Comic Books in the United States, 1938 - 2007: A Social and Cultural Examination
of American Society
Cultural history, at least in its common definition since the 1970s, often combines the
approaches of anthropology and history to look at popular cultural traditions and cultural
interpretations of historical experience.
Most often the focus is on phenomena shared by non-elite groups in a society, such as:
carnival, festival, and public rituals; performance traditions of tale, epic, and other verbal
forms; cultural evolutions in human relations (ideas, sciences, arts, techniques;) and
cultural expressions of social movements such as nationalism. Also examines main
historical concepts as power, ideology, class, culture, identity, attitude, race, perception
and new historical methods as narration of body. Many studies consider adaptations of
traditional culture to mass media (tv, radio, newspapers, magazines, posters, etc.), from
print to film and, now, to the Internet.
I.
1930s- Great Depression- Social Avengers
a. Superman, the first superhero, was created Jerry Siegel and Joe Shuster
debuted in 1938
b. Batman, created by Bob Kane, appeared in 1939.
c. Both were depression era heroes that were created to fight social injustices
like, corrupt government officials, unfair landlords, small time criminals,
unethically businessmen, and unsavory citizens.
II.
1940s- WW II
a. Like most of the nation, comic book superheroes join the war effort and
change their purpose
b. Before heroes were protectors of the “common man,” now they are
weapons of war that fight for the nation and the “American way of life.”
c. Comic books are often used as war propaganda and much of their antiauthoritarian stance is lost.
III.
1945-1960- The Comic Book Code and fighting against social change
a. As World War II ends the nation craves stability and calm after years of
depression and war
b. During the early years of the Cold War superheroes become law
enforcement figures and symbols of official authority. Heroes become agents
of the state.
c. Many superhero comics failed because of lack of interest, many children
found them dull.
d. New more salacious forms of comic books are developed
e. The Comics Code Authority (CCA) was created to regulate the content of
comic books in the United States. Member publishers submit comic books to
the CCA, which screens them for conformance to its Comics Code, and
authorizes the use of their seal on the cover if the books comply. At the height
of its influence, it was a de facto censor for the U.S. comic book industry.
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The CCA was created in 1954 as part of the CMAA, in response to public
concern about what was deemed inappropriate material in many comic books.
This included graphic depictions of violence or gore in crime and horror
comics, as well as the sexual innuendo. Dr. Fredric Wertham's book Seduction
of the Innocent rallied opposition to this type of material in comics, arguing
that it was harmful to the children who made up a large segment of the comic
book audience. Senate subcommittee hearings led by Estes Kefauver had
many publishers concerned about government regulation, prompting them to
form a self regulatory body instead.
The Comic Authority Code pushed comic books to become more nationalistic
and to conform to middle class values. This reflects the fear and mistrust
within a seemingly peaceful and prosperous American society.
IV.
1960s- Youth movement and social change
a. The 1960s see the rise of a growing youth culture that emerges with the
Baby Boom Generation.
b. Many Baby Boomers began to reject “traditional middle class” values and
authority and embrace popular expressions of rebellion like rock and roll
and blue jeans.
c. Rebellion builds during the decade and eventually fuels anti-war protests
and discontent with the government
Comic books become popular on college campuses and are seen by many
students as agents of change. In several polls from the late 1960s, Spiderman
and the Incredible Hulk top list of most admired revolutionary figures
V.
1970s- Stagnation
a. 1973- U.S. Pulls Out of Vietnam
b. 1974- Richard Nixon Resigns
c. 1975- Fall of Saigon
d. Late 1970s- High gas prices, Middle East crisis, and economic problems.
e. President Carter claims the country is in a “malaise”
VI.
1980s- New ways of seeing the world
a. The 1980s brings a heightening of American nationalism but often with a
new cynicism.
b. The Ronald Reagan years (1981-1989) showcase a build up of the military,
a heightening (and then end) of the Cold War, and a desire to return to
America’s Golden Age.
c. Many comic books question the very nature of superheroes and in turn of
society itself. While in the past it was a given that heroes were good and
necessary, now this is explored. Often these stories examine the concepts
of individuality and the nature of the state.
VII.
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1990s- Present- Internationalism/ Transnationalism and Comic books as
literature
a. The 1990s – present sees a change in the way that comics are perceived.
b. The primary readers are no longer teenage boys but rather males in their
20s-40s. Most are bought at higher prices from specialty stores.
c. Many more international creators are featured in comic books.
d. New “artistic” theme are prevalent and many writers and artists see
themes as “real artists.”
e. Comic books consistently question the nature of life and society.
f. Cross-pollination between comic books, film, and television.
1. Comic books films become big business, i.e. Batman, Spiderman,
Incredible Hulk, Fantastic Four, etc.
2. Television shows like Lost and Heroes use many comic book
storytelling methods.
3. In some ways, comic books are not only imitating life but life is also
imitating comic books
1. Comic books like most cultural artifacts are good indicators of themes and
ideas that exist within society at a given time. There are many others though and
they can allow us to reexamine how we view our lives and our culture. It gives us
the opportunity to question what our popular stories, myths, and ideas say about
our lives and times. It allows us to be introspective about who we are and to
search for meaning in the “common” parts of our daily lives and not only in
“high” art or selected books.
2. The change in themes and ideas in comic books are a template for many of the
same changes in all areas of revolutionary popular culture. Many kinds of music
and visual media, like comic books, begin as outside voices against the
establishment but are eventually taken for corporate, nationalistic, or nostalgic
purposes