Printing Terror argues that horror comics of the Cold War primarily concern white male victimhood and the monstrosity of the gendered and/or racialised other.
Printing Terror argues that horror comics of the Cold War primarily concern white male victimhood and the monstrosity of the gendered and/or racialised other.
Michael Goodrum is Senior Lecturer in Modern History at Canterbury Christ Church University in the UK Philip Smith is Associate Chair of Liberal Arts at Savannah College of Art and Design in Hong Kong
Inhaltsangabe
Introduction 1 "The dead the slain the unavenged." trauma in the 1940s and 1950s 2 "Men are beasts! Wild beasts! Wild Beasts Must Be Destroyed!" gender in the 1940s and 1950s 3 "Confusion turns to fear" race in the 1940s and 1950s 4 Monster kids: bridging the pre and post CCA eras 5 "The war has done strange things to you" trauma in the 1960s and 1970s 6 "This isn't a dream! This is really happening!" gender in the 1960s and 1970s 7 "We are a species that fears itself most of all" race in the 1960s and 1970s 8 Conclusion: appropriating white male fear Bibliography Index
Introduction 1 "The dead the slain the unavenged." trauma in the 1940s and 1950s 2 "Men are beasts! Wild beasts! Wild Beasts Must Be Destroyed!" gender in the 1940s and 1950s 3 "Confusion turns to fear" race in the 1940s and 1950s 4 Monster kids: bridging the pre and post CCA eras 5 "The war has done strange things to you" trauma in the 1960s and 1970s 6 "This isn't a dream! This is really happening!" gender in the 1960s and 1970s 7 "We are a species that fears itself most of all" race in the 1960s and 1970s 8 Conclusion: appropriating white male fear Bibliography Index
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