《美国漫画史 Comic Book Confidential》（1988）

《美国漫画史》

美国漫画史 Comic Book Confidential (1988)

导演: 罗恩·曼恩

主演: Lynda Barry / Charles Burns / Sue Coe / 斯坦·李 / 弗兰克·米勒 / Harvey Pekar / 罗伯特·克鲁伯

类型: 纪录片 / 历史

制片国家/地区: 加拿大 / 美国

语言: 英语

上映日期: 1988-09-10

片长: 90 分钟

IMDb链接: tt0094897

在20世纪，在北美，没有哪一种艺术媒介具有如此大的创意表达潜力，其动荡的历史比漫画更受尊重。通过剪辑蒙太奇的动画，阅读和采访，这部电影将引导我们回顾1930年代末和1940年代末的媒体历史，其中包括杰克·柯比（Jack Kirby）这样的才华横溢的超级英雄，并通过威尔·艾斯纳（Will Eisner）的“精神”。然后，随着犯罪和恐怖漫画（尤其是EC漫画在William B. Gaines的指导下由EC漫画出版社发行）的普及，它转移到战后漫画界，直到由于实行漫画法而使审查制度的兴衰崩溃了。随着媒体的创作自由遭到破坏，我们还通过哈维·库兹曼（Harvey Kurtzman）创作的单曲《疯狂杂志》（Mad Magazine）探索了EC的反抗生存。然后，我们转向1950年代末和1960年代末超级英雄的复兴，其典型例子是斯坦·李（Stan Lee）编辑的极富创新性的惊奇漫画的兴起。更重要的是，由罗伯特·克鲁姆（Robert Crumb）和丹·奥尼尔（Dan O'Neill）等古怪的天才创作的，兴高采烈，不受抑制的地下漫画的兴起。这些导致了诸如Harvey Pekar这样的创造者的介绍，他们将媒介带入了新的表达方向。在1970年代末和80年代末，我们看到了替代漫画的崛起，例如Jaime Hernndez的《 Love and Rockets》，Sue Coe的《如何在南非自杀》，特别是Art Spiegelman的漫画奖。最终，我们通过弗兰克·米勒（Frank Miller）凶猛的民谣系列“蝙蝠侠：黑暗骑士归来”的创作，了解了媒体超级英雄神话的复兴时刻。不仅仅是对少年垃圾的刻板印象，而是一种具有悠久历史和令人兴奋的未来的艺术品。

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animaTED montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.