero hecho de actuar y tomar partido, se convirtieron en los perdedores de una Historia escrita por los vencedores. Ellos son los marginados, los disidentes y olvidados de la Historia.
ENGLISH: Comics have been a discussed subject when used as educative tool. This chapter gives the reader some ideas about comics' strong points, but point at their flaws too. Finally, it suggests some possibilities to use comics to teach the Peninsular War and the Spanish Constitution of 1812 in the Information Age."
ENGLISH: This text deals with animal representations and messages in American comic books during World War II: Superheroes, Funny Animal and Tijuana Bibles."
ENGLISH: This text analyzes Fermin Sanvochea's representation in comic books."
ENGLISH: Mocking songs are one of the most known Cadiz Carnival's characteristics. During the Peninsular War, Cadiz was under siege and suffered continuous bombardment. People in the city fought their fears with songs which gave them courage through mocking lyrics against French invaders. Here we recover and analyze context and message from some of these songs."
ENGLISH: A introductory biography of comic book artist Gene Colan, most known by his work as artist in Daredevil, Dracula and Batman books.