Successor | Comics Magazine Association of America |
---|---|
Formation | May 1947 |
Dissolved | c. 1954 |
Purpose | To regulate the content of comic books in the face of public criticism |
Headquarters | New York, NY |
President | George T. Delacorte Jr. |
Executive Director | Henry E. Schultz |
The Association of Comics Magazine Publishers (ACMP) was an American industry trade group formed in the late 1940s to regulate the content of comic books in the face of public criticism during that time. It was a precursor to the Comics Magazine Association of America, and the ACMP Publishers Code served as the template for a more detailed set of rules enforced by the CMAA's Comics Code Authority.
The ACMP was formed in May 1947 [1] and publicly announced on July 1, 1948. [2] Founding members included:
George T. Delacorte, Jr., founder of Dell Publishing, which included Dell Comics, served as president, [1] and Manhattan attorney Henry E. Schultz, president of the board of Queens College and a member of the New York City Board of Higher Education, as executive director. [3] The ACMP was formed after "accusations from several fronts charged comic books with contributing to the rising rates of juvenile delinquency", [1] and city and county ordinances had banned some publications [4] though these were effectively overturned with a March 29, 1948, United States Supreme Court ruling that a 64-year-old New York State law outlawing publications with "pictures and stories of deeds of bloodshed, lust or crime" was unconstitutional. [5] Regardless, the uproar increased upon the publication of two articles:
Spencer, West Virginia held a comic-book burning on October 26, 1948. [8] After the Associated Press reported on it, copycat comic-book burnings followed around the country, particularity in Catholic parishes. [9] [10]
In 1948, the association released their "Publishers Code," drawing on the Hollywood Production Code (better known as the "Hays Code"), which had also been drafted to stave off external regulation. Like the Production Code, it forbid portrayals of crime that might "throw sympathy against the law" or "weaken respect for established authority," and prohibited "ridicule or attack on any religious or racial group." "Sexy, wanton comics" were not to be published, and divorce was not to be "treated humorously or represented as glamorous or alluring." Comics that complied with the code were offered a "Seal of Approval."
The code, however, was not a success, ignored by both large and small publishers. Some publishers, such as Dell Comics, refused to join the organization. Others, such as founding member EC Comics, terminated their participation. Those who continued as members made use of the ACMP seal of approval without any formal process of review. Describing the situation in 1954 at a comic book hearing conducted by the Senate Subcommittee on Juvenile Delinquency, Director Schultz said: "The association, I would say, is out of business and so is the code." [12]
In 1954, a mounting tide of criticism, including a new book by Wertham — Seduction of the Innocent — and congressional hearings, spurred the formation of the ACMP's successor, the Comics Magazine Association of America (CMAA). The ACMP Publishers Code served as the template for a more detailed set of rules enforced by the CMAA's Comics Code Authority.
EC comics and Mad magazine publisher, William M. Gaines, in a 1983 interview with The Comics Journal revealed:
After the Senate Subcommittee hearings, and this isn’t very well known, but I can prove it again, I sent a letter to every comics publisher, invited them to a meeting and footed the bill for the hall. We took a big place somewhere, and all these people showed up and I tried to convince them that we should form an association and hire the Gleuks of Harvard or anybody else we could find who could do some sort of independent, honest research into whether comic books in truth were the horrendous things that people said they were. And since I really didn’t think they were, I figured, such a study would exonerate us. None of these guys wanted to do that, and right away the whole thing was taken away from me, and they turned it into a situation where they wrote a Code, and the Code forbade the use of the words 'horror,' 'terror,' or 'crime' — this was all my books — and 'weird,' even 'weird,' [laughter] so that would wipe me out. So I didn’t join the association. But then I decided to drop all those books anyway and put out the New Direction stuff. I put out the six first issues, six bi-monthlies, and they sold 10, 15 percent. You can’t believe how horrendous the sales were. And I later found out that it was because the word was passed by the wholesalers, "Get ‘im!" So they got me.[ citation needed ]
William Maxwell Gaines, was an American publisher and co-editor of EC Comics. Following a shift in EC's direction in 1950, Gaines presided over what became an artistically influential and historically important line of mature-audience comics. He published the satirical magazine Mad for over 40 years.
Entertaining Comics, more commonly known as EC Comics, was an American publisher of comic books, which specialized in horror fiction, crime fiction, satire, military fiction, dark fantasy, and science fiction from the 1940s through the mid-1950s, notably the Tales from the Crypt series. Initially, EC was owned by Maxwell Gaines and specialized in educational and child-oriented stories. After Max Gaines' death in a boating accident in 1947, his son William Gaines took over the company and began to print more mature stories, delving into genres of horror, war, fantasy, science-fiction, adventure, and others. Noted for their high quality and shock endings, these stories were also unique in their socially conscious, progressive themes that anticipated the Civil Rights Movement and dawn of 1960s counterculture. In 1954–55, censorship pressures prompted it to concentrate on the humor magazine Mad, leading to the company's greatest and most enduring success. Consequently, by 1956, the company ceased publishing all of its comic lines except Mad.
The Comics Code Authority (CCA) was formed in 1954 by the Comics Magazine Association of America as an alternative to government regulation. The CCA allowed the comic publishers to self-regulate the content of comic books in the United States. The code was voluntary; there was no law requiring its use, although some advertisers and retailers looked to it for reassurance. Some publishers including Dell, Western, and Classics Illustrated never used it. Its code, commonly called "the Comics Code", lasted until the early 21st century. The CC formation followed a moral panic centered around a series of Senate hearings and the publication of psychiatrist Fredric Wertham's book Seduction of the Innocent.
The Golden Age of Comic Books describes an era of American comic books from 1938 to 1956. During this time, modern comic books were first published and rapidly increased in popularity. The superhero archetype was created and many well-known characters were introduced, including Superman, Batman, Robin, Captain Marvel, Captain America, and Wonder Woman.
Fredric Wertham was a German-American psychiatrist and author. Wertham had an early reputation as a progressive psychiatrist who treated poor black patients at his Lafargue Clinic at a time of heightened discrimination in urban mental health practice. Wertham also authored a definitive textbook on the brain, and his institutional stressor findings were cited when courts overturned multiple segregation statutes, most notably in Brown v. Board of Education.
An American comic book is a thin periodical originating in the United States, on average 32 pages, containing comics. While the form originated in 1933, American comic books first gained popularity after the 1938 publication of Action Comics, which included the debut of the superhero Superman. This was followed by a superhero boom that lasted until the end of World War II. After the war, while superheroes were marginalized, the comic book industry rapidly expanded and genres such as horror, crime, science fiction and romance became popular. The 1950s saw a gradual decline, due to a shift away from print media in the wake of television and the impact of the Comics Code Authority. The late 1950s and the 1960s saw a superhero revival and superheroes remained the dominant character archetype throughout the late 20th century into the 21st century.
Seduction of the Innocent is a book by German-born American psychiatrist Fredric Wertham, published in 1954, that warned that comic books were a negative form of popular literature and a serious cause of juvenile delinquency. The book was taken seriously at the time in the United States, and was a minor bestseller that created alarm in American parents and galvanized them to campaign for censorship. At the same time, a U.S. Congressional inquiry was launched into the comic book industry. Subsequent to the publication of Seduction of the Innocent, the Comics Code Authority was voluntarily established by publishers to self-censor their titles. In the decades since the book's publication, Wertham's research has been disputed by scholars.
Dell Comics was the comic book publishing arm of Dell Publishing, which got its start in pulp magazines. It published comics from 1929 to 1974. At its peak, it was the most prominent and successful American company in the medium. In 1953 Dell claimed to be the world's largest comics publisher, selling 26 million copies each month.
Mainline Publications, also called Mainline Comics, was a short-lived, 1950s American comic book publisher established and owned by Jack Kirby and Joe Simon.
The Haunt of Fear was an American bi-monthly horror comic anthology series published by EC Comics, starting in 1950. Along with Tales from the Crypt and The Vault of Horror, it formed a trifecta of popular EC horror anthologies. The Haunt of Fear was sold at newsstands beginning with its May/June 1950 issue. It ceased publication with its November/December 1954 issue, compiling a total of 28 issues.
Tales from the Crypt was an American bi-monthly horror comic anthology series published by EC Comics from 1950 to 1955, producing 27 issues. Along with its sister titles, The Haunt of Fear and The Vault of Horror, Tales from the Crypt was popular, but in the late 1940s and early 1950s comic books came under attack from parents, clergymen, schoolteachers and others who believed the books contributed to illiteracy and juvenile delinquency. In April and June 1954, highly publicized congressional subcommittee hearings on the effects of comic books upon children left the industry shaken. With the subsequent imposition of a highly restrictive Comics Code, EC Comics publisher Bill Gaines cancelled Tales from the Crypt and its two companion horror titles, along with the company's remaining crime and science fiction series in September 1954.
The United States Senate Subcommittee on Juvenile Delinquency was established by the United States Senate in 1953 to investigate the problem of juvenile delinquency.
A Superman complex is an unhealthy sense of responsibility, or the belief that everyone else lacks the capacity to successfully perform one or more tasks. Such a person may feel a constant need to "save" others and, in the process, takes on more work on their own.
Crime Does Not Pay is an American comic book series published between 1942 and 1955 by Lev Gleason Publications. Edited and chiefly written by Charles Biro, the title launched the crime comics genre and was the first "true crime" comic book series. At the height of its popularity, Crime Does Not Pay would claim a readership of six million on its covers. The series' sensationalized recountings of the deeds of gangsters such as Baby Face Nelson and Machine Gun Kelly were illustrated by artists Bob Wood, George Tuska, and others. Stories were often introduced and commented upon by "Mr. Crime", a ghoulish figure in a top hat, and the precursor of horror hosts such as EC Comics's The Crypt Keeper. According to Gerard Jones, Crime Does Not Pay was "the first nonhumor comic to rival the superheroes in sales, the first to open the comic book market to large numbers of late adolescent and young males."
Crime comics is a genre of American comic books and format of crime fiction. The genre was originally popular in the late 1940s and early 1950s and is marked by a moralistic editorial tone and graphic depictions of violence and criminal activity. Crime comics began in 1942 with the publication of Crime Does Not Pay published by Lev Gleason Publications and edited by Charles Biro. As sales for superhero comic books declined in the years after World War II, other publishers began to emulate the popular format, content and subject matter of Crime Does Not Pay, leading to a deluge of crime-themed comics. Crime and horror comics, especially those published by EC Comics, came under official scrutiny in the late 1940s and early 1950s, leading to legislation in Canada and Great Britain, the creation in the United States of the Comics Magazine Association of America and the imposition of the Comics Code Authority in 1954. This code placed limits on the degree and kind of criminal activity that could be depicted in American comic books, effectively sounding the death knell for crime comics and their adult themes.
The Brooklyn Thrill Killers were a gang of teenage boys who, during the summer of 1954, killed two men and committed acts of assault and torture against several other people in Brooklyn, a borough of New York City. The case attracted considerable media attention in the United States. It also fueled the controversy over comic books, which were accused at the time of causing sexual perversion and juvenile delinquency.
Notable events of 1954 in comics. See also List of years in comics.
Horror comics are comic books, graphic novels, black-and-white comics magazines, and manga focusing on horror fiction. In the US market, horror comic books reached a peak in the late 1940s through the mid-1950s, when concern over content and the imposition of the self-censorship Comics Code Authority contributed to the demise of many titles and the toning down of others. Black-and-white horror-comics magazines, which did not fall under the Code, flourished from the mid-1960s through the early 1980s from a variety of publishers. Mainstream American color comic books experienced a horror resurgence in the 1970s, following a loosening of the Code. While the genre has had greater and lesser periods of popularity, it occupies a firm niche in comics as of the 2010s.
Star Publications, Inc. was a Golden Age American comic book publisher, operating during the years 1949–1954. Founded by artist/editor L.B. Cole and lawyer Gerhard Kramer, Star specialized in horror comics, crime, and romance comics — but also published talking animal stories. Star was originally based in New York City before relocating to Buffalo, New York.
Helen Honig Meyer (1907-2003) was the president of Dell Publishing from the 1950s until 1976. Meyer began working at Dell Publishing only two years after its creation, and was influential in building up both the traditional book publishing arm and the popular Dell Comics imprint. As the first woman to head a major American publishing house, Meyer inspired many other women who were breaking into publishing in the forties and fifties, and more generally shaped American publishing through her leadership of Dell.
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