By Saddleback Educational Publishing
Fast moving and easy-to-read, those softcover 32-page picture biographies train scholars approximately historic figures: those that lead us into new territory, pursued medical discoveries; battled injustice and prejudice; and broke down artistic and inventive obstacles. those biographies provide a number of wealthy fundamental and secondary resource fabric to aid educating to criteria. utilizing the photos, scholars can turn on previous knowledgebridge what they already comprehend with what they've got but to benefit. Graphically illustrated biographies additionally train inference talents, personality improvement, discussion, transitions, and drawing conclusions. picture biographies within the lecture room offer an intervention with confirmed good fortune for the suffering reader. positive factors: Full-color drawings have interaction the reader. each one biography is whole in 32-pages. Speech bubbles and nonfiction textual content on each web page. strong images seize and carry scholar curiosity. Highlights: fast paced nonfiction tales. robust characters and robust position types.
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Extra info for Albert Einstein, Graphic Biography (Saddleback Graphic Biographies)
ISBN 978-1-60473-267-2 (cloth : alk. paper) 1. —United States—History and criticism. I. Beaty, Bart. II. Nguyen, Nick. III. Title. 5’973—dc22 2009025381 British Library Cataloging-in-Publication Data available Contents Translators’ Preface Introduction Part One: Seventy Years’ Worth of Images Chapter 1: From Comics to Comic Books (1842–1936) Chapter 2: The Beginnings of an Industry: Comics Magazines (1936–1940) Chapter 3: Comic Books at War (1940–1945) Chapter 4: Ever More—The Apogee and the Fall (1945–1954) Chapter 5: Decline and Rebirth (1955–1962) Chapter 6: The Age of Innovation (1963–1969) Chapter 7: Research and Development by Trial and Error (1969–1979) Chapter 8: The Recovery of the 1980s (1980–1993) Chapter 9: The End of a Century and the Beginning of a New Century (1993– ) Part Two: Producers and Consumers Chapter 10: Production Chapter 11: The Business of Comic Books Chapter 12: The Creators Chapter 13: The Readers Part Three: A Difficult Consecration Chapter 14: Calls for Censorship Chapter 15: Internal Consecration Chapter 16: External Consecration Chapter 17: Conclusion Appendix: Self-Regulating Codes of the Comic Book Industry Notes Bibliographic Essay Acknowledgments Index Translators’ Preface One of the difficulties involved in translating Jean-Paul Gabilliet’s Of Comics and Men is that, as a history, it is so very current that even small changes in the American comic book field frequently called out for new analysis.
The success of the operation prompted the same companies to order a third book and the hundred-page Century of Comics had a print run of 250,000. In 1934, Gaines, who by then had left Eastern Color, supplied Phillips’s Dental Magnesia with half a million copies of Skippy’s Own Book of Comics starring Percy Crosby’s famous street urchin. Using comics collections for advertising ends was now a tried and tested strategy. According to a probably apocryphal anecdote, Max Gaines, in order to find out if there was a readership ready to spend money on the new comic collections, allegedly stickered “ten cent” labels on several copies of Famous Funnies: A Carnival of Comics, and then left them at several newsstands in his neighborhood on a Friday night.
Because of its novel concept and format, newsies did not really know how to display them, which was why, in the first three years of its existence, many Famous Funnies packages were returned to distributors unopened. Although they were interested at first since the new pamphlets ran strips that belonged to them, syndicates took over a year to become aware of the potential that the new format might have for them. Only at the end of 1935 was Popular Comics released, a title published by Delacorte and supplied by Tribune News.
Albert Einstein, Graphic Biography (Saddleback Graphic Biographies) by Saddleback Educational Publishing