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[redigér] Oversættes
[redigér] Superman
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Superman (engelsk for overmenneske) er en amerikansk tegneseriefigur fra det amerikanske forlag DC Comics. Han optrådte første gang i bladet Action Comics nr. 1 i juni 1938 og betragtes generelt som den første figur med de egenskaber, der kendetegner den moderne superhelt. Figuren blev skabt i 1932 af Joe Shuster og Jerry Siegel for forlaget National Comics (det nuværende DC Comics), og har efterfølgende optrådt i diverse radioføljetoner, tvserier, film, og videospil.
Superman blev født som Kal-El på planeten Krypton. Som spæd blev han af sin far, videnskabsmanden Jor-El, sendt til jorden i en raket, få øjeblikke før Krypton eksploderede. Raketten landede uden for byen Smallville i staten Kansas, USA, hvor Kal-El blev opdaget og adopteret af det barnløse ægtepar Jonathan og Martha Kent, der gav ham navnet Clark Kent. De gav ham en god opvækst og en moralsk rettesnor for livet. Efterhånden som han voksede op, opdagede han sine overmenneskelige kræfter og besluttede sig for at bruge dem til at hjælpe andre. Ved at optræde i et kostume holder han sin identitet som Clark Kent hemmelig. Som voksen flyttede Superman til storbyen Metropolis, hvor han i sin hemmelige identitet arbejder som journalist på avisen Daily Planet sammen med Lois Lane, som han gennem tiden har haft et romantisk forhold til. I den nuværende udgave af tegneserien er Lois og Clark gift.
Med den succes hans eventyr har haft, har Superman hjulpet med at skabe superhelte genren og etablerer dens vigtighed indenfor amerikanske tegneserier [1] Superman bliver i mange kredse anset som en af de mest berømte og populære tegneserie superhelte igennem tiderne, [2] og et amerikansk kultur ikon.[3][4][5][1]
Mens han, i mindre skønne termer, bliver kaldt den store blå drengespejder (eng: the big blue Boy Scout) af nogle af hans superhelte kollegaer, [6] så benævnes Superman som Manden af stål og Kryptons sidste søn af offentligheden i tegneserieverdenen. De medvirkende i Supermans verden og Supermans kræfter er langsomt blevet udvidet i løbet af årene. Supermans baggrundshistorie er blev ændret for at tillade eventyr som Superboy, og andre overlevende fra Krypton blev opdaget, heriblandt Supergirl og Krypto Superhunden. Herudover er Superman blevet licenseret og adapteret til andre medier, fra radioen til tv og film. Filmen Superman Returns blev udgivet i 2006, og blev en kassesucces som overgik forventningerne.[7] Figuren er blevet ombygget og opdateret, senest i 1986. John Byrne genskabte karakteren med reducerede kræfter og færre af de medvirkende, hvilket tiltrak en del medie opmærksomhed. Tegneserien tiltrak sig igen pressedækning i 1990erne med Supermans død, et handlingsforløb hvor helte for en kort stund blev dræbt.
Superman har også fascineret lærde som kulturelle teorister, kommentatorer og kritikere der har undersøgt figurens indvirkning og rolle i Amerika og resten af verden. Umberto Eco diskuterer de mytologiske kvaliteter af figuren i starten af 1960erne, og Larry Niven har overvejet implikationerne af et seksuelt forhold figuren ville kunne have med Lois Lane.[8] Rettighederne til figuren har ofte været et stridspunkt, og Siegel og Shuster har to gange anlagt sagmål for at få lovmæssig ejerskab over Superman igen. Ophavsretten er i øjeblikket bestridt grundet ændringer i copyright love der tillader at Siegels kone og datter har krav på en del af copyrighten, en ændring som DCs moderselskab Warner Bros. bestrider. I Danmark udgives Superman for tiden af Egmont Serieforlaget.
[redigér] Udgivelses historie
[redigér] Skabelse
Jerry Siegel og Joe Shuster skabte først en skaldede telepatisk fjende som øsnkede sig verdensherredømme. Han optrådte først i en kort historie Supermans herredømme fra Science Fiction #3, et science fiction FANZINE som Siegel udgav i 1933.[9] Siegel omskrev figuren i 1933 som en helt, med lidt eller ingen lighed til hans fjendske navnebror, og påbegyndte et korstog på seks-års for at finde en udgiver. Med titlen Supermanden, tilbød Siegel og Shuster historien til forlaget Consolidated Book publishing, som havde udgivet en 48 sider sort og hvid tegneserie med titlen Detective Dan: Secret Operative nr. 48. Selvom de modtog et opmuntrende brev, så udgav Consolidated aldrig indenfor tegneserie markedet igen. Shuster tog dette personligt og ødelagde alle siderne af historien og pånær forsiden som kun overlevede fordi Siegel reddede den fra flammerne. Siegel og Shuster har begge meddelt at denne version af figuren var sammenlignelig med Slam Bradley, en figur parret skabte i 1937 til den første udgave af Detective Comics.[10]
I 1934 havde parret endnu engang genskabt figuren. Han blev mere en helt i den mytologiske tradition, inspireret af sådanne karaktere som Samson og Herkules,[11] som ville rette fejlene i Siegel og Shusters tid, kæmpe for social lighed og mod tyrani. Det var på dette tidspunkt at kostumet blev introduceret, Siegel genkaldte senere at de skabte en slags kostume og lad os give ham et stort S på brystet, og en kappe, gøre ham så farverig som vi kan og så udpræget som vi kan.[12] Designet var baseret på kostumer som blev båret af figure i det ydre rum SETTINGS udgivet i PULP magasiner, så vel som tegneserie striber som f.eks. Lynet[13] og til dels baseret på de traditionelle stærkmands cirkusdragter.[12][14] Omend det er blevet bemærket at kappen er væsentlig forskellig fra den Viktorianske tradition, Gary Engel beskrev den som værende uden precedens i populær kultur i Superman at Fifty: the Persistence of a Legend (Superman ved halvtres: vedholdenheden af en legende.[15] Underbukserne over strømpebukserne var snart etableret som grundlaget for mange fremtidige superhelte kostumer. Denne tredje udgave af figuren fik overmenneskelige egenskaber, denne gang dog af en fysisk karakter til forskel fra de mentale kræfter af den onde Superman.[12]
Om end de på nuværende tidspunkt var ved at sælge deres materiale til tegneserie forlæggere, heriblandt Malcolm Wheeler-Nicholsons National Allied Publishing, besluttede parret at deres karakter skulle figurerer i tegneserie stribe format, i stedet for det noget længere tegneserie hæfte format som var ved at etablere sig på det tidspunkt. De tilbød det til både Max Gaines, som sagde takkede nej, og til United Features Syndicate, som udtrykte interresse i begyndelsen men valgte tilsidst at afvise striben i et brev dateret 18. februar 1937. Imidlertidig, som Les Daniels beskriver med ordene "i en utrolig omstændelig udvikling" endte Max Gaines endte med at placere strippen som hoved strippe i Wheeler-Nicholsons nye publikation Action Comics. Vin Sullivan, redaktør af den nye bog, skrev til parret og bedte dem om at udforme strippen til at passe i tegneserie bogs formatet, og krævede otte paneler per side. Derimod valgte Siegel og Shuster at ignorere dette, og ved hjælp af deres egen erfaring og ideer skabte de side layout. Desuden blev det også Siegel som valgte det billede som skulle bruges til forsiden af Action Comics #1, Supermans første optræden, udgivet i Juni, 1938.[16]
[redigér] Udgivelse
Supermans første optræden var i Action Comics #1, i 1938. Året efter i 1939, blev en serie i Supermans navn udgivet. Det første nummer gengav hovedsageligt eventyr som var blevet trykt i Action Comics, men på trods af dette opnåede bogen større salgstal.[17] 1939 blev også året hvor New York World's Fair Comics blev udgivet og i sommeren 1942 skiftede dette magasin navn til World's Finest Comics. Fra og med det 7. nummer af All Star Comics begyndte Superman at gøre nogle tilfældige optrædener, i dette tilfælde som gæsteoptræder for at etablere hans æresmedlemskab i Justice Society of America.[18]
Til at begynde med leverede Jerry Siegel og Joe Shuster historien og billederne for alle udgivet tegneseriestriber. Imidlertidig begyndte Shusters syn at forringes og det voksende antal optrædender udgjorde en forøgelse i arbejdsbyrden. Dette medførte at Shuster skabte et studio til at hjælpe med produktionen af billederne,[17] om end han insisterede på at tegne ansigtet på hver eneste Superman som studioet lavede. Udenfor studioet, begyndte Jack Burnley at levere forsider og historier i 1940.[19] Wayne Boring, som til at begynde med var ansat i Shusters studio begyndte at arbejde for DC for sig selv i 1942, og leverede sider til både Superman og Action Comics.[20]
Historieskrivningen blev også delt. I slutningen af 1939, fik et nyt redaktionelt hold kontrol over figurens eventyr. Whitney Ellsworth, Mort Weisinger og Jack Sciff blev hentet ind efter Vin Sullivans afgang. Dette nye redaktionelle hold bragte Edmond Hamilton, Manly Wade Wellman og Alfred Bester, som alle var etablerede science fiction forfattere.[21]
I 1943, blev Jerry Siegel hvervet til hæren ved en speciel festlighed og hans pligter i den forbindelse medførte et fald i bidrag. Don Cameron og Alvin Schwartz sluttede sig til forfatterstaben, Schwartz gik sammen med Wayne Boring med at arbejde på Superman tegneseriestriben som var blevet søsat af Siegel og Shuster i 1939.[20]
I 1945 fik Superboy sin debut i More Fun Comics #101. Figuren flyttede til Adventure Comics i 1946 og hans eget blad Superboy blev lanceret i 1949. I løbet af 1950erne blev Supermans ven Jimmy Olsen (eng:Superman's pal Jimmy Olsen) (1954) og Supermans kæreste Lois Lane (eng:Superman's girlfriend Lois Lane) (1958) lanceret. Inden 1974 blev disse titler samlet til bladet Superman familie (eng:Superman Family), om end serien blev stoppet i 1982. I 1986 blev der truffet en beslutning om at restrukture det fiktionelle univers som Superman figuren beboede sammen med andre DC univers figurer. Dette medførte udgivelsen af Hvad skete der med morgendagens mand (eng: Whatever Happened to the Man of Tomorrow), en historie i to dele skrevet af Alan Moore med tegninger af Curt Swan, George Perez og Kurt Schaffenberger.[22] Historien blev udgivet i Superman #423 og i Action Comics #583 og præsenterede hvad Les Daniels bemærker som "en følelse af tab som fansene måske kunne have oplevet hvis dette faktisk havde været den sidste Superman historie."[23]
Superman blev relanceret af forfatter og tegner John Byrne, i begyndelsen med den limited series Manden af stål (eng: the Man of Steel) (1986). 1986 var også året hvor World's Finest Comics blev stoppet og Superman bladet blev omdøbt til Supermans eventyr (eng:Adventures of Superman). Et andet oplag af Superman blev lanceret i 1987 og fortsatte indtil 2006. Bladets ophør medførte at Supermans eventyr (eng:Adventures of Superman) vendte tilbage til titlen Superman. Superman: Manden af stål (Superman: the Man of Steel) løb fra 1995 til 1999. I 2003 blev Superman/Batman lanceret, såvel som titlen Superman: fødselsret (eng:Superman: Birthright), der udkom som limited series. To år efter, i 2005 blev All Star Superman udgivet og Superman fortrolig (eng:Superman Confidential) blev lanceret i 2006.
[redigér] Indflydelser
En indflydelse på de tidlige Superman historier er Depressionen. Skaberne Shuster og Siegels venstre-orienterede synsvinkel afspejles i de tidlige handlinger. Superman påtog sig rollen som social aktivist, hvor man kæmpede mod den uhæderlige forretningsman og politiker og ødelagde nedslidte ejendomskomplekser.[24] Den tegneserieforskeren Roger Sabin ser dette som en afbildning af "den liberale idealisme af Franklin Roosevelts New Deal", hvor Shuster og Siegel til at begynde med skildrede Superman som forkæmper i en række sociale sager.[25] I senere Superman radio programmer fortsatte figuren med at tage kampen op mod lignende sager, hvor han f.eks. kæmpede mod en version af KKK i en radioudsendelse i 1946.[26][27]
Siegel bemærkede selv at de mange mytologiske helte som eksisterede i mange kultures traditionerne havde en indflydelse på figuren, inklusiv Hercules og Samson.[12] Scott Bakutman har også set figuren som "en værdig efterfølger til Lindhberg ... (og) også ... til Babe Ruth", og er også repræsentativ af USAs engagement til "fremskridt og det 'nye'" gennem han "usårlige krop ... på hvilken historie ikke kan indridses."[28] Ydermere, givet det faktum at Siegel og Shuster var kendt for at være fans af pulp science fiction,[9] er det blevet foreslået at en anden indflydelse kunne have været Hugo Danner. Danner var hovedfiguren i novellen Gladiator af Philip Wylie, og besidder de samme kræfter som den tidlige Superman (sammen med mange andre pulp figure fra 20erne og 30erne).[29]
Fordi Siegel og Shuster begge var Jøder, har nogle overvejet om deres kreation var indflueret af Moses,[30][31] og andre jødiske indflydelser. Supermans kryptoniske navn, Kal-El, ligner the Hebræaiske ord קל-אל, som betyder Guds beholder.[32] Endelsen el, som betyder Guds,[33] findes også i navnene på engle (f.eks. Gabriel, Ariel; flyvende menneskelignende væsner på de godes side med overmenneskelige kræfter. Jødiske legender om Golemen er blevet citeret for at være en sammenligning værd.[34] En Golem er et mytiks væsen skabt til at beskytte og tjene de forfulgte jøder fra det 16. århundrede Prag og senere genoplivet i populært kultur i reference til deres lidelser påført af Nazisterne i Europa igennem 1930erne og 1940erne. Superman bliver ofte set som en analogi til Jesus, som værende en frelser for menneskeheden.[31][34][25][35]
Mens begrebet Superman (overmenneske) oprindeligt blev dannet af Friedrich Nietzsche, så er det uklart i hvor høj grad Nietzsche og hans idealer har indfluerede Siegel og Shuster.[31] Les Daniels har spekuleret hvorvidt "Siegel samlede udtrykket op fra andre science fiction forfattere som havde brugt begrebet løst", yderligt bemærket at "hans koncept er husket af hundrede af millioner som måske knapt vidste hvem Nietzsche er."[12] På den anden side er det blevet argumenteret at Siegel og Shuster "ikke kunne have været uvidende om en ide som ville dominere Hitlers National Socialisme. Konceptet var bestemt meget omdiskuteret."[36] Det er også blevet argumenteret at på mange måde er Superman og Overmennesket diametrale modsætninger til hinanden..[30] Nietzsche forestillede sig overmennesket som et menneske som havde overskredet grænserne af samfund, religion og konventionel moral men stadigvæk værende fundamental menneskelig. Superman, om end et rumvæsen begavet med utrolige kræfter, vælger at ære menneskelige moral og sociale sæder og skikke. Nietzsche forestillede sig det perfekte menneske som værende i stand til at sætte sig ud over moral; Siegel og Shuster forestillede sig det perfekte menneske, som én der overholdte en højere standard af disse.[37]
Siegel og Shuster har selv diskuteret forskellige indflydelser som har haft en indvirkning på deres figur. Begge var ivrige læsere, og denne kærlighed for læsning, specielt science fiction hjalp med at præge deres venskab. Siegel har nævnt John Carter historierne som en indflydelse: "Carter var i stand til at hoppe over store afstande fordi planeten Mars var mindre end jorden, og han havde stor styrke. Jeg visualiserede planeten Krypton som en enorm planet, meget større end jorden".[38] I deres ungdom, var parret også ivrige samlere af tegneserie striber, hvor de klippede stribberne fra aviserne, med Winsor McKays Lille Nemo til at indfyre deres forestillingsevne og fantasi.[39] Shuster har nævnt de kunstnere som har spillet en vigtig rolle i udviklingen af hans egen stil, mens stadigvæk at bemærke en større indflydelse: "Alex Raymond og Burne Hogarth var mine idoler &ndash også Milt Caniff, Hal Foster , og Roy Crane. Men filmene var den største indflydelse på vores fantasi: specielt filmene af Douglas Fairbanks senior."[40] Fairbanks rolle som Robin Hood var bestemt en inspiration, Shuster indrømmer at have baseret Supermans kropsstilling på scener fra filmen.[41] Filmene indfluerede også historiefortællingen og side layoutet,[42] mens byen Metropolis blev navngivet til ære for Fritz Lang filmen af samme navn.[38]
[redigér] Copyright issues
As part of the deal which saw Superman published in Action Comics, Siegel and Shuster sold the rights to the company in return for $130 and a contract to supply the publisher with material.[43][44] The Saturday Evening Post reported in 1940 that the pair was each being paid $75,000 a year, a fraction of Detective's millions in Superman profits.[45] Siegel and Shuster renegotiated their deal, but bad blood lingered and in 1947 Siegel and Shuster sued for their 1938 contract to be made void and the re-establishment of their ownership of the intellectual property rights to Superman. The pair also sued Detective in the same year over the rights to Superboy, which they claimed was a separate creation that Detective had published without authorization. Detective immediately fired them and took their byline off the stories, prompting a legal battle that ended in 1948, when a New York Supreme Court ruled that the 1938 contract should be upheld. However, a ruling from Justice J. Addison Young awarded them the rights to Superboy. A month after the Superboy judgement the two sides agreed on a settlement. Detective paid Siegel and Shuster $94,000 for the rights to Superboy. The pair also acknowledged in writing the company's ownership of Superman, attesting that they held rights for "all other forms of reproduction and presentation, whether now in existence or that may hereafter be created",[46] but DC refused to re-hire them.[47]
In 1973 Siegel and Shuster again launched a suit claiming ownership of Superman, this time basing the claim on the Copyright Act of 1909 which saw copyright granted for 28 years but allowed for a renewal of an extra 28 years. Their argument was that they had granted DC the copyright for only 28 years. The pair again lost this battle, both in a district court ruling of October 18, 1973 and an appeal court ruling of December 5 1974.[48]
In 1975 after news reports of their pauper-like existences, Warner Communications gave Siegel and Shuster lifetime pensions of $20,000 per year and health care benefits. Jay Emmett, then executive vice president of Warner, was quoted in the New York Times as stating "There is no legal obligation, but I sure feel there is a moral obligation on our part."[45] In addition, any media production which includes the Superman character were to include the credit "Superman created by Jerry Siegel and Joe Shuster".[44]
The year after this settlement, 1976, saw the copyright term extended again, this time for another 19 years to a total of 75 years. However, this time a clause was inserted into the extension to allow a creator to reclaim their work, reflecting the arguments Siegel and Shuster had made in 1973. The new act came into power in 1978 and allowed a reclamation window in a period based on the previous copyright term of 56 years. This meant the copyright on Superman could be reclaimed between 1994 to 1999, based on the initial publication date of 1938. Jerry Siegel having died in January 1996, his wife and daughter filed a copyright termination notice in 1999. Although Joe Shuster died in July 1992, no termination was filed at this time by his estate.[49]
1998 saw copyright extended again, with the Sonny Bono Copyright Term Extension Act. This time the copyright term was extended to 95 years, with a further window for reclamation introduced. In January of 2004 Mark Peary, nephew and legal heir to Joe Shuster's estate, filed notice of his intent to reclaim Shuster's half of the copyright, the termination effective in 2013.[49] The status of Siegel's share of the copyright is now the subject of a legal battle. Warner Bros. and the Siegels entered into discussions on how to resolve the issues raised by the termination notice, but these discussions were set aside by the Siegels and in October 2004 they filed suit alleging copyright infringement on the part of Warner Bros. Warner Bros. counter sued, alleging the termination notice contains defects amongst other arguments.[50][51] The copyright ownership of Superman currently appears uncertain, with a decision "the subject of ongoing negotiation"[44] and an outcome "still pending".[52]
A similar termination of copyright notice filed in 2002 by Siegel's wife and daughter concerning the Superboy character was ruled in their favour on March 23 2006.[52]
[redigér] Comic book character
Skabelon:Main Skabelon:See also
Superman, given the serial nature of comic publishing and the length of the character's existence, has evolved as a character as his adventures have increased.[53] The details of Superman's origin, relationships and abilities changed significantly during the course of the character's publication, from what is considered the Golden Age of comic books through the Modern Age. The powers and villains were developed through the 1940s, with Superman developing the ability to fly, and costumed villains introduced from 1941.[54] The character was shown as learning of the existence of Krypton in 1949. The concept itself had originally been established to the reader in 1939, in the Superman comic strip.[55]
The 1960s saw the introduction of a second Superman, Kal-L. DC had established a multiverse within the fictional universe its characters shared. This allowed characters published in the 1940s to exist alongside updated counterparts published in the 1960s. This was explained to the reader through the notion that the two groups of characters inhabited parallel Earths. The second Superman was introduced to explain to the reader Superman's membership of both the 1940s superhero team the Justice Society of America and the 1960s superhero team the Justice League of America.[56]
The 1980s saw radical revisions of the character. DC Comics decided to remove the multiverse in a bid to simplify its comics line. This led to the rewriting of the back story of the characters DC published, Superman included. John Byrne rewrote Superman, removing many established conventions and characters from continuity, including Superboy and Supergirl. Byrne also re-established Superman's adoptive parents, The Kents, as characters.[57] In the previous continuity the characters had been written as having died early in Superman's life (about the time of Clark Kent's graduation from high school). The 1990s saw Superman killed by the villain Doomsday,[58] although the character was soon resurrected.[59] Superman also marries Lois Lane in 1996. In the 2000s Superman becomes a vegetarian, and his origin is again revisited in 2004.[60] In 2006 Superman is stripped of his powers,[61] although these are restored within a fictional year.[62]
[redigér] Personality
In the original Siegel and Shuster stories, Superman's personality is rough and aggressive. The character was seen stepping in to stop wife beaters, profiteers, a lynch mob and gangsters, with rather rough edges and a looser moral code than audiences may be used to today.[24] Later writers have softened the character, and instilled a sense of idealism and moral code of conduct. Although not as cold-blooded as the early Batman, the Superman featured in the comics of the 1930s is unconcerned about the harm his strength may cause, tossing villainous characters in such a manner that fatalities would presumably occur, although these were seldom shown explicitly on the page. This came to an end late in 1940, when new editor Whitney Ellsworth instituted a code of conduct for his characters to follow, banning Superman from ever killing.[55]
In Superman/Batman #3, Batman thinks, "It is a remarkable dichotomy. In many ways, Clark is the most human of us all. Then...he shoots fire from the skies, and it is difficult not to think of him as a god. And how fortunate we all are that it does not occur to him."[63]
[redigér] Powers and abilities
Skabelon:Main As an influential archetype of the superhero genre, Superman possesses extraordinary powers, with the character traditionally described as "faster than a speeding bullet, more powerful than a locomotive, and able to leap tall buildings in a single bound", a phrase coined by Jay Morton and first used in the Superman radio serials and Max Fleischer animated shorts of the 1940s[64] as well as the TV series of the 1950s. For most of his existence, Superman's famous arsenal of powers include flight, super-strength, invulnerability to non-magical attacks of ordinary force, super-speed, vision powers (including x-ray, heat, telescopic, infra-red, and microscopic vision), super-hearing, and super-breath, which enables him to freeze objects by blowing on them, as well as exert the propulsive force of high-speed winds.[65]
As originally conceived and presented in his early stories, Superman's powers were relatively limited, consisting of superhuman strength that allowed him to lift a car over his head, run at amazing speeds and leap one-eighth of a mile, as well as incredibly tough skin that could be pierced by nothing less than an exploding artillery shell.[65] Siegel and Shuster compared his strength and leaping abilities to an ant and a grasshopper.[66] When making the cartoons, the Fleischer Brothers found it difficult to keep animating him leaping and requested to DC to change his ability to flying.[67] Writers gradually increased his powers to larger extents during the Silver Age, in which Superman could fly to other worlds and galaxies and even across universes with relative ease.[65] He would often fly across the solar system to stop meteors from hitting the Earth, or sometimes just to clear his head. Writers found it increasingly difficult to write Superman stories in which the character was believably challenged,[68] so DC Comics made a series of attempts to rein the character in. The most significant attempt, John Byrne's 1986 rewrite, established several hard limits on his abilities: He barely survives a nuclear blast, and his space flights are limited by how long he can hold his breath.[69] Superman's power levels have again increased since then, with Superman currently possessing enough strength to hurl a mountain, withstand nuclear blasts with ease, and survive in the vacuum of outer space without oxygen.
The source of Superman's powers has changed subtly over the course of his history. It was originally stated that Superman's abilities derived from his Kryptonian heritage, which made him eons more evolved than humans.[55] This was soon amended, with the source for the powers now based upon the establishment of Krypton's gravity as having been stronger than that of the Earth. This situation mirrors that of Edgar Rice Burroughs' John Carter. As Superman's powers increased, the implication that all Kryptonians had possessed the same abilities became problematic for writers, making it doubtful that a race of such beings could have been wiped out by something as trifling as an exploding planet. In part to counter this, the Superman writers established that Kryptonians, whose native star Rao had been red, only possessed superpowers under the light of a yellow sun.[70] More recent stories have attempted to find a balance between the two explanations.
Superman is most vulnerable to Kryptonite, mineral debris from Krypton transformed into radioactive material by the forces that destroyed the planet. Exposure to Kryptonite radiation nullifies Superman's powers and immobilizes him with pain; prolonged exposure will eventually kill him. The only mineral on Earth that can protect him from Kryptonite is lead, which blocks the radiation. Lead is also the only known substance that Superman cannot see through with his x-ray vision. Kryptonite was first introduced to the public in 1943 as a plot device to allow the radio serial voice actor, Bud Collyer, to take some time off.[53] Green Kryptonite is the most commonly seen form but writers introduced other forms over the years, such as red, gold, blue and black, each with its own effect.[71]
[redigér] Supporting cast
Skabelon:Main
Clark Kent, Superman's secret identity, was based partly on Harold Lloyd and named after Clark Gable and Kent Taylor.[72] Creators have discussed the idea of whether Superman pretends to be Clark Kent or vice versa, and at differing times in the publication either approach has been adopted.[73][74] Although typically a newspaper reporter, during the 1970s the character left the Daily Planet for a time to work for television,[74] whilst the 1980s revamp by John Byrne saw the character become somewhat more aggressive.[69] This aggressiveness has since faded with subsequent creators restoring the mild mannerisms traditional to the character.
Superman's large cast of supporting characters includes Lois Lane, perhaps the character most commonly associated with Superman, being portrayed at different times as his colleague, competitor, love interest and/or wife. Other main supporting characters include Daily Planet coworkers such as photographer Jimmy Olsen and editor Perry White, Clark Kent's adopted parents Jonathan and Martha Kent, childhood sweetheart Lana Lang and best friend Pete Ross, and former college love interest Lori Lemaris (a mermaid). Stories making reference to the possibility of Superman siring children have been featured both in and out of mainstream continuity.
Incarnations of Supergirl, Krypto the Superdog, and Superboy have also been major characters in the mythos, as well as the Justice League of America (of which Superman is usually a member). A feature shared by several supporting characters is alliterative names, especially with the initials "LL", including Lex Luthor, Lois Lane, Linda Lee, Lana Lang, Lori Lemaris and Lucy Lane,[75] alliteration being common in early comics.
Team-ups with fellow comics icon Batman are common, inspiring many stories over the years. When paired, they are often referred to as the "World's Finest" in a nod to the name of the comic book series that features many team-up stories. In 2003, DC Comics began to publish a new series featuring the two characters titled Superman/Batman.
Superman also has a rogues gallery of enemies, including his most well-known nemesis, Lex Luthor, who has been envisioned over the years in various forms as either a rogue scientific genius with a personal vendetta against Superman, or a powerful but corrupt CEO of a conglomerate called LexCorp.[76] In the 2000s, he even becomes President of the United States,[77] and has been depicted at various stages, as well as currently, as a former childhood friend of Clark Kent.
The alien android (in most incarnations) known as Brainiac is considered by Richard George to be the second most effective enemy of Superman.[78] The enemy that accomplished the most, by actually killing Superman, is the raging monster Doomsday. Darkseid, one of the most powerful beings in the DC Universe, is also a formidable nemesis in most post-crisis comics. Other enemies who have featured in various incarnations of the character, from comic books to film and television include the fifth-dimensional imp Mr. Mxyzptlk, the reverse Superman known as Bizarro and the Kryptonian criminal General Zod.
[redigér] Cultural impact
Superman has come to be seen as both an American cultural icon[79][80] and the first comic book superhero. His adventures and popularity have established the character as an inspiring force within the public eye, with the character serving as inspiration for musicians, comedians and writers alike.
[redigér] Inspiring a market
The character's initial success led to similar characters being created.[81][82] Batman was the first to follow, Bob Kane commenting to Vin Sullivan that given the "kind of money (Siegel and Shuster were earning) you'll have one on Monday".[83] Victor Fox, an accountant for DC, also noticed the revenue such comics generated, and commissioned Will Eisner to create a deliberately similar character to Superman. Wonder Man was published in May 1939, and although DC successfully sued, claiming plagiarism,[84] Fox had decided to cease publishing the character. Fox later had more success with the Blue Beetle. Fawcett Comics' Captain Marvel, launched in 1940, was Superman's main rival for popularity throughout the 1940s, and was again the subject of a lawsuit, which Fawcett eventually settled in 1953, a settlement which involved the cessation of the publication of the character's adventures.[85] Superhero comics are now established as the dominant genre in American comic book publishing,[86] with many thousands of characters in the tradition having been created in the years since Superman's creation.[87]
[redigér] Merchandising
Superman became popular very quickly, with an additional title, Superman Quarterly quickly added. In 1940 the character was represented in the annual Macy's parade for the first time.[88] In fact Superman had become popular to the extent that in 1942, with sales of the character's three titles standing at a combined total of over 1.5 million, Time was reporting that "the Navy Department (had) ruled that Superman comic books should be included among essential supplies destined for the Marine garrison at Midway Islands."[89] The character was soon licensed by companies keen to cash in on this success through merchandising. The earliest paraphernalia appeared in 1939, a button proclaiming membership in the Supermen of America club. By 1940 the amount of merchandise available increased dramatically, with jigsaw puzzles, paper dolls, bubble gum and trading cards available, as well as wooden or metal figures. The popularity of such merchandise increased when Superman was licensed to appear in other media, and Les Daniels has written that this represents "the start of the process that media moguls of later decades would describe as 'synergy.'"[90] By the release of Superman Returns, Warner Bros. had arranged a cross promotion with Burger King,[91] and licensed many other products for sale. Superman's appeal to licensees rests upon the character's continuing popularity, cross market appeal and the status of the S-Shield, the magenta and gold S emblem Superman wears on his chest, as a fashion symbol.[92][93]
[redigér] Adaptations in other media
Skabelon:Main The character of Superman has appeared in various media aside from comic books. This is in some part seen to be owing to the character's cited standing as an American cultural icon,[94] with the concept's continued popularity also being taken into consideration,[95] but is also seen in part as due to good marketing initially.[90] The character has been developed as a vehicle for serials on radio, television and film, as well as feature length motion pictures, and computer and video games have also been developed featuring the character on multiple occasions.
The first adaptation of Superman was as a daily newspaper comic strip, launching on January 16, 1939. The strip ran until May 1966, and significantly, Siegel and Shuster used the first strips to establish Superman's backstory, adding details such as the planet Krypton and Superman's father, Jor-El, concepts not yet established in the comic books.[55] Following on from the success of this was the first radio series, The Adventures of Superman, which premiered on February 12, 1940 and featured the voice of Bud Collyer as Superman. The series ran until March, 1951. Collyer was also cast as the voice of Superman in the Fleischer Studios animated cartoons, distributed via movie theatres. Seventeen shorts were produced between 1941 and 1943. By 1948 Superman was back in the movie theatres, this time in a filmed serial, Superman, with Kirk Alyn becoming the first actor to portray Superman on screen. A second serial, Atom Man vs. Superman, followed in 1950.[96]
In 1951 a television series was commissioned, starring George Reeves, with the pilot episode of the series gaining a theatrical release as Superman and the Mole Men. The series ran for a 104 episodes, from 1952 - 1958. The next adaptation of Superman occurred in 1966, when Superman was adapted for the stage in the Broadway musical It's a Bird...It's a Plane...It's Superman. The play wasn't successful, closing after 128 performances,[97] although a cast album recording was released.[98] However, in 1975 the play was remade for television. Superman was again animated, this time for television, in the series "The New Adventures of Superman". 68 shorts were made and broadcast between 1966 and 1969. Bud Collyer again provided the voice for Superman. Then from 1973 until 1984 ABC broadcast the "Super Friends" series, this time animated by Hanna-Barbera.[99]
Superman returned to movie theatres in 1978, with director Richard Donner's Superman starring Christopher Reeve. The film spawned three sequels, Superman II (1980), Superman III (1983) and Superman IV: The Quest For Peace (1987).[100] In 1988 Superman returned to television in the Ruby Spears animated series Superman,[101] and also in Superboy, a live action series which ran from 1988 until 1992.[102] In 1993 Lois & Clark: The New Adventures of Superman premiered on television, starring Dean Cain as Superman and Teri Hatcher as Lois Lane. The series ran until 1997. Superman: The Animated Series was produced by Warner Bros. and ran from 1996 until 2000 on The WB Television Network.[103] In 2001 the Smallville television series launched, focussing on the adventures of Clark Kent as a teenager before he dons the mantle of Superman.[104] In 2006 Bryan Singer directed Superman Returns, starring Brandon Routh as Superman.[105]
[redigér] Musical references, parodies and homages
Skabelon:See also Superman has also featured as an inspiration for musicians, with songs by numerous artists from several generations celebrating the character. Donovan's Billboard Hot 100 topping single "Sunshine Superman" utilised the character in both the title and the lyric, declaring "Superman and Green Lantern got nothing on me".[106] Other tracks to reference the character include Genesis' "Land of Confusion",[107] the video to which featured a Spitting Image puppet of Ronald Reagan dressed as Superman,[108] and "Superman" by The Clique, a track later covered by R.E.M. on their 1986 album Lifes Rich Pageant. This cover is referenced by Grant Morrison in Animal Man, in which Superman meets the character, and the track comes on Animal Man's walkman immediately after.[109]
Parodies of Superman did not take long to appear, with Mighty Mouse introduced in "The Mouse of Tomorrow" animated short in 1942.[110] Whilst the character swiftly took on a life of its own, moving beyond parody, other animated characters soon took their turn to parody the character. In 1943 Bugs Bunny was featured in a short, Super-Rabbit, which sees the character gaining powers through eating fortified carrots. This short ends with Bugs stepping into a phone booth to change into a real "Superman", and emerging as a U.S. Marine.[111] In 1956 Daffy Duck assumes the mantle of "Cluck Trent" in the short "Stupor Duck", a role later reprised in various issues of the Looney Tunes comic book.[112][113] In the United Kingdom Monty Python created the character Bicycle Repairman, who fixes bicycles on a world full of Supermen, for a sketch in series of their BBC show.[114] Also on the BBC was the sit-com "My Hero", which presented Thermoman as a slightly dense Superman pastiche, attempting to save the world and pursue romantic aspirations.[115] In America, Saturday Night Live has often parodied the figure, with Margot Kidder reprising her role as Lois Lane in a 1979 episode.[116] Jerry Seinfeld, a noted Superman fan, filled his series Seinfeld with references to the character, and in 1997 asked for Superman to co-star with him in a commercial for American Express. The commercial aired during the 1998 play offs and Super Bowl, Superman animated in the style of artist Curt Swan, again at the request of Seinfeld.[117]
Superman has also been used as reference point for writers, with Steven T. Seagle's graphic novel Superman: It's a Bird exploring Seagle's feelings on his own mortality as he struggles to develop a story for a Superman tale.[118] Brad Fraser used the character as a reference point for his play Poor Super Man, with The Independent noting the central character, a gay man who has lost many friends to AIDS as someone who "identifies all the more keenly with Superman's alien-amid-deceptive-lookalikes status."[119]
[redigér] Literary analysis
Superman has been interpreted and discussed in many forms in the years since his debut. The character's status as the first costumed superhero has allowed him to be used in many studies discussing the genre, Umberto Eco noting that "he can be seen as the representative of all his similars".[120] Writing in Time Magazine in 1971, Gerald Clarke stated: "Superman's enormous popularity might be looked upon as signalling the beginning of the end for the Horatio Alger myth of the self-made man." Clarke viewed the comics characters as having to continuously update in order to maintain relevance, and thus representing the mood of the nation. He regarded Superman's character in the early seventies as a comment on the modern world, which he saw as a place in which "only the man with superpowers can survive and prosper."[121] Andrew Arnold, writing in the early 21st century, has noted Superman's partial role in exploring assimilation, the character's alien status allowing the reader to explore attempts to fit in on a somewhat superficial level.[122]
A.C. Grayling, writing in The Spectator, traces Superman's stances through the decades, from his 1930s campaign against crime being relevant to a nation under the influence of Al Capone, through the 1940s and World War II, a period in which Superman helped sell war bonds,[123] and into the 1950s, where Superman explored the new technological threats. Grayling notes the period after the Cold War as being one where "matters become merely personal: the task of pitting his brawn against the brains of Lex Luthor and Brainiac appeared to be independent of bigger questions", and discusses events post 9/11, stating that as a nation "caught between the terrifying George W. Bush and the terrorist Osama bin Laden, America is in earnest need of a Saviour for everything from the minor inconveniences to the major horrors of world catastrophe. And here he is, the down-home clean-cut boy in the blue tights and red cape".[124]
Scott Bukatman has discussed Superman, and the superhero in general, noting the ways in which they humanize large urban areas through their use of the space, especially in Superman's ability to soar over the large skyscrapers of Metropolis. He writes that the character "represented, in 1938, a kind of Corbusierian ideal. Superman has X-ray vision: walls become permeable, transparent. Through his benign, controlled authority, Superman renders the city open, modernist and democratic; he furthers a sense that Le Corbusier described in 1925, namely, that 'Everything is known to us'."[28]
Jules Feiffer has argued that Superman's real innovation lay in the creation of the Clark Kent persona, noting that what "made Superman extraordinary was his point of origin: Clark Kent." Feiffer develops the theme to establish Superman's popularity in simple wish fulfilment,[125] a point Siegel and Shuster themselves supported, Siegel commenting that "If you're interested in what made Superman what it is, here's one of the keys to what made it universally acceptable. Joe and I had certain inhibitions... which led to wish-fulfillment which we expressed through our interest in science fiction and our comic strip. That's where the dual-identity concept came from" and Shuster supporting that as being "why so many people could relate to it".[126]
[redigér] Popularity
Superman, both the character and his various comic series, have received various awards over the years. The Reign of the Supermen is one of many storylines or works to have received a Comics Buyer's Guide Fan Award, winning the Favorite Comic Book Story category in 1993.[127] Superman came at number 2 in VH1's Top Pop Culture Icons 2004.[128] In the same year British cinemagoers voted Superman as the greatest superhero of all time.[129] Works featuring the character have also garnered six Eisner Awards[130][131] and three Harvey Awards,[132] either for the works themselves or the creators of the works. The Superman films have, as of 2007, received a number of nominations and awards, with Christopher Reeve winning a BAFTA for his performance in Superman.[133] The Smallville television series has garnered Emmys for crew members and various other awards.[134] Superman as a character is still seen as being as relevant now as he has been in the more than sixty years of his existence.[135]
[redigér] Referencer
[redigér] Kilder
- Andrae, Tom; Blum, Geoffry & Coddington, Gary (August 1983). "Of Superman and Kids With Dreams". Nemo, the Classic Comics Library (2): 6–19. ISSN 07469438.
- Daniels, Les (1998). Superman: The Complete History, 1st edition, Titan Books. ISBN 1-85286-988-7.
- Daniels, Les (1995). DC Comics: Sixty Years of the World's Favourite Comic Book Heroes, First, Virgin Books. ISBN 1-85227-546-4.
- Dean, Michael (2004-10-14). "An Extraordinarily Marketable Man: The Ongoing Struggle for Ownership of Superman and Superboy". The Comics Journal (263): 13-17. Hentet 2006-12-22.
- Eury, Michael; Neal Adams, Curt Swan et al. [27. juli, 2006]. The Krypton Companion. TwoMorrows Publishing. ISBN 1893905616.
[redigér] Fodnoter
- ↑ 1,0 1,1 Daniels (1998), p. 11.
- ↑ Ohio Historical Society (2005). Superman. Ohio History Central: An Online Encyclopedia of Ohio. Ohio Historical Society. Hentet 2007-01-30. “In the early twenty-first century, Superman remains one of the most popular comic book characters of all time. He also has been an immense draw in movies and on television.”
- ↑ Holt, Douglas B. (2004). How Brands Become Icons: The Principles of Cultural Branding. Boston: Harvard Business School Press. ISBN 1578517745.
- ↑ (2004) Koehler, Derek J., Harvey, Nigel. (eds.): Blackwell Handbook of Judgment and Decision Making. Blackwell. ISBN 1405107464.
- ↑ Dinerstein, Joel (2003). Swinging the machine: Modernity, technology, and African American culture between the wars. University of Massachusetts Press. ISBN 1558493832.
- ↑ McCollum, Charlie, "Times change, but Superman endures as an American cultural icon" (Registration required), The Mercury News, June, 2006. Hentet 2007-01-30.
- ↑ Epstein, Daniel Robert (30. juli, 2006). 4:11 with Bryan Singer. Newsarama. Hentet 2007-01-30.
- ↑ Niven, Larry (1971). Man of Steel, Woman of Kleenex. All the Myriad Ways. Larry Niven. Hentet 2007-01-30.
- ↑ 9,0 9,1 Daniels (1998), p. 13.
- ↑ Daniels (1998), p. 17.
- ↑ Petrou, David Michael (1978). The Making of Superman the Movie, New York: Warner Books ISBN 0-446-82565-4
- ↑ 12,0 12,1 12,2 12,3 12,4 Daniels (1998), p. 18.
- ↑ Daniels (1998), p. 19.
- ↑ Morrison, Grant, "Seriously, Perilously", The Herald, 29. September, 1998, s. 14.
- ↑ Engle, Gary (1987). “"What Makes Superman So Darned American?"”, Dennis Dooley and Gary Engle (eds.): Superman at Fifty: The Persistence of a Legend. Cleveland, OH: Octavia. ISBN 0020429010.
- ↑ Daniels (1998), pp. 25-31.
- ↑ 17,0 17,1 Daniels (1998), p. 44.
- ↑ Fox, Gardner (w), Hibbard, Everett E. (p,i). "$1,000,000 for War Orphans" All Star Comics v1 #7 October-November 1941 All-American Publications
- ↑ Daniels (1998), p. 13.
- ↑ 20,0 20,1 Daniels (1998), p. 69.
- ↑ Daniels (1995), p. 28.
- ↑ Moore, Alan (w), Swan, Curt (p), Perez, George & Schaffenberger, Kurt (i). Superman: Whatever Happened to the Man of Tomorrow? 1997 DC Comics. ISBN 1-56389-315-0
- ↑ Daniels (1998), p. 150.
- ↑ 24,0 24,1 Daniels (1995), pp. 22-23.
- ↑ 25,0 25,1 Sabin, Roger (1996). Comics, Comix & Graphic Novels, 4th paperback edition, Phaidon. ISBN 0-7148-3993-0.
- ↑ von Busack, Richard, "Superman Versus the KKK", Metro, 2. Juli-8. Juli, 1998. Hentet 2007-01-28.
- ↑ Dubner, Stephen J; Levitt, Steven D, "Hoodwinked?", The New York Times, 8. Januar, 2006, s. F26. Hentet 2007-01-28.
- ↑ 28,0 28,1 Bukatman, Scott (2003). Matters of Gravity: Special Effects and Supermen in the 20th Century. Duke University Press. ISBN 0822331322.
- ↑ Feeley, Gregory (March 2005). "When World-views Collide: Philip Wylie in the Twenty-first Century". Science Fiction Studies 32 (95). Skabelon:ISSN. Hentet 2006-12-06.
- ↑ 30,0 30,1 Jacobson, Howard, "Up, up and oy vey", The Times, 5. Marts, 2005, s. 5.
- ↑ 31,0 31,1 31,2 . (2006). The Mythology of Superman [DVD]. Warner Bros..
- ↑ Weinstein, Simcha (2006). Up, Up, and Oy Vey!, 1st, Leviathan Press. ISBN 978-1-881927-32-7.
- ↑ "Semitic Roots." The American Heritage® Dictionary of the English Language (2000). 4th ed. Boston: Houghton Mifflin. Retrieved on 2007-02-08.
- ↑ 34,0 34,1 Waldman, Steven; Kress, Michael, "Beliefwatch: Good Fight", Newsweek, The Washington Post Company, 19. Juni, 2006. Hentet 2007-01-28.
- ↑ Skelton, Stephen. The Gospel According to the World's Greatest Superhero. Harvest House Publishers, 2006. ISBN 0-7369-1812-4.
- ↑ McCue, Greg S., Bloom, Clive (1. Februar, 1993). Dark Knights, LPC Group. ISBN 0745306632.
- ↑ Lawrence, John Shelton (Marts 2006). "Book Reviews: The Gospel According to Superheroes: Religion and Popular Culture". The Journal of American Culture 29 (1). Skabelon:DOI. Hentet 2007-01-28.
- ↑ 38,0 38,1 Andrae (1983) p.8.
- ↑ Andrae (1983), p.2.
- ↑ Andrae (1983), p.4.
- ↑ Andrae (1983), p.7.
- ↑ Andrae (1983), p.5.
- ↑ Hurwitt, Sam, "Comic Book Artist Populates Movies", San Francisco Chronicle, January 16, 2005, s. PK-24. Hentet 2006-12-08.
- ↑ 44,0 44,1 44,2 MacDonald, Heidi. "Inside the Superboy Copyright Decision.' PW Comics Week (April 11, 2006). Available online at Publishers Weekly, Retrieved on 2006-12-08.
- ↑ 45,0 45,1 Dean (2004), p. 16.
- ↑ Dean (2004), p. 13.
- ↑ Daniels (1998), p. 73.
- ↑ Dean (2004), pp. 14-15.
- ↑ 49,0 49,1 Dean (2004), p. 17.
- ↑ Vosper, Robert (February 2005). The Woman Of Steel. Inside Counsel. Hentet 2007-01-26. “DC isn't going to hand over its most valued asset without putting up one hell of a legal battle”
- ↑ Brady, Matt (March 3, 2005). Inside The Siegel/DC Battle For Superman. Newsarama. Hentet 2007-01-26. “While the complaint, response and counterclaim has been filed, no one even remotely expects a slam-dunk win for either side. Issues such as those named in the complaint will, if it goes to trial, possibly allow for an unprecedented referendum on issues of copyright.”
- ↑ 52,0 52,1 Dean, Michael (June 2006). "Journal Datebook: Follow-Up: Superman Heirs Reclaim Superboy Copyright". The Comics Journal (276).
- ↑ 53,0 53,1 Friedrich, Otto, "Up, Up and Awaaay!!!", 'Time Magazine', Monday, March 14, 1988, s. 9. Hentet 2007-01-28.
- ↑ Daniels (1998), p. 67.
- ↑ 55,0 55,1 55,2 55,3 Daniels (1998), p. 42.
- ↑ O'Neil, Denny (w), Dillin, Dick (p), Greene, Sid (i). "Star Light, Star Bright--Death Star I See Tonight!" Justice League of America v1 #73 August, 1969 DC Comics
- ↑ Byrne, John (w)(p), Giordano, Dick (i). The Man of Steel Ed. Barry Marx. DC Comics, 1987. ISBN 0-930289-28-5.
- ↑ Jurgens, Dan, Ordway, Jerry, Simonson, Louise et al (w), Jurgens, Dan, Guice, Jackson, Bogdanove, Jon, et al (p), Rodier, Denis, Janke, Dennis, Breeding, Brett et al (i). The Death of Superman Ed. Mike Carlin. NY:DC Comics, April 14, 1993. ISBN 1-56389-097-6.
- ↑ Jurgens, Dan, Kesel, Karl, Simonson, Louise et al (w), Jurgens, Dan, Guice, Jackson, Bogdanove, Jon, et al (p), Rodier, Denis, Janke, Dennis, Breeding, Brett et al (i). The Return of Superman (Reign of the Supermen) Ed. Mike Carlin. NY:DC Comics, September 3, 1993. ISBN 1-56389-149-2.
- ↑ Waid, Mark (w), Yu, Leinil Francis (a). Superman: Birthright. NY:DC Comics, October 1, 2005. ISBN 1-4012-0252-7.
- ↑ Johns, Geoff (w), Jimenez, Phil, Perez, George, Ordway, Jerry et al (a). Infinite Crisis. NY:DC Comics, September 20, 2006. ISBN 1401209599 ISBN 978-1401209599
- ↑ Johns, Geoff, Busiek, Kurt (w), Woods, Peter, Guedes, Renato (a). Superman: Up, Up and Away! NY:DC Comics, 2006. ISBN 1401209548 ISBN 978-1401209544.
- ↑ Loeb, Jeph (w), McGuinness, Ed (p), Vines, Dexter (i). "Running Wild" Superman/Batman v1 #3 December 2003 DC Comics
- ↑ "Obituaries of note", St. Petersburg Times, Wire services, September 25, 2003. Hentet 2006-12-08.
- ↑ 65,0 65,1 65,2 Daniels (1995), p. 80.
- ↑ Siegel, Jerry (w), Shuster, Joe (p,i). "A Scientific Explanation of Superman's Amazing Strength--!" Superman v1 #1 Summer 1939 National Periodical Publications
- ↑ Cabarga, Leslie, Beck Jerry, Fleischer, Richard (Interviewees). (2006). "First Flight: The Fleischer Superman Series" (supplementary DVD documentary). Superman II (Two-Disc Special Edition) [DVD]. Warner Bros..
- ↑ Daniels (1998), p. 133.
- ↑ 69,0 69,1 Sanderson, Peter (June 1986). "The End of History". Amazing Heroes (96). Skabelon:ISSN.
- ↑ Lundegaard, Erik (July 3, 2006). Sex and the Superman. MSNBC. Hentet 2007-01-26. “Even his origin kept changing. Initially Krypton was populated by a race of supermen whose physical structure was millions of years more advanced than our own. Eventually the red sun/yellow sun dynamic was introduced, where Superman's level of power is dependent upon the amount of yellow solar radiation his cells have absorbed.”
- ↑ Daniels (1998), pp. 106-107.
- ↑ Gross, John, "Books of the Times", New York Times, December 15, 1987. Hentet 2007-01-29.
- ↑ Zeno, Eddy (December 25, 2006). From Back Issue 20: Pro 2 Pro: A Clark Kent Roundtable (excerpted from (January 2007) "The Clark Kent Roundtable". Back Issue (20).). newsarama.com. published on web by newsarama, in print by TwoMorrow. Hentet 2007-01-31.
- ↑ 74,0 74,1 Eury (2006), p. 119.
- ↑ "Superman's LL's [Text page]" Superman #204 February, 1968 DC Comics
- ↑ Daniels (1998), p. 160.
- ↑ , DeMatteis, J.M., Kelly, Joe, Loeb, Jeph et al (w), McGuinness, Ed, Rouleau, Duncan, Medina, Paco (a). Superman: President Lex, NY:DC Comics, July 1 2003. ISBN 1563899744, ISBN 978-1563899744
- ↑ George, Richard (2006-06-22). Superman's Dirty Dozen. IGN. Hentet 2007-01-11.
- ↑ Magnussen, Anne; Hans-Christian Christiansen (2000). Comics & Culture: Analytical and Theoretical Approaches to Comics. Museum Tusculanum Press. ISBN 8772895802. “a metaphor and cultural icon for the 21st century”
- ↑ Postmes, Tom; Jolanda Jetten (2006). Individuality and the Group: Advances in Social Identity. Sage Publications. ISBN 1412903211. “American cultural icons (e.g., the American Flag, Superman, the Statue of Liberty)”
- ↑ Eury (2006), p. 116: "since Superman inspired so many different super-heroes".
- ↑ Hatfield, Charles [2005]. Alternative Comics: an emerging literature. University Press of Mississippi. ISBN 1578067197. “the various Superman-inspired "costume" comics”
- ↑ Daniels (1995), p. 34.
- ↑ Lloyd L. Rich. Protection of Graphic Characters. Publishing Law Center. Hentet 2007-01-16. “the court found that the character Superman was infringed in a competing comic book publication featuring the character Wonderman”
- ↑ Daniels (1995), pp. 46-47.
- ↑ Singer, Marc (Spring 2002). ""Black Skins" and White Masks: Comic Books and the Secret of Race" (embedded image of first page). African American Review 36 (1): 107-119. doi:10.2307/2903369.
- ↑ (2006) South Carolina PACT Coach, English Language Arts Grade 5. Triumph Learning. ISBN 1598230778.
- ↑ Staff writer. "Superman Struts In Macy Parade". New York Times, November 22, 1940. p.18
- ↑ Staff writer. "Superman's Dilemma", Time, April 13, 1942. Hentet 2007-01-29.
- ↑ 90,0 90,1 Daniels (1998), p. 50.
- ↑ Karl Heitmueller (June 13 2006). The 'Superman' Fanboy Dilemma, Part 4: Come On Feel The Toyz (Flash). MTV News. Hentet 2007-01-16. “Warner Bros. has "Superman Returns" licensing deals with Mattel, Pepsi, Burger King, Duracell, Samsung, EA Games and Quaker State Motor Oil, to name a few.”
- ↑ Lieberman, David, "Classics are back in licensed gear", USA Today, June 21, 2005. Hentet 2007-01-29.
- ↑ Skabelon:Cite press release
- ↑ Jones, Cary M. (Winter 2006). "Smallville and New Media mythmaking; Twenty-first century Superman". Jump Cut (48). Hentet 2007-01-09.
- ↑ Juddery, Mark, "Jacob 'Jack' Liebowitz", The Australian, Mark Juddery, October, 2000. Hentet 2007-01-09.
- ↑ Daniels (1998), pp. 75-76.
- ↑ Daniels (1998), p. 111.
- ↑ Amazon.com: It's A Bird ... It's A Plane ... It's Superman (1966 Original Broadway Cast): Music: Charles Strouse,Lee Adams. Amazon.com. Hentet 2007-01-11.
- ↑ Daniels (1998), pp. 111-115
- ↑ Daniels (1998), pp. 141-143
- ↑ About Us. Ruby-Spears website. Ruby-Spears Productions. Hentet 2007-01-11. “Ruby-Spears pulled the coup of the 1988-89 season by acquiring the rights to two heavily sought after properties. Debuting that September on CBS was the classic, Superman, which celebrated its 50th anniversary, and it was with much acclaim that Ruby-Spears was selected to produce the animated series for the network schedule.”
- ↑ Daniels (1998), pp. 164-165.
- ↑ Daniels (1998), pp. 172-174.
- ↑ "Smallville" (2001). imdb.com. Hentet 2007-01-11.
- ↑ Superman Returns (2006). imdb.com. Hentet 2007-01-11.
- ↑ Donovan. "Sunshine Superman." Sunshine Superman. Epic, 1966.
- ↑ Genesis. "Land of Confusion." Invisible Touch. Atlantic Records, 1986. "Ooh Superman where are you now, When everything's gone wrong somehow"
- ↑ Lloyd, John & Yukich, Jim (Directors). (1986). "Land of Confusion" [Music video]. Atlantic Records.
- ↑ Morrison (w), Grant; Truog, Chas, Hazlewood, Doug and Grummet, Tom (a) [1991]. “2: Life In The Concrete Jungle”, Michael Charles Hill (ed.): Animal Man, John Costanza (letterer) & Tatjana Wood (colorist), 1st edition, New York: DC Comics. ISBN 1-56389-005-4. “R.E.M. starts singing "Superman." My arm aches and I've got déjà vu. Funny how everything comes together.”
- ↑ Turner, Robin, "Deputy Dawg", Western Mail, Western Mail and Echo Ltd, August 8, 2006, s. 21.
- ↑ Super-Rabbit (1943). Internet Movie Database. Hentet 2007-01-16.
- ↑ Stupor Duck (1956). Internet Movie Database. Hentet 2007-01-16.
- ↑ Looney Tunes # 97. Big Comicbook Database. Hentet 2007-01-16.
- ↑ Clarke, Mel, "The Pitch", The Sunday Times, Times Newspapers Ltd, August 1, 2004, s. 34.
- ↑ Kinnes, Sally, "The One To Watch", The Sunday Times, Times Newspapers Ltd, January 30, 2000, s. 58.
- ↑ "Saturday Night Live" Episode #4.15 (1979). Internet Movie Database. Hentet 2007-01-16.
- ↑ Daniels (1998), p. 185.
- ↑ Steven Seagle Talks It's a Bird. ugo.com. Hentet 2007-01-16. “the semi-autobiographical tale of Steven being given the chance to write a Superman comic, but stumbling when he can't figure out how to relate to the character. Through the course of the story, Seagle finds his way into Superman by looking at it through the lens of his own mortality.”
- ↑ Taylor, Paul, "Theatre", The Independent, Independent News & Media, September 21, 1994.
- ↑ Eco, Umberto [1962] (2004). “The Myth of Superman”, Jeet Heer & Kent Worcester: Arguing Comics. University Press of Mississippi. ISBN 1-57806-687-5.
- ↑ Clarke, Gerald, "The Comics On The Couch", Time, Time Warner, December 13, 1971, s. 1-4. Hentet 2007-01-29.
- ↑ Arnold, Andrew, "The Hard Knock Life", Time, Time Warner. Hentet 2007-01-29.
- ↑ Daniels (1995), p. 64.
- ↑ Grayling, A C, "The Philosophy of Superman: A Short Course" (Fee required), The Spectator, Press Holdings, July 8, 2006. Hentet 2007-01-29.
- ↑ Jules Feiffer The Great Comic Book Heroes, (2003). Fantagraphics. ISBN 1-56097-501-6
- ↑ Andrae (1983), p.10.
- ↑ Miller, John Jackson (June 9, 2005). CBG Fan Awards Archives. www.cbgxtra.com. Krause Publications. Hentet 2007-01-29. “CBG Fan Award winners 1982-present”
- ↑ "200 Greatest Pop Culture Icons List: The Folks that Have Impacted American Society", Arizona Reporter, October 27, 2003. Hentet 2006-12-08. Syndicated reprint of a Newsweek article
- ↑ "Superman is 'greatest superhero'", BBC, 2004-12-22. Hentet 2007-02-18.
- ↑ Joel Hahn (2006). Will Eisner Comic Industry Award: Summary of Winners. Comic Book Awards Almanac. Joel Hahn. Hentet 2007-01-17.
- ↑ Alan Moore Back on Top for 2006 Eisner Awards. Comic-Con International (2006 July). Hentet 2007-01-17.
- ↑ Joel Hahn (2006). Will Harvey Award Winners Summary. Comic Book Awards Almanac. Joel Hahn. Hentet 2007-01-17.
- ↑ Awards for Superman (1978). Superman (1978). Internet Movie Database. Hentet 2007-01-17.
- ↑ Awards for "Smallville" (2001). "Smallville" (2001). Internet Movie Database. Hentet 2007-01-17.
- ↑ Wright, B. W. (2001). “Spider-Man at Ground Zero”, Comic Book Nation: The Transformation of Youth Culture in America. Baltimore: The Johns Hopkins University. ISBN 0801874505.
[redigér] Eksterne links
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- Official Superman website
- American Icons: Superman - Public radio exploration of the character
- Golden Age, Silver Age and *Modern Age Superman at the Comic book database
- Superman Through the Ages!
- Superman Database
- Henry Berthelsen/Sandkasse på Open Directory Project
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