Transport in Indonesia
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Indonesia's transport system has been shaped over time by the economic resource base of an archipelago with thousands of islands, and the distribution of its more than 200 million people highly concentrated on a single island which is Java[1].
All transport modes play a role in the country’s transport system and are generally complementary rather than competitive. Road transport is predominant, with a total system length of 370,500 km in 2003. The railway system has four unconnected networks in Java and Sumatra primarily dedicated to transport bulk commodities and long-distance passenger traffic. Sea transport is extremely important for economic integration and for domestic and foreign trade. It is well developed, with each of the major islands having at least one significant port city. The role of inland waterways is relatively minor and is limited to certain areas of Eastern Sumatra and Kalimantan. The function of air transport is significant, particularly where land or water transport is deficient or non-existent. It is based on an extensive domestic airline network where all major cities can be reached by passenger plane.
Selasa, 10 November 2009
Common costume features A superhero's costume helps make him or her recognizable to the general public. Costumes are often colorful to enhance the ch
Common costume features
A superhero's costume helps make him or her recognizable to the general public. Costumes are often colorful to enhance the character's visual appeal and frequently incorporate the superhero's name and theme. For example, Daredevil resembles a red devil, Captain America's costume echoes the American flag, Batman resembles a large bat, and Spider-Man's costume features a spider web pattern. The convention of superheroes wearing masks (frequently without visible pupils) and skintight unitards originated with Lee Falk's comic strip hero The Phantom. Several superheroes such as the Phantom, Superman, Batman and Robin wear breeches over this unitard. This is often satirized as the idea that superheroes wear their underpants on the outside.[citation needed]
A superhero's costume helps make him or her recognizable to the general public. Costumes are often colorful to enhance the character's visual appeal and frequently incorporate the superhero's name and theme. For example, Daredevil resembles a red devil, Captain America's costume echoes the American flag, Batman resembles a large bat, and Spider-Man's costume features a spider web pattern. The convention of superheroes wearing masks (frequently without visible pupils) and skintight unitards originated with Lee Falk's comic strip hero The Phantom. Several superheroes such as the Phantom, Superman, Batman and Robin wear breeches over this unitard. This is often satirized as the idea that superheroes wear their underpants on the outside.[citation needed]
Common traits * Extraordinary powers and abilities, relevant skills and/or advanced equipment. Although superhero powers vary widely, superhuman
Common traits
* Extraordinary powers and abilities, relevant skills and/or advanced equipment. Although superhero powers vary widely, superhuman strength, the ability to fly, enhanced senses, and the projection of energy bolts are all common. Some superheroes, such as Batman, Green Arrow, Hawkeye and the Question possess no superhuman powers but have mastered skills such as martial arts and forensic sciences. Others have special weapons or technology, such as Iron Man's powered armor suits and Green Lantern’s power ring. Many characters supplement their natural powers with a special weapon or device (e.g., Wonder Woman's lasso and bracelets, Spider-Man's webbing, Wolverine's adamantium claws, Daredevil's billy club, or Thor's hammer).
* A strong moral code, including a willingness to risk one's own safety in the service of good without expectation of reward. Such a code often includes a refusal or strong reluctance to kill or wield lethal weapons.
* A motivation, such as a sense of responsibility (e.g. Spider-Man), a formal calling (e.g., Wonder Woman), a personal vendetta against criminals (e.g. Batman), or a strong belief in justice and humanitarian service (e.g. Superman).
* A secret identity that protects the superhero's friends and family from becoming targets of his or her enemies (exceptions such as the Fantastic Four notwithstanding), such as Clark Kent (Superman), although many superheroes have a confidant (usually a friend or relative who has been sworn to secrecy). Most superheroes use a descriptive or metaphoric code name for their public deeds.
* A distinctive costume, often used to conceal the secret identity (see Common costume features).
* An underlying motif or theme that affects the hero's name, costume, personal effects, and other aspects of his or her character (e.g., Batman resembles a large bat, operates at night, calls his specialized automobile, which also appears bat-like, the "Batmobile" and uses several devices given a "bat" prefix, Spider-Man can shoot webs from his hands, has a spider web pattern on his costume, and other spider-like abilities).
* A supporting cast of recurring characters, including the hero's friends, co-workers and/or love interests, who may or may not know of the superhero's secret identity. Often the hero's personal relationships are complicated by this dual life, a common theme in Spider-Man and Batman stories in particular.
* A number of enemies that he/she fights repeatedly. In some cases superheroes begin by fighting run of the mill criminals before super villains surface in their respective story lines. In many cases the hero is in part responsible for the appearance of these super villains (the Scorpion was created as the perfect enemy to defeat Spider-Man, and characters in Batman's comics often accuse him of creating the villains he fights). Often superheroes have an archenemy who is more troubling than the others. Often a nemesis is a superhero's doppelganger or foil (e.g., Sabretooth embraces his savage instincts while Wolverine tries to control his. Batman is grim, while the Joker is flamboyant).
* Independent wealth (e.g., Batman or the X-Men's benefactor Professor X) or an occupation that allows for minimal supervision (e.g., Superman's civilian job as a reporter).
* A headquarters or base of operations, usually kept hidden from the general public (e.g., Superman's Fortress of Solitude or Batman's Batcave).
* A backstory that explains the circumstances by which the character acquired his or her abilities as well as his or her motivation for becoming a superhero. Many origin stories involve tragic elements and/or freak accidents that result in the development of the hero's abilities.
Many superheroes work independently. However, there are also many superhero teams. Some, such as the Fantastic Four and X-Men, have common origins and usually operate as a group. Others, such as DC Comics’s Justice League and Marvel’s Avengers, are "all-star" groups consisting of heroes with separate origins who also operate individually, yet will team up to confront larger threats. The shared setting or "universes" of Marvel, DC and other publishers also allow for regular superhero team-ups.
Some superheroes, especially those introduced in the 1940s, work with a young sidekick (e.g., Batman and Robin, Captain America and Bucky). This has become less common since more sophisticated writing and older audiences have lessened the need for characters who specifically appeal to child readers. Sidekicks are seen as a separate classification of superheroes.
Superheroes most often appear in comic books, and superhero stories are the dominant form of American comic books, to the point that the terms "superhero" and "comic book character" have been used synonymously in North America[citation needed]. With the rise in relative popularity of non-superhero comics, as well as the popularity of Japanese comics (manga), this trend is slowly declining[citation needed]. Superheroes have also been featured in radio serials, novel, TV series, movies, and other media. Most of the superheroes who appear in other media are adapted from comics, but there are exceptions.
Marvel Characters, Inc. and DC Comics share ownership of the United States trademark for the phrases "Super Hero" and "Super Heroes" and these two companies own a majority of the world’s most famous and influential superheroes. Of the "Significant Seven" chosen by The Comic Book in America: An Illustrated History (1989), Marvel owns Spider-Man and Captain America and DC owns Superman, Batman, Wonder Woman, Captain Marvel and Plastic Man. Like many non-Marvel characters popular during the 1940s, the latter two were acquired by DC from defunct publishers.[4] However, there have been significant heroes owned by others, especially since the 1990s when Image Comics and other companies that allowed creators to maintain trademark and editorial control over their characters developed. Hellboy and Spawn are some of the most successful creator-owned heroes.
Reflective of his time, Charlton Comics' Captain Atom was an astronaut in his civilian identity. Strange Suspense Stories #75 (June 1965). Cover art by Steve Ditko.
Although superhero fiction is considered a form of fantasy/adventure, it crosses into many genres. Many superhero franchises resemble crime fiction (Batman, Punisher), others horror fiction (Spawn, Spectre) and others more standard science fiction (Green Lantern, X-Men). Many of the earliest superheroes, such as The Sandman and The Clock, were rooted in the pulp fiction of their predecessors.
Within their own fictional universes, public perception of superheroes varies greatly. Some, like Superman and the Fantastic Four, are adored and seen as important civic leaders. Others, like Batman and Spider-Man, meet with public skepticism or outright hostility. A few, such as the X-Men and the characters of Watchmen, defend a populace that misunderstands and despises them.
* Extraordinary powers and abilities, relevant skills and/or advanced equipment. Although superhero powers vary widely, superhuman strength, the ability to fly, enhanced senses, and the projection of energy bolts are all common. Some superheroes, such as Batman, Green Arrow, Hawkeye and the Question possess no superhuman powers but have mastered skills such as martial arts and forensic sciences. Others have special weapons or technology, such as Iron Man's powered armor suits and Green Lantern’s power ring. Many characters supplement their natural powers with a special weapon or device (e.g., Wonder Woman's lasso and bracelets, Spider-Man's webbing, Wolverine's adamantium claws, Daredevil's billy club, or Thor's hammer).
* A strong moral code, including a willingness to risk one's own safety in the service of good without expectation of reward. Such a code often includes a refusal or strong reluctance to kill or wield lethal weapons.
* A motivation, such as a sense of responsibility (e.g. Spider-Man), a formal calling (e.g., Wonder Woman), a personal vendetta against criminals (e.g. Batman), or a strong belief in justice and humanitarian service (e.g. Superman).
* A secret identity that protects the superhero's friends and family from becoming targets of his or her enemies (exceptions such as the Fantastic Four notwithstanding), such as Clark Kent (Superman), although many superheroes have a confidant (usually a friend or relative who has been sworn to secrecy). Most superheroes use a descriptive or metaphoric code name for their public deeds.
* A distinctive costume, often used to conceal the secret identity (see Common costume features).
* An underlying motif or theme that affects the hero's name, costume, personal effects, and other aspects of his or her character (e.g., Batman resembles a large bat, operates at night, calls his specialized automobile, which also appears bat-like, the "Batmobile" and uses several devices given a "bat" prefix, Spider-Man can shoot webs from his hands, has a spider web pattern on his costume, and other spider-like abilities).
* A supporting cast of recurring characters, including the hero's friends, co-workers and/or love interests, who may or may not know of the superhero's secret identity. Often the hero's personal relationships are complicated by this dual life, a common theme in Spider-Man and Batman stories in particular.
* A number of enemies that he/she fights repeatedly. In some cases superheroes begin by fighting run of the mill criminals before super villains surface in their respective story lines. In many cases the hero is in part responsible for the appearance of these super villains (the Scorpion was created as the perfect enemy to defeat Spider-Man, and characters in Batman's comics often accuse him of creating the villains he fights). Often superheroes have an archenemy who is more troubling than the others. Often a nemesis is a superhero's doppelganger or foil (e.g., Sabretooth embraces his savage instincts while Wolverine tries to control his. Batman is grim, while the Joker is flamboyant).
* Independent wealth (e.g., Batman or the X-Men's benefactor Professor X) or an occupation that allows for minimal supervision (e.g., Superman's civilian job as a reporter).
* A headquarters or base of operations, usually kept hidden from the general public (e.g., Superman's Fortress of Solitude or Batman's Batcave).
* A backstory that explains the circumstances by which the character acquired his or her abilities as well as his or her motivation for becoming a superhero. Many origin stories involve tragic elements and/or freak accidents that result in the development of the hero's abilities.
Many superheroes work independently. However, there are also many superhero teams. Some, such as the Fantastic Four and X-Men, have common origins and usually operate as a group. Others, such as DC Comics’s Justice League and Marvel’s Avengers, are "all-star" groups consisting of heroes with separate origins who also operate individually, yet will team up to confront larger threats. The shared setting or "universes" of Marvel, DC and other publishers also allow for regular superhero team-ups.
Some superheroes, especially those introduced in the 1940s, work with a young sidekick (e.g., Batman and Robin, Captain America and Bucky). This has become less common since more sophisticated writing and older audiences have lessened the need for characters who specifically appeal to child readers. Sidekicks are seen as a separate classification of superheroes.
Superheroes most often appear in comic books, and superhero stories are the dominant form of American comic books, to the point that the terms "superhero" and "comic book character" have been used synonymously in North America[citation needed]. With the rise in relative popularity of non-superhero comics, as well as the popularity of Japanese comics (manga), this trend is slowly declining[citation needed]. Superheroes have also been featured in radio serials, novel, TV series, movies, and other media. Most of the superheroes who appear in other media are adapted from comics, but there are exceptions.
Marvel Characters, Inc. and DC Comics share ownership of the United States trademark for the phrases "Super Hero" and "Super Heroes" and these two companies own a majority of the world’s most famous and influential superheroes. Of the "Significant Seven" chosen by The Comic Book in America: An Illustrated History (1989), Marvel owns Spider-Man and Captain America and DC owns Superman, Batman, Wonder Woman, Captain Marvel and Plastic Man. Like many non-Marvel characters popular during the 1940s, the latter two were acquired by DC from defunct publishers.[4] However, there have been significant heroes owned by others, especially since the 1990s when Image Comics and other companies that allowed creators to maintain trademark and editorial control over their characters developed. Hellboy and Spawn are some of the most successful creator-owned heroes.
Reflective of his time, Charlton Comics' Captain Atom was an astronaut in his civilian identity. Strange Suspense Stories #75 (June 1965). Cover art by Steve Ditko.
Although superhero fiction is considered a form of fantasy/adventure, it crosses into many genres. Many superhero franchises resemble crime fiction (Batman, Punisher), others horror fiction (Spawn, Spectre) and others more standard science fiction (Green Lantern, X-Men). Many of the earliest superheroes, such as The Sandman and The Clock, were rooted in the pulp fiction of their predecessors.
Within their own fictional universes, public perception of superheroes varies greatly. Some, like Superman and the Fantastic Four, are adored and seen as important civic leaders. Others, like Batman and Spider-Man, meet with public skepticism or outright hostility. A few, such as the X-Men and the characters of Watchmen, defend a populace that misunderstands and despises them.
Superhero From Wikipedia, the free encyclopedia Jump to: navigation, search This article may contain original research or unverified claims. Please i
Superhero
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article may contain original research or unverified claims. Please improve the article by adding references. See the talk page for details. (September 2009)
Question book-new.svg
This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (September 2009)
For other uses, see Superhero (disambiguation).
A superhero (sometimes rendered super-hero or super hero) is a fictional character of "extraordinary or superhuman powers"[1] dedicated to protecting the public. Since the debut of the prototypical superhero Superman in 1938, stories of superheroes—ranging from brief episodic adventures to continuing years-long sagas—have dominated American comic books and crossed over into other media. The word itself dates to at least 1917.[1] A female superhero is sometimes called a superheroine (also rendered super-heroine or super heroine). "Super-heroes" is a trademark co-owned by DC Comics and Marvel Comics.[2] Superheroes are authentically American, spawning from The Great Depression era.
By most definitions, characters do not need actual superhuman powers to be deemed superheroes,[3] although terms such as costumed crime fighters are sometimes used to refer to those such as Batman and Green Arrow without such powers who share other common superhero traits.
Normally, superheroes use their powers to police day-to-day crime while also combating threats against humanity by supervillains, who as their name implies are criminals of "unprecedented powers" in the same way that superheroes are crime fighters with "unprecedented powers." Generally, at least one of these supervillians will be the superhero's archnemesis, though several popular and long-running series, such as Batman, Superman, and Spider-Man have a large rogues gallery of arch-nemesis. Superheroes sometimes will combat irregular threats that also match their powers, such as aliens, magical entities, and so forth.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article may contain original research or unverified claims. Please improve the article by adding references. See the talk page for details. (September 2009)
Question book-new.svg
This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (September 2009)
For other uses, see Superhero (disambiguation).
A superhero (sometimes rendered super-hero or super hero) is a fictional character of "extraordinary or superhuman powers"[1] dedicated to protecting the public. Since the debut of the prototypical superhero Superman in 1938, stories of superheroes—ranging from brief episodic adventures to continuing years-long sagas—have dominated American comic books and crossed over into other media. The word itself dates to at least 1917.[1] A female superhero is sometimes called a superheroine (also rendered super-heroine or super heroine). "Super-heroes" is a trademark co-owned by DC Comics and Marvel Comics.[2] Superheroes are authentically American, spawning from The Great Depression era.
By most definitions, characters do not need actual superhuman powers to be deemed superheroes,[3] although terms such as costumed crime fighters are sometimes used to refer to those such as Batman and Green Arrow without such powers who share other common superhero traits.
Normally, superheroes use their powers to police day-to-day crime while also combating threats against humanity by supervillains, who as their name implies are criminals of "unprecedented powers" in the same way that superheroes are crime fighters with "unprecedented powers." Generally, at least one of these supervillians will be the superhero's archnemesis, though several popular and long-running series, such as Batman, Superman, and Spider-Man have a large rogues gallery of arch-nemesis. Superheroes sometimes will combat irregular threats that also match their powers, such as aliens, magical entities, and so forth.
Critical reception and popularity The character Superman and his various comic series have received various awards over the years. The Reign of the S
Critical reception and popularity
The character Superman 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.[162] Superman came at number 2 in VH1's Top Pop Culture Icons 2004.[163] In the same year British cinemagoers voted Superman as the greatest superhero of all time.[164] Works featuring the character have also garnered six Eisner Awards[165][166] and three Harvey Awards,[167] 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.[168] The Smallville television series has garnered Emmys for crew members and various other awards.[169] Superman as a character is still seen as being as relevant now as he has been in the seventy years of his existence.[170]
The character Superman 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.[162] Superman came at number 2 in VH1's Top Pop Culture Icons 2004.[163] In the same year British cinemagoers voted Superman as the greatest superhero of all time.[164] Works featuring the character have also garnered six Eisner Awards[165][166] and three Harvey Awards,[167] 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.[168] The Smallville television series has garnered Emmys for crew members and various other awards.[169] Superman as a character is still seen as being as relevant now as he has been in the seventy years of his existence.[170]
Literary analysis Superman has been interpreted and discussed in many forms in the years since his debut. The character's status as the first costume
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".[150] 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."[151] 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.[152]
Clark Kent, argued by Jules Feiffer to be the most innovative feature of Superman
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,[153] 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".[154]
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'."[38]
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,[155] 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".[156]
Superman's immigrant status is a key aspect of his appeal.[157][158][159] Aldo Regalado saw the character as pushing the boundaries of acceptance in America. The extraterrestrial origin was seen by Regalado as challenging the notion that Anglo-Saxon ancestry was the source of all might.[160] Gary Engle saw the "myth of Superman [asserting] with total confidence and a childlike innocence the value of the immigrant in American culture." He argues that Superman allowed the superhero genre to take over from the Western as the expression of immigrant sensibilities. Through the use of a dual identity, Superman allowed immigrants to identify with both their cultures. Clark Kent represents the assimilated individual, allowing Superman to express the immigrants cultural heritage for the greater good.[158] Timothy Aaron Pevey has argued other aspects of the story reinforce the acceptance of the American dream. He notes that "the only thing capable of harming Superman is Kryptonite, a piece of his old home world."[37] David Jenemann has offered a contrasting view. He argues that Superman's early stories portray a threat: "the possibility that the exile would overwhelm the country."[161]
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".[150] 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."[151] 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.[152]
Clark Kent, argued by Jules Feiffer to be the most innovative feature of Superman
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,[153] 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".[154]
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'."[38]
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,[155] 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".[156]
Superman's immigrant status is a key aspect of his appeal.[157][158][159] Aldo Regalado saw the character as pushing the boundaries of acceptance in America. The extraterrestrial origin was seen by Regalado as challenging the notion that Anglo-Saxon ancestry was the source of all might.[160] Gary Engle saw the "myth of Superman [asserting] with total confidence and a childlike innocence the value of the immigrant in American culture." He argues that Superman allowed the superhero genre to take over from the Western as the expression of immigrant sensibilities. Through the use of a dual identity, Superman allowed immigrants to identify with both their cultures. Clark Kent represents the assimilated individual, allowing Superman to express the immigrants cultural heritage for the greater good.[158] Timothy Aaron Pevey has argued other aspects of the story reinforce the acceptance of the American dream. He notes that "the only thing capable of harming Superman is Kryptonite, a piece of his old home world."[37] David Jenemann has offered a contrasting view. He argues that Superman's early stories portray a threat: "the possibility that the exile would overwhelm the country."[161]
Musical references, parodies, and homages See also: Superman in popular music Superman has also featured as an inspiration for musicians, with songs
Musical references, parodies, and homages
See also: Superman in popular music
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 ain't got nothing on me".[136] Other tracks to reference the character include Genesis' "Land of Confusion",[137] the video to which featured a Spitting Image puppet of Ronald Reagan dressed as Superman,[138] "(Wish I Could Fly Like) Superman" by The Kinks on their 1979 album Low Budget and "Superman" by The Clique, a track later covered by R.E.M. on its 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.[139]
Parodies of Superman did not take long to appear, with Mighty Mouse introduced in "The Mouse of Tomorrow" animated short in 1942.[140] 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.[141] 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.[142][143] 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.[144] 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.[145] In the United States, Saturday Night Live has often parodied the figure, with Margot Kidder reprising her role as Lois Lane in a 1979 episode.[146] 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 NFL Playoffs and Super Bowl, Superman animated in the style of artist Curt Swan, again at the request of Seinfeld.[147]
In PS 238, by Aaron Williams, the character Atlas, from the planet Argon, is basically a parody of Superman.
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.[148] 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."[149]
See also: Superman in popular music
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 ain't got nothing on me".[136] Other tracks to reference the character include Genesis' "Land of Confusion",[137] the video to which featured a Spitting Image puppet of Ronald Reagan dressed as Superman,[138] "(Wish I Could Fly Like) Superman" by The Kinks on their 1979 album Low Budget and "Superman" by The Clique, a track later covered by R.E.M. on its 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.[139]
Parodies of Superman did not take long to appear, with Mighty Mouse introduced in "The Mouse of Tomorrow" animated short in 1942.[140] 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.[141] 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.[142][143] 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.[144] 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.[145] In the United States, Saturday Night Live has often parodied the figure, with Margot Kidder reprising her role as Lois Lane in a 1979 episode.[146] 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 NFL Playoffs and Super Bowl, Superman animated in the style of artist Curt Swan, again at the request of Seinfeld.[147]
In PS 238, by Aaron Williams, the character Atlas, from the planet Argon, is basically a parody of Superman.
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.[148] 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."[149]
n other media Main article: Superman in other media The 1941 theatrical cartoon Superman, produced by the Fleischer Studios. The character of Superma
n other media
Main article: Superman in other media
The 1941 theatrical cartoon Superman, produced by the Fleischer Studios.
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,[124] with the concept's continued popularity also being taken into consideration,[125] but is also seen in part as due to good marketing initially.[120] 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.[70] 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 a series of Superman animated cartoons produced by Fleischer Studios and Famous Studios for theatrical release. 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.[126]
In 1951 a television series was commissioned, Adventures of Superman 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. Despite good reviews, the play closed after only 129 performances.[127] The original cast album recording was released and continues to be available.[128] 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.[129]
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).[130] In 1988 Superman returned to television in the Ruby Spears animated series Superman,[131] and also in Superboy, a live-action series which ran from 1988 until 1992.[132] 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.[133] In 2001, the Smallville television series launched, focussing on the adventures of Clark Kent as a teenager before he dons the mantle of Superman.[134] In 2006, Bryan Singer directed Superman Returns, starring Brandon Routh as Superman.[135]
Main article: Superman in other media
The 1941 theatrical cartoon Superman, produced by the Fleischer Studios.
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,[124] with the concept's continued popularity also being taken into consideration,[125] but is also seen in part as due to good marketing initially.[120] 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.[70] 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 a series of Superman animated cartoons produced by Fleischer Studios and Famous Studios for theatrical release. 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.[126]
In 1951 a television series was commissioned, Adventures of Superman 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. Despite good reviews, the play closed after only 129 performances.[127] The original cast album recording was released and continues to be available.[128] 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.[129]
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).[130] In 1988 Superman returned to television in the Ruby Spears animated series Superman,[131] and also in Superboy, a live-action series which ran from 1988 until 1992.[132] 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.[133] In 2001, the Smallville television series launched, focussing on the adventures of Clark Kent as a teenager before he dons the mantle of Superman.[134] In 2006, Bryan Singer directed Superman Returns, starring Brandon Routh as Superman.[135]
Merchandising Superman became popular very quickly, with an additional title, Superman Quarterly rapidly added. In 1940 the character was represented
Merchandising
Superman became popular very quickly, with an additional title, Superman Quarterly rapidly added. In 1940 the character was represented in the annual Macy's parade for the first time.[118] 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."[119] 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.'"[120] By the release of Superman Returns, Warner Bros. had arranged a cross promotion with Burger King,[121] 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 stylized magenta and gold "S" emblem Superman wears on his chest, as a fashion symbol.[122][123]
The "S" shield by itself is often used in media to symbolize the Superman character. It has been incorporated into the opening and/or closing credits of several films and TV series.
Superman became popular very quickly, with an additional title, Superman Quarterly rapidly added. In 1940 the character was represented in the annual Macy's parade for the first time.[118] 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."[119] 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.'"[120] By the release of Superman Returns, Warner Bros. had arranged a cross promotion with Burger King,[121] 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 stylized magenta and gold "S" emblem Superman wears on his chest, as a fashion symbol.[122][123]
The "S" shield by itself is often used in media to symbolize the Superman character. It has been incorporated into the opening and/or closing credits of several films and TV series.
nspiring a market The character's initial success led to similar characters being created.[111][112] Batman was the first to follow, Bob Kane comment
nspiring a market
The character's initial success led to similar characters being created.[111][112] 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".[113] 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,[114] 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.[115] Superhero comics are now established as the dominant genre in American comic book publishing,[116] with many thousands of characters in the tradition having been created in the years since Superman's creation.[117]
The character's initial success led to similar characters being created.[111][112] 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".[113] 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,[114] 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.[115] Superhero comics are now established as the dominant genre in American comic book publishing,[116] with many thousands of characters in the tradition having been created in the years since Superman's creation.[117]
Cultural impact Superman has come to be seen as both an American cultural icon[104][105] and the first comic book superhero. His adventures and popul
Cultural impact
Superman has come to be seen as both an American cultural icon[104][105] 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. Kryptonite, Brainiac and Bizarro have become synonymous in popular vernacular with Achilles' heel, extreme intelligence[106] and reversed logic[107] respectively. Similarly, the phrase "I'm not Superman" or alternatively "you're not Superman" is an idiom used to suggest a lack of invincibility.[108][109][110
Superman has come to be seen as both an American cultural icon[104][105] 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. Kryptonite, Brainiac and Bizarro have become synonymous in popular vernacular with Achilles' heel, extreme intelligence[106] and reversed logic[107] respectively. Similarly, the phrase "I'm not Superman" or alternatively "you're not Superman" is an idiom used to suggest a lack of invincibility.[108][109][110
Supporting cast Main article: Superman character and cast Harold Lloyd, one of the inspirations for Clark Kent Clark Kent, Superman's secret identity
Supporting cast
Main article: Superman character and cast
Harold Lloyd, one of the inspirations for Clark Kent
Clark Kent, Superman's secret identity, was based partly on Harold Lloyd and named after Clark Gable and Kent Taylor.[13][14] 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.[98][99] Although typically a newspaper reporter, during the 1970s the character left the Daily Planet for a time to work for television,[99] whilst the 1980s revamp by John Byrne saw the character become somewhat more aggressive.[95] 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 adoptive 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,[100] 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 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 both a rogue scientific genius with a personal vendetta against Superman, or a powerful but corrupt CEO of a conglomerate called LexCorp who thinks Superman is somehow hindering human progress by his heroic efforts.[101] In the 2000s, he even becomes President of the United States,[102] and has been depicted occasionally 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.[103] 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 important enemies who have featured in various incarnations of the character, from comic books to film and television include the fifth-dimensional imp Mister Mxyzptlk, the reverse Superman known as Bizarro and the Kryptonian criminal General Zod, among many others.
Main article: Superman character and cast
Harold Lloyd, one of the inspirations for Clark Kent
Clark Kent, Superman's secret identity, was based partly on Harold Lloyd and named after Clark Gable and Kent Taylor.[13][14] 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.[98][99] Although typically a newspaper reporter, during the 1970s the character left the Daily Planet for a time to work for television,[99] whilst the 1980s revamp by John Byrne saw the character become somewhat more aggressive.[95] 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 adoptive 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,[100] 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 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 both a rogue scientific genius with a personal vendetta against Superman, or a powerful but corrupt CEO of a conglomerate called LexCorp who thinks Superman is somehow hindering human progress by his heroic efforts.[101] In the 2000s, he even becomes President of the United States,[102] and has been depicted occasionally 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.[103] 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 important enemies who have featured in various incarnations of the character, from comic books to film and television include the fifth-dimensional imp Mister Mxyzptlk, the reverse Superman known as Bizarro and the Kryptonian criminal General Zod, among many others.
Powers and abilities Main article: Powers and abilities of Superman As an influential archetype of the superhero genre, Superman possesses extraordin
Powers and abilities
Main article: Powers and abilities of Superman
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[90] as well as the TV series of the 1950s. For most of his existence, Superman's famous arsenal of powers has included flight, super-strength, invulnerability to non-magical attacks, super-speed, vision powers (including x-ray, heat-emitting, telescopic, infra-red, and microscopic vision), super-hearing, and super-breath, which enables him to blow out air at freezing temperatures, as well as exert the propulsive force of high-speed winds.[91]
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.[91] Siegel and Shuster compared his strength and leaping abilities to an ant and a grasshopper.[92] 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.[93] 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.[91] 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,[94] so DC 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.[95] Superman's power levels have again increased since then, with Superman currently possessing enough strength to hurl mountains, withstand nuclear blasts with ease, fly into the sun unharmed, 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.[70] 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.[96] More recent stories have attempted to find a balance between the two explanations.
Superman is most vulnerable to green Kryptonite, mineral debris from Krypton transformed into radioactive material by the forces that destroyed the planet. Exposure to green Kryptonite radiation nullifies Superman's powers and immobilizes him with pain and nausea; 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.[68] Although green Kryptonite is the most commonly seen form, writers have introduced other forms over the years: such as red, gold, blue, white, and black, each with its own effect.[97]
Main article: Powers and abilities of Superman
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[90] as well as the TV series of the 1950s. For most of his existence, Superman's famous arsenal of powers has included flight, super-strength, invulnerability to non-magical attacks, super-speed, vision powers (including x-ray, heat-emitting, telescopic, infra-red, and microscopic vision), super-hearing, and super-breath, which enables him to blow out air at freezing temperatures, as well as exert the propulsive force of high-speed winds.[91]
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.[91] Siegel and Shuster compared his strength and leaping abilities to an ant and a grasshopper.[92] 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.[93] 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.[91] 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,[94] so DC 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.[95] Superman's power levels have again increased since then, with Superman currently possessing enough strength to hurl mountains, withstand nuclear blasts with ease, fly into the sun unharmed, 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.[70] 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.[96] More recent stories have attempted to find a balance between the two explanations.
Superman is most vulnerable to green Kryptonite, mineral debris from Krypton transformed into radioactive material by the forces that destroyed the planet. Exposure to green Kryptonite radiation nullifies Superman's powers and immobilizes him with pain and nausea; 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.[68] Although green Kryptonite is the most commonly seen form, writers have introduced other forms over the years: such as red, gold, blue, white, and black, each with its own effect.[97]
Other versions Main article: Alternate versions of Superman Both the multiverse established by the publishers in the 1960s and the Elseworlds line of
Other versions
Main article: Alternate versions of Superman
Both the multiverse established by the publishers in the 1960s and the Elseworlds line of comics established in 1989 have allowed writers to introduce variations on Superman. These have included differences in the nationality, race and morality of the character. Alongside such re-imaginings, a number of characters have assumed the title of Superman, especially in the wake of "The Death of Superman" storyline, where four newly introduced characters are seen to claim the mantle.[84] In addition to these, the Bizarro character created in 1958 is a weird, imperfect duplicate of Superman.[85] Other members of Superman's family of characters have borne the Super- prefix, including Supergirl, Superdog and Superwoman. Outside comics published by DC, the notoriety of the Superman or "Übermensch" archetype makes the character a popular figure to be represented through an analogue in entirely unrelated continuities. For example, Roy Thomas based rival publisher Marvel Comics' Hyperion character on Superman.[86][87][88][89]
Main article: Alternate versions of Superman
Both the multiverse established by the publishers in the 1960s and the Elseworlds line of comics established in 1989 have allowed writers to introduce variations on Superman. These have included differences in the nationality, race and morality of the character. Alongside such re-imaginings, a number of characters have assumed the title of Superman, especially in the wake of "The Death of Superman" storyline, where four newly introduced characters are seen to claim the mantle.[84] In addition to these, the Bizarro character created in 1958 is a weird, imperfect duplicate of Superman.[85] Other members of Superman's family of characters have borne the Super- prefix, including Supergirl, Superdog and Superwoman. Outside comics published by DC, the notoriety of the Superman or "Übermensch" archetype makes the character a popular figure to be represented through an analogue in entirely unrelated continuities. For example, Roy Thomas based rival publisher Marvel Comics' Hyperion character on Superman.[86][87][88][89]
Personality In the original Siegel and Shuster stories, Superman's personality is rough and aggressive. The character was seen stepping in to stop wi
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.[33] 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.[70] This change would even be reflected in the stories themselves, in which it would occasionally be pointed out in the narrative or dialogue that Superman had vowed never to take human life – and that if he ever did so, he would hang up his cape and retire.
Today, Superman adheres to a strict moral code, often attributed to the Midwestern values with which he was raised. His commitment to operating within the law has been an example to many other heroes but has stirred resentment among others, who refer to him as the "big blue boy scout." Superman can be rather rigid in this trait, causing tensions in super hero community, notably with Wonder Woman (one of his closest friends) after she killed Maxwell Lord.[78]
Having lost his homeworld of Krypton, Superman is very protective of Earth, and especially of Clark Kent’s family and friends. This same loss, combined with the pressure of using his powers responsibly, has caused Superman to feel lonely on Earth, despite his many friends, his wife and his parents. Previous encounters with people he thought to be fellow Kryptonians, Power Girl[79] (who is, in fact from the Krypton of the Earth-Two universe) and Mon-El,[80] have led to disappointment. The arrival of Supergirl, who has been confirmed to be not only from Krypton, but also is his cousin, has relieved this loneliness somewhat.[81]
In Superman/Batman #3 (December 2003), Batman observes, "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."[82] Later, as Infinite Crisis began, Batman admonished him for identifying with humanity too much and failing to provide the strong leadership that superhumans need.[83]
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.[33] 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.[70] This change would even be reflected in the stories themselves, in which it would occasionally be pointed out in the narrative or dialogue that Superman had vowed never to take human life – and that if he ever did so, he would hang up his cape and retire.
Today, Superman adheres to a strict moral code, often attributed to the Midwestern values with which he was raised. His commitment to operating within the law has been an example to many other heroes but has stirred resentment among others, who refer to him as the "big blue boy scout." Superman can be rather rigid in this trait, causing tensions in super hero community, notably with Wonder Woman (one of his closest friends) after she killed Maxwell Lord.[78]
Having lost his homeworld of Krypton, Superman is very protective of Earth, and especially of Clark Kent’s family and friends. This same loss, combined with the pressure of using his powers responsibly, has caused Superman to feel lonely on Earth, despite his many friends, his wife and his parents. Previous encounters with people he thought to be fellow Kryptonians, Power Girl[79] (who is, in fact from the Krypton of the Earth-Two universe) and Mon-El,[80] have led to disappointment. The arrival of Supergirl, who has been confirmed to be not only from Krypton, but also is his cousin, has relieved this loneliness somewhat.[81]
In Superman/Batman #3 (December 2003), Batman observes, "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."[82] Later, as Infinite Crisis began, Batman admonished him for identifying with humanity too much and failing to provide the strong leadership that superhumans need.[83]
Comic book character Main article: History of Superman See also: Superman (Earth-Two) Superman, given the serial nature of comic publishing and the l
Comic book character
Main article: History of Superman
See also: Superman (Earth-Two)
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.[68] 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.[69] 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.[70]
The 1960s saw the introduction of a second Superman. 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.[71]
Superman dies in Lois Lane's arms: Superman #75 (vol. 2, Jan. 1993). Art by Dan Jurgens and Brett Breeding.
The 1980s saw radical revisions of the character. DC 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.[72] 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,[73] although the character was soon resurrected.[74] Superman also marries Lois Lane in 1996. His origin is again revisited in 2004.[75] In 2006 Superman is stripped of his powers,[76] although these are restored within a fictional year.[77]
Main article: History of Superman
See also: Superman (Earth-Two)
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.[68] 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.[69] 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.[70]
The 1960s saw the introduction of a second Superman. 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.[71]
Superman dies in Lois Lane's arms: Superman #75 (vol. 2, Jan. 1993). Art by Dan Jurgens and Brett Breeding.
The 1980s saw radical revisions of the character. DC 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.[72] 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,[73] although the character was soon resurrected.[74] Superman also marries Lois Lane in 1996. His origin is again revisited in 2004.[75] In 2006 Superman is stripped of his powers,[76] although these are restored within a fictional year.[77]
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 $
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.[53][54] The Saturday Evening Post reported in 1940 that the pair was each being paid $75,000 a year, a fraction of National Comics Publications' millions in Superman profits.[55] 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 National in the same year over the rights to Superboy, which they claimed was a separate creation that National had published without authorization. National immediately fired them and took their byline off the stories, prompting a legal battle that ended in 1948, when a New York 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 judgment the two sides agreed on a settlement. National 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",[56] but DC refused to re-hire them.[57]
Jerry Siegel, with wife Joanne and daughter Laura in 1976. Joanne and Laura Siegel filed a termination notice on Jerry Siegel's share of the copyright of Superman in 1999.
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.[58]
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 Bros., 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."[55] Heidi MacDonald, writing for Publisher's Weekly, noted that in addition to this pension "Warner agreed that Siegel and Shuster would henceforth be credited as creators of Superman on all comics, TV shows and films".[54]
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 authors 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.[59]
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 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.[59] 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.[60][61] On March 26, 2008, Judge Larson of the United States District Court for the Central District of California ruled that Siegel's estate was entitled to claim a share in the United States copyright. The ruling does not affect the International rights, which Time Warner holds on the character through DC. Issues regarding the amount of monies owed Siegel's estate and whether the claim the estate has extends to derivative works such as movie versions will be settled at trial, although any compensation would only be owed from works published since 1999. Time Warner offered no statement on the ruling, but do have the right to challenge it.[62][63] The case is currently[update] scheduled to be heard in a California federal court in May, 2008.[64]
A similar termination of copyright notice filed in 2002 by Siegel's wife and daughter concerning the Superboy character was ruled in their favor on March 23, 2006.[65] However, on July 27, 2007, the same court issued a ruling [66] reversing the March 23, 2006 ruling. This ruling is currently subject to a legal challenge from Time Warner, with the case as yet[update] unresolved.[62]
A July 9, 2009 verdict on the case denied a claim by Siegel's family that it was owed licensing fees. U.S. District Court judge Stephen G. Larson said Warner Bros. and DC Comics have fulfilled their obligations to the Siegels under a profit-sharing agreement for the 2006 movie Superman Returns and the CW series Smallville. However the court also ruled that if Warner Bros. does not start a new Superman film by 2011, the family will have the right to sue to recover damages.[67]
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.[53][54] The Saturday Evening Post reported in 1940 that the pair was each being paid $75,000 a year, a fraction of National Comics Publications' millions in Superman profits.[55] 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 National in the same year over the rights to Superboy, which they claimed was a separate creation that National had published without authorization. National immediately fired them and took their byline off the stories, prompting a legal battle that ended in 1948, when a New York 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 judgment the two sides agreed on a settlement. National 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",[56] but DC refused to re-hire them.[57]
Jerry Siegel, with wife Joanne and daughter Laura in 1976. Joanne and Laura Siegel filed a termination notice on Jerry Siegel's share of the copyright of Superman in 1999.
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.[58]
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 Bros., 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."[55] Heidi MacDonald, writing for Publisher's Weekly, noted that in addition to this pension "Warner agreed that Siegel and Shuster would henceforth be credited as creators of Superman on all comics, TV shows and films".[54]
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 authors 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.[59]
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 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.[59] 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.[60][61] On March 26, 2008, Judge Larson of the United States District Court for the Central District of California ruled that Siegel's estate was entitled to claim a share in the United States copyright. The ruling does not affect the International rights, which Time Warner holds on the character through DC. Issues regarding the amount of monies owed Siegel's estate and whether the claim the estate has extends to derivative works such as movie versions will be settled at trial, although any compensation would only be owed from works published since 1999. Time Warner offered no statement on the ruling, but do have the right to challenge it.[62][63] The case is currently[update] scheduled to be heard in a California federal court in May, 2008.[64]
A similar termination of copyright notice filed in 2002 by Siegel's wife and daughter concerning the Superboy character was ruled in their favor on March 23, 2006.[65] However, on July 27, 2007, the same court issued a ruling [66] reversing the March 23, 2006 ruling. This ruling is currently subject to a legal challenge from Time Warner, with the case as yet[update] unresolved.[62]
A July 9, 2009 verdict on the case denied a claim by Siegel's family that it was owed licensing fees. U.S. District Court judge Stephen G. Larson said Warner Bros. and DC Comics have fulfilled their obligations to the Siegels under a profit-sharing agreement for the 2006 movie Superman Returns and the CW series Smallville. However the court also ruled that if Warner Bros. does not start a new Superman film by 2011, the family will have the right to sue to recover damages.[67]
Publication See also: List of Superman comics Superman making his debut in Action Comics #1 (June 1938). Cover art by Joe Shuster. Superman's first a
Publication
See also: List of Superman comics
Superman making his debut in Action Comics #1 (June 1938). Cover art by Joe Shuster.
Superman's first appearance was in Action Comics #1, in 1938. In 1939, a self-titled series was launched. The first issue mainly reprinted adventures published in Action Comics, but despite this the book achieved greater sales.[25] 1939 also saw the publication of New York World's Fair Comics, which by summer of 1942 became World's Finest Comics. With issue #7 of All Star Comics, Superman made the first of a number of infrequent appearances, on this occasion appearing in cameo to establish his honorary membership of the Justice Society of America.[26]
Initially Jerry Siegel and Joe Shuster would provide the story and art for all the strips published. However, Shuster's eyesight began to deteriorate, and the increasing appearances of the character saw an increase in the workload. This led Shuster to establish a studio to assist in the production of the art,[25] although he insisted on drawing the face of every Superman the studio produced. Outside the studio, Jack Burnley began supplying covers and stories in 1940,[27] and in 1941, artist Fred Ray began contributing a stream of Superman covers, some of which, such as that of Superman #14 (Feb. 1942), became iconic and much-reproduced. Wayne Boring, initially employed in Shuster's studio, began working for DC in his own right in 1942 providing pages for both Superman and Action Comics.[28] Al Plastino was hired initially to copy Wayne Boring but was eventually allowed to create his own style and became one of the most prolific Superman artists during the Gold and Silver Ages of comics.[29]
The scripting duties also became shared. In late 1939 a new editorial team assumed control of the character's adventures. Whitney Ellsworth, Mort Weisinger and Jack Schiff were brought in following Vin Sullivan's departure. This new editorial team brought in Edmond Hamilton, Manly Wade Wellman, and Alfred Bester, established writers of science fiction.[30]
By 1943, Jerry Siegel was drafted into the army in a special celebration, and his duties there saw high contributions drop. Don Cameron and Alvin Schwartz joined the writing team, Schwartz teaming up with Wayne Boring to work on the Superman comic strip which had been launched by Siegel and Shuster in 1939.[28]
In 1945, Superboy made his debut in More Fun Comics #101. The character moved to Adventure Comics in 1946, and his own title, Superboy, launched in 1949. The 1950s saw the launching of Superman's Pal Jimmy Olsen (1954) and Superman's Girlfriend Lois Lane (1958). By 1974 these titles had merged into Superman Family, although the series was cancelled in 1982. DC Comics Presents was a series published from 1978 to 1986 featuring team-ups between Superman and a wide variety of other characters of the DC Universe.
In 1986, a decision was taken to restructure the universe the Superman character inhabited with other DC characters in the mini-series Crisis on Infinite Earths. This saw the publication of "Whatever Happened to the Man of Tomorrow", a two part story written by Alan Moore, with art by Curt Swan, George Pérez and Kurt Schaffenberger.[31] The story was published in Superman #423 and Action Comics #583, and presented what Les Daniels notes as "the sense of loss the fans might have experienced if this had really been the last Superman tale."[32]
Superman's origin is reimagined in The Man of Steel #1 (July 1986), written and drawn by John Byrne.
Superman was relaunched by writer & artist John Byrne, initially in the limited series The Man of Steel (1986). 1986 also saw the cancellation of World's Finest Comics, and the Superman title renamed Adventures of Superman. A second volume of Superman was launched in 1987, running until cancellation in 2006. This cancellation saw Adventures of Superman revert to the Superman title. Superman: The Man of Steel was launched in 1991, running until 2003, whilst the quarterly book Superman: The Man of Tomorrow ran from 1995 to 1999. In 2003 Superman/Batman launched, as well as the Superman: Birthright limited series, with All Star Superman launched in 2005 and Superman Confidential in 2006 (this title was cancelled in 2008). He also appeared in the TV animated series based comic book tie-ins Superman Adventures (1996–2002), Justice League Adventures, Justice League Unlimited (canceled in 2008) and The Legion of Super-Heroes In The 31st Century (canceled in 2008).
Current ongoing publications that feature Superman on a regular basis are Superman, Action Comics, Superman/Batman and Justice League of America. The character often appears as a guest star in other series and is usually a pivotal figure in DC crossover events.
See also: List of Superman comics
Superman making his debut in Action Comics #1 (June 1938). Cover art by Joe Shuster.
Superman's first appearance was in Action Comics #1, in 1938. In 1939, a self-titled series was launched. The first issue mainly reprinted adventures published in Action Comics, but despite this the book achieved greater sales.[25] 1939 also saw the publication of New York World's Fair Comics, which by summer of 1942 became World's Finest Comics. With issue #7 of All Star Comics, Superman made the first of a number of infrequent appearances, on this occasion appearing in cameo to establish his honorary membership of the Justice Society of America.[26]
Initially Jerry Siegel and Joe Shuster would provide the story and art for all the strips published. However, Shuster's eyesight began to deteriorate, and the increasing appearances of the character saw an increase in the workload. This led Shuster to establish a studio to assist in the production of the art,[25] although he insisted on drawing the face of every Superman the studio produced. Outside the studio, Jack Burnley began supplying covers and stories in 1940,[27] and in 1941, artist Fred Ray began contributing a stream of Superman covers, some of which, such as that of Superman #14 (Feb. 1942), became iconic and much-reproduced. Wayne Boring, initially employed in Shuster's studio, began working for DC in his own right in 1942 providing pages for both Superman and Action Comics.[28] Al Plastino was hired initially to copy Wayne Boring but was eventually allowed to create his own style and became one of the most prolific Superman artists during the Gold and Silver Ages of comics.[29]
The scripting duties also became shared. In late 1939 a new editorial team assumed control of the character's adventures. Whitney Ellsworth, Mort Weisinger and Jack Schiff were brought in following Vin Sullivan's departure. This new editorial team brought in Edmond Hamilton, Manly Wade Wellman, and Alfred Bester, established writers of science fiction.[30]
By 1943, Jerry Siegel was drafted into the army in a special celebration, and his duties there saw high contributions drop. Don Cameron and Alvin Schwartz joined the writing team, Schwartz teaming up with Wayne Boring to work on the Superman comic strip which had been launched by Siegel and Shuster in 1939.[28]
In 1945, Superboy made his debut in More Fun Comics #101. The character moved to Adventure Comics in 1946, and his own title, Superboy, launched in 1949. The 1950s saw the launching of Superman's Pal Jimmy Olsen (1954) and Superman's Girlfriend Lois Lane (1958). By 1974 these titles had merged into Superman Family, although the series was cancelled in 1982. DC Comics Presents was a series published from 1978 to 1986 featuring team-ups between Superman and a wide variety of other characters of the DC Universe.
In 1986, a decision was taken to restructure the universe the Superman character inhabited with other DC characters in the mini-series Crisis on Infinite Earths. This saw the publication of "Whatever Happened to the Man of Tomorrow", a two part story written by Alan Moore, with art by Curt Swan, George Pérez and Kurt Schaffenberger.[31] The story was published in Superman #423 and Action Comics #583, and presented what Les Daniels notes as "the sense of loss the fans might have experienced if this had really been the last Superman tale."[32]
Superman's origin is reimagined in The Man of Steel #1 (July 1986), written and drawn by John Byrne.
Superman was relaunched by writer & artist John Byrne, initially in the limited series The Man of Steel (1986). 1986 also saw the cancellation of World's Finest Comics, and the Superman title renamed Adventures of Superman. A second volume of Superman was launched in 1987, running until cancellation in 2006. This cancellation saw Adventures of Superman revert to the Superman title. Superman: The Man of Steel was launched in 1991, running until 2003, whilst the quarterly book Superman: The Man of Tomorrow ran from 1995 to 1999. In 2003 Superman/Batman launched, as well as the Superman: Birthright limited series, with All Star Superman launched in 2005 and Superman Confidential in 2006 (this title was cancelled in 2008). He also appeared in the TV animated series based comic book tie-ins Superman Adventures (1996–2002), Justice League Adventures, Justice League Unlimited (canceled in 2008) and The Legion of Super-Heroes In The 31st Century (canceled in 2008).
Current ongoing publications that feature Superman on a regular basis are Superman, Action Comics, Superman/Batman and Justice League of America. The character often appears as a guest star in other series and is usually a pivotal figure in DC crossover events.
Publication history Creation and conception "The Reign of the Super-Man" in the fanzine Science Fiction, Vol. 1, No.3 (June 1933). Jerry Siegel and J
Publication history
Creation and conception
"The Reign of the Super-Man" in the fanzine Science Fiction, Vol. 1, No.3 (June 1933).
Jerry Siegel and Joe Shuster first created a bald telepathic villain bent on dominating the entire world. He appeared in the short story "The Reign of the Super-Man" from Science Fiction #3, a science fiction fanzine that Siegel published in 1933.[12] Siegel re-wrote the character in 1933 as a hero, bearing little or no resemblance to his villainous namesake, modeling the hero on Douglas Fairbanks Sr. and his bespectacled alter ego, Clark Kent, on Harold Lloyd.[13][14] Siegel and Shuster then began a six-year quest to find a publisher. Titling it The Superman, Siegel and Shuster offered it to Consolidated Book Publishing, who had published a 48-page black-and-white comic book entitled Detective Dan: Secret Operative No. 48. Although the duo received an encouraging letter, Consolidated never again published comic books. Shuster took this to heart and burned all pages of the story, the cover surviving only because Siegel rescued it from the fire. Siegel and Shuster each compared this character to Slam Bradley, an adventurer the pair had created for Detective Comics #1 (May 1939).[15]
Siegel contacted other artists to collaborate on the strip, according to Gerard Jones feeling that "Superman was going nowhere with Joe".[16] Tony Strobl, Mel Graff and Russell Keaton were all contacted as potential collaborators by Siegel.[16] Artwork produced by Keaton based on Siegel's treatment shows the concept evolving. Superman is now sent back in time as a baby by the last man on Earth, where he is found and raised by Sam and Molly Kent.[17] However Keaton did not pursue the collaboration, and soon Siegel and Shuster were back working together on the character again.[16]
The pair re-envisioned the character, who became more of a hero in the mythic tradition, inspired by such characters as Samson and Hercules,[18] who would right the wrongs of Siegel and Shuster's times, fighting for social justice and against tyranny. It was at this stage the costume was introduced, Siegel later recalling that they created a "kind of costume and let's give him a big S on his chest, and a cape, make him as colorful as we can and as distinctive as we can."[5] The design was based in part on the costumes worn by characters in outer space settings published in pulp magazines, as well as comic strips such as Flash Gordon,[19] and also partly suggested by the traditional circus strong-man outfit.[5][20] However, the cape has been noted as being markedly different from the Victorian tradition. Gary Engle described it as without "precedent in popular culture" in Superman at Fifty: The Persistence of a Legend.[21] The circus performer's shorts-over-tights outfit was soon established as the basis for many future superhero outfits. This third version of the character was given extraordinary abilities, although this time of a physical nature as opposed to the mental abilities of the villainous Superman.[5]
The locale and the hero's civilian names were inspired by the movies, Shuster said in 1983. "Jerry created all the names. We were great movie fans, and were inspired a lot by the actors and actresses we saw. As for Clark Kent, he combined the names of Clark Gable and Kent Taylor. And Metropolis, the city in which Superman operated, came from the Fritz Lang movie [Metropolis, 1927], which we both loved".[22]
Although they were by now selling material to comic book publishers, notably Malcolm Wheeler-Nicholson's National Allied Publishing, the pair decided to feature this character in a comic strip format, rather than in the longer comic book story format that was establishing itself at this time. They offered it to both Max Gaines, who passed, and to United Feature Syndicate, who expressed interest initially but finally rejected the strip in a letter dated February 18, 1937. However, in what historian Les Daniels describes as "an incredibly convoluted turn of events", Max Gaines ended up positioning the strip as the lead feature in Wheeler-Nicholson's new publication, Action Comics. Vin Sullivan, editor of the new book, wrote to the pair requesting that the comic strips be refashioned to suit the comic book format, requesting "eight panels a page". However Siegel and Shuster ignored this, utilizing their own experience and ideas to create page layouts, with Siegel also identifying the image used for the cover of Action Comics #1 (June 1938), Superman's first appearance.[23]
Siegel may have been inspired to create the Superman character due to the death of his father. Mitchell Siegel was an immigrant who owned a clothing store on New York's Lower East Side. He died during a robbery attempt in 1932, a year before Superman was created. Although Siegel never mentioned the death of his father in interviews, both Gerard Jones and Brad Meltzer believe it must have affected him. "It had to have an effect," says Jones. "There's a connection there: the loss of a dad as a source for Superman." Meltzer states: "Your father dies in a robbery, and you invent a bulletproof man who becomes the world's greatest hero. I'm sorry, but there's a story there."[24]
Creation and conception
"The Reign of the Super-Man" in the fanzine Science Fiction, Vol. 1, No.3 (June 1933).
Jerry Siegel and Joe Shuster first created a bald telepathic villain bent on dominating the entire world. He appeared in the short story "The Reign of the Super-Man" from Science Fiction #3, a science fiction fanzine that Siegel published in 1933.[12] Siegel re-wrote the character in 1933 as a hero, bearing little or no resemblance to his villainous namesake, modeling the hero on Douglas Fairbanks Sr. and his bespectacled alter ego, Clark Kent, on Harold Lloyd.[13][14] Siegel and Shuster then began a six-year quest to find a publisher. Titling it The Superman, Siegel and Shuster offered it to Consolidated Book Publishing, who had published a 48-page black-and-white comic book entitled Detective Dan: Secret Operative No. 48. Although the duo received an encouraging letter, Consolidated never again published comic books. Shuster took this to heart and burned all pages of the story, the cover surviving only because Siegel rescued it from the fire. Siegel and Shuster each compared this character to Slam Bradley, an adventurer the pair had created for Detective Comics #1 (May 1939).[15]
Siegel contacted other artists to collaborate on the strip, according to Gerard Jones feeling that "Superman was going nowhere with Joe".[16] Tony Strobl, Mel Graff and Russell Keaton were all contacted as potential collaborators by Siegel.[16] Artwork produced by Keaton based on Siegel's treatment shows the concept evolving. Superman is now sent back in time as a baby by the last man on Earth, where he is found and raised by Sam and Molly Kent.[17] However Keaton did not pursue the collaboration, and soon Siegel and Shuster were back working together on the character again.[16]
The pair re-envisioned the character, who became more of a hero in the mythic tradition, inspired by such characters as Samson and Hercules,[18] who would right the wrongs of Siegel and Shuster's times, fighting for social justice and against tyranny. It was at this stage the costume was introduced, Siegel later recalling that they created a "kind of costume and let's give him a big S on his chest, and a cape, make him as colorful as we can and as distinctive as we can."[5] The design was based in part on the costumes worn by characters in outer space settings published in pulp magazines, as well as comic strips such as Flash Gordon,[19] and also partly suggested by the traditional circus strong-man outfit.[5][20] However, the cape has been noted as being markedly different from the Victorian tradition. Gary Engle described it as without "precedent in popular culture" in Superman at Fifty: The Persistence of a Legend.[21] The circus performer's shorts-over-tights outfit was soon established as the basis for many future superhero outfits. This third version of the character was given extraordinary abilities, although this time of a physical nature as opposed to the mental abilities of the villainous Superman.[5]
The locale and the hero's civilian names were inspired by the movies, Shuster said in 1983. "Jerry created all the names. We were great movie fans, and were inspired a lot by the actors and actresses we saw. As for Clark Kent, he combined the names of Clark Gable and Kent Taylor. And Metropolis, the city in which Superman operated, came from the Fritz Lang movie [Metropolis, 1927], which we both loved".[22]
Although they were by now selling material to comic book publishers, notably Malcolm Wheeler-Nicholson's National Allied Publishing, the pair decided to feature this character in a comic strip format, rather than in the longer comic book story format that was establishing itself at this time. They offered it to both Max Gaines, who passed, and to United Feature Syndicate, who expressed interest initially but finally rejected the strip in a letter dated February 18, 1937. However, in what historian Les Daniels describes as "an incredibly convoluted turn of events", Max Gaines ended up positioning the strip as the lead feature in Wheeler-Nicholson's new publication, Action Comics. Vin Sullivan, editor of the new book, wrote to the pair requesting that the comic strips be refashioned to suit the comic book format, requesting "eight panels a page". However Siegel and Shuster ignored this, utilizing their own experience and ideas to create page layouts, with Siegel also identifying the image used for the cover of Action Comics #1 (June 1938), Superman's first appearance.[23]
Siegel may have been inspired to create the Superman character due to the death of his father. Mitchell Siegel was an immigrant who owned a clothing store on New York's Lower East Side. He died during a robbery attempt in 1932, a year before Superman was created. Although Siegel never mentioned the death of his father in interviews, both Gerard Jones and Brad Meltzer believe it must have affected him. "It had to have an effect," says Jones. "There's a connection there: the loss of a dad as a source for Superman." Meltzer states: "Your father dies in a robbery, and you invent a bulletproof man who becomes the world's greatest hero. I'm sorry, but there's a story there."[24]
Superman From Wikipedia, the free encyclopedia Jump to: navigation, search This article is about the superhero. For other uses, see Superman (disambig
Superman
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the superhero. For other uses, see Superman (disambiguation).
This article is semi-protected due to vandalism.
Superman
Superman.jpg
Promotional art for
Superman #204 (vol. 2, April 2004)
by Jim Lee and Scott Williams
Publication information
Publisher DC Comics
First appearance Action Comics #1
(June 30, 1938)
Created by Jerry Siegel and Joe Shuster
In-story information
Alter ego Kal-El, adopted as
Clark Joseph Kent
Place of origin Krypton
Team affiliations The Daily Planet
Justice League
Legion of Super-Heroes
Team Superman
Notable aliases Gangbuster, Jordan Elliot, Nightwing, Supernova, Superboy, The Red and Blue Blur, Superman Prime, Commander El
Abilities Superhuman strength, speed, stamina, durability, senses, intelligence, regeneration, and longevity; super breath, heat vision, x-ray vision and flight
Superman is a fictional character, a comic book superhero appearing in publications by DC Comics, widely considered to be an American cultural icon.[1][2][3][4] Created by American writer Jerry Siegel and Canadian-born artist Joe Shuster in 1932 while both were living in Cleveland, Ohio, and sold to Detective Comics, Inc. in 1938, the character first appeared in Action Comics #1 (June 30, 1938) and subsequently appeared in various radio serials, television programs, films, newspaper strips, and video games. With the success of his adventures, Superman helped to create the superhero genre and establish its primacy within the American comic book.[1] The character's appearance is distinctive and iconic: a blue, red and yellow costume, complete with cape, with a stylized "S" shield on his chest.[5][6][7] This shield is now typically used across media to symbolize the character.[8]
The original story of Superman relates that he was born Kal-El on the planet Krypton, before being rocketed to Earth as an infant by his scientist father Jor-El, moments before Krypton's destruction. Discovered and adopted by a Kansas farmer and his wife, the child is raised as Clark Kent and imbued with a strong moral compass. Very early he started to display superhuman abilities, which upon reaching maturity he resolved to use for the benefit of humanity.
While referred to less than flatteringly as "the big blue Boy Scout" by some of his fellow superheroes,[9] Superman is hailed as "The Man of Steel", "The Man of Tomorrow", and "The Last Son of Krypton" by the general public within the comics. As Clark Kent, Superman lives among humans as a "mild-mannered reporter" for the Metropolis newspaper Daily Planet (Daily Star in the earliest stories). There he works alongside reporter Lois Lane, with whom he is romantically linked. This relationship has been consummated by marriage on numerous occasions across various media, and this union is now firmly established within mainstream comics' continuity.
DC Comics/Warner Bros. slowly expanded the character's supporting cast, powers, and trappings throughout the years. Superman's backstory was altered to allow for adventures as Superboy, and other survivors of Krypton were created, including Supergirl and Krypto the Superdog. In addition, Superman has been licensed and adapted into a variety of media, from radio to television and film, perhaps most notably portrayed by Christopher Reeve in both Richard Donner's Superman: The Movie in 1978, and the sequel Superman II in 1981, which garnered critical praise and became Warner Bros.'s most successful feature films of their time. However, the next two sequels, Superman III and Superman IV: The Quest for Peace, did not perform as well at the box office. The motion picture Superman Returns was released in 2006, which although relatively unsuccessful within the United States, returned a performance at the international box office which exceeded expectations.[10] In the seven decades since Superman's debut, the character has been revamped and updated several times.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the superhero. For other uses, see Superman (disambiguation).
This article is semi-protected due to vandalism.
Superman
Superman.jpg
Promotional art for
Superman #204 (vol. 2, April 2004)
by Jim Lee and Scott Williams
Publication information
Publisher DC Comics
First appearance Action Comics #1
(June 30, 1938)
Created by Jerry Siegel and Joe Shuster
In-story information
Alter ego Kal-El, adopted as
Clark Joseph Kent
Place of origin Krypton
Team affiliations The Daily Planet
Justice League
Legion of Super-Heroes
Team Superman
Notable aliases Gangbuster, Jordan Elliot, Nightwing, Supernova, Superboy, The Red and Blue Blur, Superman Prime, Commander El
Abilities Superhuman strength, speed, stamina, durability, senses, intelligence, regeneration, and longevity; super breath, heat vision, x-ray vision and flight
Superman is a fictional character, a comic book superhero appearing in publications by DC Comics, widely considered to be an American cultural icon.[1][2][3][4] Created by American writer Jerry Siegel and Canadian-born artist Joe Shuster in 1932 while both were living in Cleveland, Ohio, and sold to Detective Comics, Inc. in 1938, the character first appeared in Action Comics #1 (June 30, 1938) and subsequently appeared in various radio serials, television programs, films, newspaper strips, and video games. With the success of his adventures, Superman helped to create the superhero genre and establish its primacy within the American comic book.[1] The character's appearance is distinctive and iconic: a blue, red and yellow costume, complete with cape, with a stylized "S" shield on his chest.[5][6][7] This shield is now typically used across media to symbolize the character.[8]
The original story of Superman relates that he was born Kal-El on the planet Krypton, before being rocketed to Earth as an infant by his scientist father Jor-El, moments before Krypton's destruction. Discovered and adopted by a Kansas farmer and his wife, the child is raised as Clark Kent and imbued with a strong moral compass. Very early he started to display superhuman abilities, which upon reaching maturity he resolved to use for the benefit of humanity.
While referred to less than flatteringly as "the big blue Boy Scout" by some of his fellow superheroes,[9] Superman is hailed as "The Man of Steel", "The Man of Tomorrow", and "The Last Son of Krypton" by the general public within the comics. As Clark Kent, Superman lives among humans as a "mild-mannered reporter" for the Metropolis newspaper Daily Planet (Daily Star in the earliest stories). There he works alongside reporter Lois Lane, with whom he is romantically linked. This relationship has been consummated by marriage on numerous occasions across various media, and this union is now firmly established within mainstream comics' continuity.
DC Comics/Warner Bros. slowly expanded the character's supporting cast, powers, and trappings throughout the years. Superman's backstory was altered to allow for adventures as Superboy, and other survivors of Krypton were created, including Supergirl and Krypto the Superdog. In addition, Superman has been licensed and adapted into a variety of media, from radio to television and film, perhaps most notably portrayed by Christopher Reeve in both Richard Donner's Superman: The Movie in 1978, and the sequel Superman II in 1981, which garnered critical praise and became Warner Bros.'s most successful feature films of their time. However, the next two sequels, Superman III and Superman IV: The Quest for Peace, did not perform as well at the box office. The motion picture Superman Returns was released in 2006, which although relatively unsuccessful within the United States, returned a performance at the international box office which exceeded expectations.[10] In the seven decades since Superman's debut, the character has been revamped and updated several times.
Development The original series was partially inspired by the Frank Miller comic Batman: The Dark Knight Returns, the Tim Burton films Batman and Bat
Development
The original series was partially inspired by the Frank Miller comic Batman: The Dark Knight Returns, the Tim Burton films Batman and Batman Returns and the acclaimed Superman cartoons produced by Fleischer Studios in the 1940s. Timm and Radomski designed the series by closely emulating the Tim Burton films' "otherworldly timelessness," incorporating period features such as black-and-white title cards, police blimps, 40s influenced fashion, 40s influenced car styling and a "vintage" color scheme in a largely film noir-influenced style.[1] The series initially took a variation of music written by Danny Elfman for the Burton films Batman and Batman Returns as its theme; later episodes of the series used a new theme with a similar style by Shirley Walker (who was occasionally Elfman's conductor on the films they worked on). The score of the series was influenced by Elfman and Walker's work on Batman and Batman Returns and the music of 40s film noir.
Batman, as he was depicted in the animated series.
The program was much more adult-oriented than previous typical superhero cartoon series. In their constant quest to make the show darker, the producers pushed the boundaries of action cartoons: it was the first such cartoon in years to depict firearms being fired instead of laser guns (only one person has ever been actually depicted as shot; Commissioner Gordon in the episode "I Am the Night" was seen to have a gunshot wound after the firefight was finished), Batman actually punching and kicking the antagonists, as well as the existence of blood; in addition, many of the series' backgrounds were painted on black paper.[1] The distinctive visual combination of film noir imagery and Art Deco designs with a very dark color scheme was called "Dark Deco" by the producers. First-time producers Timm and Radomski reportedly encountered resistance from studio executives, but the success of Burton's first film allowed the embryonic series to survive long enough to produce a pilot episode, "On Leather Wings", which according to Timm "got a lot of people off our backs."[1]
The series received acclaim for its distinctive animation and mature writing. Fans of a wide age range praised the show's sophisticated, cinematic tone and psychological stories. Voice-actor Kevin Conroy used two distinct voices to portray Bruce Wayne and Batman, as Michael Keaton had done in the films. The series was also notable for its supporting cast that included major actors performing the voices of the various classic villains, most notably Mark Hamill, who defined a whole new career for himself in animation[2] with his cheerfully deranged portrayal of the Joker. The voice recording sessions were recorded with the actors together in a studio, like a radio play, unlike most animated films, in which the principal voice actors record separately and never meet (various interviews have noted that such an arrangement (having the cast record together) was a benefit to the show as a whole, as the actors were able to 'react' to one another, rather than simply 'reading the words').
The Penguin as he was depicted in the animated series.
Key to the series' artistic success is that it managed to redefine classic characters, paying homage to their previous portrayals while giving them new dramatic force. The characterization of villains such as Two-Face and the Riddler and heroes like Robin — who had all appeared in the Joel Schumacher film Batman Forever — demonstrate this. The Penguin is based upon his appearance in Batman Returns, which was being released at the same time as the series. The series also gave new life to nearly forgotten characters like the Clock King. Often noted examples of these dramatic changes are the villains Clayface and Mr. Freeze (whose character in the episode "Heart of Ice" won the show an Emmy for Outstanding Writing in an Animated Program.); Batman: TAS turned Mr. Freeze from a clichéd mad scientist with a gimmick for cold, to a tragic figure whose frigid exterior hides a doomed love and a vindictive fury. Part of the tragedy is mimicked later in the plot of Joel Schumacher's infamous movie Batman & Robin, although much of the drama was lost with the resurrection of the pun-quipping mad scientist image. One of the series' most famous innovations is the Joker's hapless assistant/love interest, Harley Quinn, who became so popular that DC Comics later added her to the mainstream Batman comics continuity.
This series became a cornerstone of the Warner Bros.' animation department, which became one of the top producers of television animation. For years, Warner Bros. Animation had been known only for doing Looney Tunes and their offshoots such as Tiny Toon Adventures. This was Warner's first attempt at doing a serious animated cartoon and it was an unexpected success for the animation department. It also sparked a large franchise of similar TV adaptations of DC Comics characters. Despite the marketing decision by Warner Bros. of making the series a Saturday morning cartoon, producer Bruce Timm and the crew have often stated that the series is not a children's program but merely includes children in its audience. The same has been said for most of the other series in the DCAU.
The original series was partially inspired by the Frank Miller comic Batman: The Dark Knight Returns, the Tim Burton films Batman and Batman Returns and the acclaimed Superman cartoons produced by Fleischer Studios in the 1940s. Timm and Radomski designed the series by closely emulating the Tim Burton films' "otherworldly timelessness," incorporating period features such as black-and-white title cards, police blimps, 40s influenced fashion, 40s influenced car styling and a "vintage" color scheme in a largely film noir-influenced style.[1] The series initially took a variation of music written by Danny Elfman for the Burton films Batman and Batman Returns as its theme; later episodes of the series used a new theme with a similar style by Shirley Walker (who was occasionally Elfman's conductor on the films they worked on). The score of the series was influenced by Elfman and Walker's work on Batman and Batman Returns and the music of 40s film noir.
Batman, as he was depicted in the animated series.
The program was much more adult-oriented than previous typical superhero cartoon series. In their constant quest to make the show darker, the producers pushed the boundaries of action cartoons: it was the first such cartoon in years to depict firearms being fired instead of laser guns (only one person has ever been actually depicted as shot; Commissioner Gordon in the episode "I Am the Night" was seen to have a gunshot wound after the firefight was finished), Batman actually punching and kicking the antagonists, as well as the existence of blood; in addition, many of the series' backgrounds were painted on black paper.[1] The distinctive visual combination of film noir imagery and Art Deco designs with a very dark color scheme was called "Dark Deco" by the producers. First-time producers Timm and Radomski reportedly encountered resistance from studio executives, but the success of Burton's first film allowed the embryonic series to survive long enough to produce a pilot episode, "On Leather Wings", which according to Timm "got a lot of people off our backs."[1]
The series received acclaim for its distinctive animation and mature writing. Fans of a wide age range praised the show's sophisticated, cinematic tone and psychological stories. Voice-actor Kevin Conroy used two distinct voices to portray Bruce Wayne and Batman, as Michael Keaton had done in the films. The series was also notable for its supporting cast that included major actors performing the voices of the various classic villains, most notably Mark Hamill, who defined a whole new career for himself in animation[2] with his cheerfully deranged portrayal of the Joker. The voice recording sessions were recorded with the actors together in a studio, like a radio play, unlike most animated films, in which the principal voice actors record separately and never meet (various interviews have noted that such an arrangement (having the cast record together) was a benefit to the show as a whole, as the actors were able to 'react' to one another, rather than simply 'reading the words').
The Penguin as he was depicted in the animated series.
Key to the series' artistic success is that it managed to redefine classic characters, paying homage to their previous portrayals while giving them new dramatic force. The characterization of villains such as Two-Face and the Riddler and heroes like Robin — who had all appeared in the Joel Schumacher film Batman Forever — demonstrate this. The Penguin is based upon his appearance in Batman Returns, which was being released at the same time as the series. The series also gave new life to nearly forgotten characters like the Clock King. Often noted examples of these dramatic changes are the villains Clayface and Mr. Freeze (whose character in the episode "Heart of Ice" won the show an Emmy for Outstanding Writing in an Animated Program.); Batman: TAS turned Mr. Freeze from a clichéd mad scientist with a gimmick for cold, to a tragic figure whose frigid exterior hides a doomed love and a vindictive fury. Part of the tragedy is mimicked later in the plot of Joel Schumacher's infamous movie Batman & Robin, although much of the drama was lost with the resurrection of the pun-quipping mad scientist image. One of the series' most famous innovations is the Joker's hapless assistant/love interest, Harley Quinn, who became so popular that DC Comics later added her to the mainstream Batman comics continuity.
This series became a cornerstone of the Warner Bros.' animation department, which became one of the top producers of television animation. For years, Warner Bros. Animation had been known only for doing Looney Tunes and their offshoots such as Tiny Toon Adventures. This was Warner's first attempt at doing a serious animated cartoon and it was an unexpected success for the animation department. It also sparked a large franchise of similar TV adaptations of DC Comics characters. Despite the marketing decision by Warner Bros. of making the series a Saturday morning cartoon, producer Bruce Timm and the crew have often stated that the series is not a children's program but merely includes children in its audience. The same has been said for most of the other series in the DCAU.
Batman: The Animated Series From Wikipedia, the free encyclopedia Jump to: navigation, search This article may require cleanup to meet Wikipedia's qu
Batman: The Animated Series
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article may require cleanup to meet Wikipedia's quality standards. Please improve this article if you can. (August 2009)
Batman: The Animated Series
Batman the Animated Series logo.jpg
Format Animated series, Action, Adventure, Mystery, Crime fiction
Starring Kevin Conroy
Efrem Zimbalist, Jr.
Bob Hastings
Loren Lester
Mark Hamill
Theme music composer Danny Elfman
Composer(s) Shirley Walker
Lolita Ritmanis
Michael McCuistion
Stuart Balcomb
Richard Bronskill
Carl Johnson
Kristopher Carter
Country of origin United States
No. of episodes 85 (List of episodes)
Production
Executive producer(s) Jean MacCurdy
Tom Ruegger
Producer(s) Alan Burnett
Paul Dini
Eric Radomski
Bruce Timm
Running time 22 Minutes
Broadcast
Original channel FOX (Fox Kids)
Original run September 5, 1992 – September 15, 1995
Chronology
Followed by The New Batman Adventures
Superman: The Animated Series
Batman: The Animated Series (often shortened Batman: TAS) is an American childrens' animated series adaptation of the comic book series starring the DC Comics superhero, Batman. The series is noted for being the first to take place in the DC Animated Universe. It was produced by Warner Bros. Animation.
The visual style of the series is based on the artwork of producer Bruce Timm. The original series aired on FOX from September 5, 1992 to September 15, 1995. When the first season of the series aired on weekday afternoons, it lacked an on-screen title but was officially titled Batman: The Animated Series, as evidenced in promotional advertisements for the series. When its timeslot was moved to weekends (on some Fox channels) for the second season, it was re-named The Adventures of Batman & Robin.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article may require cleanup to meet Wikipedia's quality standards. Please improve this article if you can. (August 2009)
Batman: The Animated Series
Batman the Animated Series logo.jpg
Format Animated series, Action, Adventure, Mystery, Crime fiction
Starring Kevin Conroy
Efrem Zimbalist, Jr.
Bob Hastings
Loren Lester
Mark Hamill
Theme music composer Danny Elfman
Composer(s) Shirley Walker
Lolita Ritmanis
Michael McCuistion
Stuart Balcomb
Richard Bronskill
Carl Johnson
Kristopher Carter
Country of origin United States
No. of episodes 85 (List of episodes)
Production
Executive producer(s) Jean MacCurdy
Tom Ruegger
Producer(s) Alan Burnett
Paul Dini
Eric Radomski
Bruce Timm
Running time 22 Minutes
Broadcast
Original channel FOX (Fox Kids)
Original run September 5, 1992 – September 15, 1995
Chronology
Followed by The New Batman Adventures
Superman: The Animated Series
Batman: The Animated Series (often shortened Batman: TAS) is an American childrens' animated series adaptation of the comic book series starring the DC Comics superhero, Batman. The series is noted for being the first to take place in the DC Animated Universe. It was produced by Warner Bros. Animation.
The visual style of the series is based on the artwork of producer Bruce Timm. The original series aired on FOX from September 5, 1992 to September 15, 1995. When the first season of the series aired on weekday afternoons, it lacked an on-screen title but was officially titled Batman: The Animated Series, as evidenced in promotional advertisements for the series. When its timeslot was moved to weekends (on some Fox channels) for the second season, it was re-named The Adventures of Batman & Robin.
Metro TV From Wikipedia, the free encyclopedia Jump to: navigation, search Metro TV Metrotv.jpg Launched November 25, 2000 Owned by PT Media Televis
Metro TV
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Metro TV
Metrotv.jpg
Launched November 25, 2000
Owned by PT Media Televisi Indonesia
Country Indonesia
Broadcast area Free To Air/Cable/Satellite
Website www.metrotvnews.com
Availability
Satellite
Indovision Channel 83
Astro Coming soon
Astro Nusantara Channel 8
Cable
First Media Channel 7
TelkomVision Channel ??
StarHub Cable TV Coming soon
Internet television
MIVO.TV www.mivo.tv
Question book-new.svg
This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (February 2008)
Metro TV is Indonesia's first 24-hour news channel based in West Jakarta. The station was established on November 25, 2000 and now has over 53 transmission sites all over the country. It is owned by Surya Paloh who also owns the Media Indonesia daily. These two, along with other newspapers distributed in different parts of Indonesia, are part of the Media Group, also owned by Paloh.
It is the only TV station to offer Mandarin news and no sinetron (soap opera) programs in Indonesia, although lately the station has also begun to broadcast entertainment programs such as a talk show called "e-Lifestyle", and the satirical news and current affairs show called "Republik Mimpi" (The Dream Republic).
Metro TV also offers one of its top programs called Indonesia Now. The program, which is broadcast worldwide, primarily gives information about Indonesia to the world.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Metro TV
Metrotv.jpg
Launched November 25, 2000
Owned by PT Media Televisi Indonesia
Country Indonesia
Broadcast area Free To Air/Cable/Satellite
Website www.metrotvnews.com
Availability
Satellite
Indovision Channel 83
Astro Coming soon
Astro Nusantara Channel 8
Cable
First Media Channel 7
TelkomVision Channel ??
StarHub Cable TV Coming soon
Internet television
MIVO.TV www.mivo.tv
Question book-new.svg
This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (February 2008)
Metro TV is Indonesia's first 24-hour news channel based in West Jakarta. The station was established on November 25, 2000 and now has over 53 transmission sites all over the country. It is owned by Surya Paloh who also owns the Media Indonesia daily. These two, along with other newspapers distributed in different parts of Indonesia, are part of the Media Group, also owned by Paloh.
It is the only TV station to offer Mandarin news and no sinetron (soap opera) programs in Indonesia, although lately the station has also begun to broadcast entertainment programs such as a talk show called "e-Lifestyle", and the satirical news and current affairs show called "Republik Mimpi" (The Dream Republic).
Metro TV also offers one of its top programs called Indonesia Now. The program, which is broadcast worldwide, primarily gives information about Indonesia to the world.
Fugitive trail On 21 July 2005, Irun Hidayat was convicted of being an accessory by providing a house to Azahari Husin and Noordin Top. After the Oc
Fugitive trail
On 21 July 2005, Irun Hidayat was convicted of being an accessory by providing a house to Azahari Husin and Noordin Top.
After the October 2005 attack, a Philippine security official said that for months intelligence officials in Southeast Asia had received information that the al-Qaeda-linked Jemaah Islamiyah group was orchestrating a major strike, possibly in the Philippines or Indonesia, but were unable to uncover the plot's details in time to prevent it.[14]
Mbai identified the chief suspect in the 2005 attack as Azahari Husin, who was thought to collaborate with the second suspect, Noordin, whose wife was sentenced to three years in prison for harbouring him.[15] Azahari Husin was later killed in a raid in November 2005.
On 24 February 2006, the FBI added Noordin among three names to the Seeking Information – War on Terrorism list.[16]
On 29 April 2006, he narrowly escaped capture after his safe-house was raided by heavily armed Indonesian police in Binangun, Central Java. In the altercation, Abdul Hadi and Jabir were killed.[17]
In June 2006, it was reported that Noordin was threatening more attacks in video tapes recovered by Indonesian authorities, and police believe that he may have formed his own organisation outside JI.[18]
On 8 August 2009, there were media reports that he had been killed during a shootout with police near Temanggung, a village in Central Java. Forensic testing conducted by Indonesian police, however, disproved this speculation. A body recovered from the ambush site was instead found to be Ibrohim, a key organiser of the 2009 Jakarta bombings.[19]
On 21 July 2005, Irun Hidayat was convicted of being an accessory by providing a house to Azahari Husin and Noordin Top.
After the October 2005 attack, a Philippine security official said that for months intelligence officials in Southeast Asia had received information that the al-Qaeda-linked Jemaah Islamiyah group was orchestrating a major strike, possibly in the Philippines or Indonesia, but were unable to uncover the plot's details in time to prevent it.[14]
Mbai identified the chief suspect in the 2005 attack as Azahari Husin, who was thought to collaborate with the second suspect, Noordin, whose wife was sentenced to three years in prison for harbouring him.[15] Azahari Husin was later killed in a raid in November 2005.
On 24 February 2006, the FBI added Noordin among three names to the Seeking Information – War on Terrorism list.[16]
On 29 April 2006, he narrowly escaped capture after his safe-house was raided by heavily armed Indonesian police in Binangun, Central Java. In the altercation, Abdul Hadi and Jabir were killed.[17]
In June 2006, it was reported that Noordin was threatening more attacks in video tapes recovered by Indonesian authorities, and police believe that he may have formed his own organisation outside JI.[18]
On 8 August 2009, there were media reports that he had been killed during a shootout with police near Temanggung, a village in Central Java. Forensic testing conducted by Indonesian police, however, disproved this speculation. A body recovered from the ambush site was instead found to be Ibrohim, a key organiser of the 2009 Jakarta bombings.[19]
Bombings It is thought that Noordin may have assisted in planning the 2002 Bali Bombings, in which 202 people were killed.[6] On 5 August 2003, a su
Bombings
It is thought that Noordin may have assisted in planning the 2002 Bali Bombings, in which 202 people were killed.[6]
On 5 August 2003, a suicide bomber detonated a car bomb outside the lobby of the JW Marriott Hotel in Jakarta, killing 12 people and injuring 150. Jemaah Islamiyah was suspected of responsibility for the bombing.[10]
In July 2004, a car bomb was exploded outside the Australian embassy in Jakarta, killing several people including the suicide bomber, and wounding over 140 others.[11] Jemaah Islamiyah with Azahari Husin, and Noordin M. Top were suspected of being behind the bombing.[12]
On 1 October 2005, bombs were detonated in Jimbaran and Kuta in Bali. The bombings killed 23 people, including three bombers trained by Noordin.[9][13]
In July 2009, two suicide bombers killed seven people at the Ritz Carlton and JW Marriott hotels in Jakarta. Local anti-terrorism officials said that there were "strong indications" that Noordin Top was behind the attacks.[4]
It is thought that Noordin may have assisted in planning the 2002 Bali Bombings, in which 202 people were killed.[6]
On 5 August 2003, a suicide bomber detonated a car bomb outside the lobby of the JW Marriott Hotel in Jakarta, killing 12 people and injuring 150. Jemaah Islamiyah was suspected of responsibility for the bombing.[10]
In July 2004, a car bomb was exploded outside the Australian embassy in Jakarta, killing several people including the suicide bomber, and wounding over 140 others.[11] Jemaah Islamiyah with Azahari Husin, and Noordin M. Top were suspected of being behind the bombing.[12]
On 1 October 2005, bombs were detonated in Jimbaran and Kuta in Bali. The bombings killed 23 people, including three bombers trained by Noordin.[9][13]
In July 2009, two suicide bombers killed seven people at the Ritz Carlton and JW Marriott hotels in Jakarta. Local anti-terrorism officials said that there were "strong indications" that Noordin Top was behind the attacks.[4]
Noordin Mohammad Top From Wikipedia, the free encyclopedia (Redirected from Noordin M Top) Jump to: navigation, search This is a Malay name; th
Noordin Mohammad Top
From Wikipedia, the free encyclopedia
(Redirected from Noordin M Top)
Jump to: navigation, search
This is a Malay name; the name "Mohammad Top" is a patronymic, not a family name, and the person should be referred to by the given name, "Noordin".
Noordin Mohammad Top
Born 11 August 1968(1968-08-11)
Kluang, Johor, Malaysia
Died 17 September 2009 (aged 41)
Surakarta, Central Java, Indonesia
Status Deceased
Occupation Financier, alleged trainer of the splinter group of Jemaah Islamiyah
Noordin Mohammad Top (11 August 1968 – 17 September 2009), also referred to as (Noordin) Din Moch Top, Muh Top, or Mat Top, was Indonesia's most wanted Islamist militant.[1][2] Born in Kluang, Johor, Malaysia, he is thought to have been a key bomb maker and/or financier for Jemaah Islamiyah (JI) and to have left JI and set up a more violent splinter group Tanzim Qaedat al-Jihad.[3] Noordin was reported by the FBI to be "an explosives expert". The FBI also has reported him to be "an officer, recruiter, bombmaker, and trainer for the Jemaah Islamiah (JI) group."[4]
Noordin and Azahari Husin were thought to have masterminded the 2003 JW Marriott hotel bombing in Jakarta, the 2004 Australian embassy bombing in Jakarta, the 2005 Bali bombings and the 2009 JW Marriott - Ritz-Carlton bombings,[5] and Noordin may have assisted in the 2002 Bali Bombings.[6]
Noordin, nicknamed "Moneyman", was an indoctrinator who was specialized in recruiting militants into becoming suicide bombers and collecting funds for militant activities.[7]
Having long since been wanted by Malaysian and Indonesian authorities, in 2006, he also became listed on the FBI's third major "wanted" list, the FBI Seeking Information - War on Terrorism list.[8]
He was killed during a police raid in Solo, Central Java, on 17 September 2009.[9]
From Wikipedia, the free encyclopedia
(Redirected from Noordin M Top)
Jump to: navigation, search
This is a Malay name; the name "Mohammad Top" is a patronymic, not a family name, and the person should be referred to by the given name, "Noordin".
Noordin Mohammad Top
Born 11 August 1968(1968-08-11)
Kluang, Johor, Malaysia
Died 17 September 2009 (aged 41)
Surakarta, Central Java, Indonesia
Status Deceased
Occupation Financier, alleged trainer of the splinter group of Jemaah Islamiyah
Noordin Mohammad Top (11 August 1968 – 17 September 2009), also referred to as (Noordin) Din Moch Top, Muh Top, or Mat Top, was Indonesia's most wanted Islamist militant.[1][2] Born in Kluang, Johor, Malaysia, he is thought to have been a key bomb maker and/or financier for Jemaah Islamiyah (JI) and to have left JI and set up a more violent splinter group Tanzim Qaedat al-Jihad.[3] Noordin was reported by the FBI to be "an explosives expert". The FBI also has reported him to be "an officer, recruiter, bombmaker, and trainer for the Jemaah Islamiah (JI) group."[4]
Noordin and Azahari Husin were thought to have masterminded the 2003 JW Marriott hotel bombing in Jakarta, the 2004 Australian embassy bombing in Jakarta, the 2005 Bali bombings and the 2009 JW Marriott - Ritz-Carlton bombings,[5] and Noordin may have assisted in the 2002 Bali Bombings.[6]
Noordin, nicknamed "Moneyman", was an indoctrinator who was specialized in recruiting militants into becoming suicide bombers and collecting funds for militant activities.[7]
Having long since been wanted by Malaysian and Indonesian authorities, in 2006, he also became listed on the FBI's third major "wanted" list, the FBI Seeking Information - War on Terrorism list.[8]
He was killed during a police raid in Solo, Central Java, on 17 September 2009.[9]
Merdeka Palace From Wikipedia, the free encyclopedia Jump to: navigation, search The Istana Merdeka Merdeka Palace (Indonesian: Istana Merdeka) is a
Merdeka Palace
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The Istana Merdeka
Merdeka Palace (Indonesian: Istana Merdeka) is a palace complex in Central Jakarta, Indonesia. At first there was only one building in this complex, the State Palace. The State Palace was started in 1796, when Pieter Gerardus van Overstraten became Governor-General of the Dutch East Indies, and was finished in Johannes Siberg's era in 1804. The Istana was actually built for the Dutch businessman, J. A. van Braam, as his retreat residence. At that time the location of the Istana, which now known as Harmoni, was the most exclusive location in New Batavia, (Jakarta).
In 1820, this mansion was rented and then in 1821, sold to the Dutch Colonial Government. The government used this building as the center of all its activities and as the official residence of the Governor-General when they had business in Batavia. The Governors at that time preferred to live in Bogor Palace in Bogor, because the weather was not as hot as in Batavia. But sometimes they had to go to Batavia, especially to attend the Hindia Council Meeting, every Wednesday.
The Van Braam’s mansion was chosen because Istana Daendels or Daendels Palace (now Treasury Department) in Lapangan Banteng (formerly known as Waterloo Square) was not finished yet. But after the Daendels Palace was finished, that building was used for government offices.
In the Colonial era, a few important events happened in this building that has the official name, Hotel van den Gouverneur-Generaal. For example, this building witnessed the Governor Graaf van den Bosch declare the cultuur stelsel system. And then, the ratification ceremony of the Lingarjati Treaty on March 25, 1947.
In the beginning, this 3.375 m² Greek architecture building had two stories. But in 1848, the upper floor was demolished, and the lower floor was made bigger for making a more formal impression. Now the building is still the same.
Because this palace started to feel too crowded, with the instruction of J.W. van Lansberge in 1873, a new palace was built in the complex, which known as Istana Gambir. The new palace, in the beginning of Republic Indonesia’s independence, witnessed the ratification ceremony of claiming of declaration of Independence of Indonesia from the Dutch in 1949.
In that sentimental ceremony the Dutch Royal flag was substitutes with Indonesian Red and White flag. Hundred thousands of people were in tears when the flag rose into the sky. When the flag reached the top, all the tears became new spirit. They all yelled “Merdeka! Merdeka!”. From that moment, Istana Gambir has been known as Istana Merdeka.
One day after the ceremony, President Sukarno and his family arrived from Yogyakarta and for the first time stay at Istana Merdeka. The first Independence Day annual ceremony was held in the Istana Meredeka in 1950.
Since the Dutch Colonial rule, Japanese Invasion and Indonesian Republic, more than 20 heads of state and governments have already used the Istana Merdeka as the official residence and central of government activities.
As the central of the state’s activities, now the Istana Negara is the venue for official state events, such as the Independence Day ceremony, welcoming the state’s guests, receiving the Letter of Credence from foreign ambassadors, installation of ministers, ambassadors, the opening of national meetings, national and international congress and official state banquet.
The Istana Merdeka has a several rooms such as, First Chamber, Residential Chamber, Guest Room, Banquet Room, Reception Hall, Regalia Room, Office, Bed Chamber, Living Room, and Kitchen.
After Soekarno, the presidents no longer use the Istana as the official residence but only used the office until President Abdurrahman Wahid and Susilo Bambang Yudhoyono.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The Istana Merdeka
Merdeka Palace (Indonesian: Istana Merdeka) is a palace complex in Central Jakarta, Indonesia. At first there was only one building in this complex, the State Palace. The State Palace was started in 1796, when Pieter Gerardus van Overstraten became Governor-General of the Dutch East Indies, and was finished in Johannes Siberg's era in 1804. The Istana was actually built for the Dutch businessman, J. A. van Braam, as his retreat residence. At that time the location of the Istana, which now known as Harmoni, was the most exclusive location in New Batavia, (Jakarta).
In 1820, this mansion was rented and then in 1821, sold to the Dutch Colonial Government. The government used this building as the center of all its activities and as the official residence of the Governor-General when they had business in Batavia. The Governors at that time preferred to live in Bogor Palace in Bogor, because the weather was not as hot as in Batavia. But sometimes they had to go to Batavia, especially to attend the Hindia Council Meeting, every Wednesday.
The Van Braam’s mansion was chosen because Istana Daendels or Daendels Palace (now Treasury Department) in Lapangan Banteng (formerly known as Waterloo Square) was not finished yet. But after the Daendels Palace was finished, that building was used for government offices.
In the Colonial era, a few important events happened in this building that has the official name, Hotel van den Gouverneur-Generaal. For example, this building witnessed the Governor Graaf van den Bosch declare the cultuur stelsel system. And then, the ratification ceremony of the Lingarjati Treaty on March 25, 1947.
In the beginning, this 3.375 m² Greek architecture building had two stories. But in 1848, the upper floor was demolished, and the lower floor was made bigger for making a more formal impression. Now the building is still the same.
Because this palace started to feel too crowded, with the instruction of J.W. van Lansberge in 1873, a new palace was built in the complex, which known as Istana Gambir. The new palace, in the beginning of Republic Indonesia’s independence, witnessed the ratification ceremony of claiming of declaration of Independence of Indonesia from the Dutch in 1949.
In that sentimental ceremony the Dutch Royal flag was substitutes with Indonesian Red and White flag. Hundred thousands of people were in tears when the flag rose into the sky. When the flag reached the top, all the tears became new spirit. They all yelled “Merdeka! Merdeka!”. From that moment, Istana Gambir has been known as Istana Merdeka.
One day after the ceremony, President Sukarno and his family arrived from Yogyakarta and for the first time stay at Istana Merdeka. The first Independence Day annual ceremony was held in the Istana Meredeka in 1950.
Since the Dutch Colonial rule, Japanese Invasion and Indonesian Republic, more than 20 heads of state and governments have already used the Istana Merdeka as the official residence and central of government activities.
As the central of the state’s activities, now the Istana Negara is the venue for official state events, such as the Independence Day ceremony, welcoming the state’s guests, receiving the Letter of Credence from foreign ambassadors, installation of ministers, ambassadors, the opening of national meetings, national and international congress and official state banquet.
The Istana Merdeka has a several rooms such as, First Chamber, Residential Chamber, Guest Room, Banquet Room, Reception Hall, Regalia Room, Office, Bed Chamber, Living Room, and Kitchen.
After Soekarno, the presidents no longer use the Istana as the official residence but only used the office until President Abdurrahman Wahid and Susilo Bambang Yudhoyono.
Organisation The internal organisation of OPM is difficult to determine. In 1996 OPM's 'Supreme Commander' was Mathias Wenda.[9] An OPM spokesperson
Organisation
The internal organisation of OPM is difficult to determine. In 1996 OPM's 'Supreme Commander' was Mathias Wenda.[9] An OPM spokesperson in Sydney, John Otto Ondawame, says it has nine more or less independent commands.[9] Australian freelance journalist, Ben Bohane, says it has seven independent commands.[9] Tentara Nasional Indonesia (TNI), Indonesia's army, says the OPM has two main wings, the 'Victoria Headquarters' and 'Defenders of Truth'. The former is small, and was led by M L Prawar until he was shot dead in 1991. The latter is much larger and operates all over West Papua. [9]
The larger organisation, or 'Defender of the Truth' or Pembela Kebenaran (henceforth PEMKA), chaired by Mr. Jacob Prai, and Seth Roemkorem was the leader of Victoria Faction. During the killing of Prawar, Roemkorem was his commander.
Prior to this separation, TPN/OPM was one, under the leadership of Seth Roemkorem as the Commander of OPM, then the President of West Papua Provisional Government, while Jacob Prai as the Head of Senate. OPM reached its peak in organisation and management (in modern terms) as it as structurally well organised. During this time, Senegal Government recognised the presence of OPM and allowed OPM to open its Embassy in Dakhar, with Mr. Tanggahma as the Ambassador.
During this time, an undercover operation went on to split the OPM, and resulted in the separation as mentioned above.
Due to the rivalry, Roemkorem left his base and went to the Netherlands. During this time, Prai took over the leadership. John Otto Ondawame (a that time he left his law school in Jayapura because of being followed and threatened to be killed by the Indonesian ABRI day and night) became the right-hand man of Jacob Prai. It was Prai's initiative to establish OPM Regional Commanders. He appointed and ordered nine Regional Commanders. Most of them were members of his own troops at the PEMKA headquarter, Skotiau, Vanimo-West Papua border.
Of those regional Commanders, Mathias Wenda was the commander for region II (Jayapura - Wamena), Kelly Kwalik for Nemangkawi (Fakfak regency), Tadeus Yogi (For Paniai Regency), Bernardus Mawen for Maroke region and others. These commanders have been active ever since.
In 2009, an OPM command group led by General Goliath Tabuni (Puncak Jaya Regency) was featured on an undercover BBC report about the West Papuan independence movement[10].
The internal organisation of OPM is difficult to determine. In 1996 OPM's 'Supreme Commander' was Mathias Wenda.[9] An OPM spokesperson in Sydney, John Otto Ondawame, says it has nine more or less independent commands.[9] Australian freelance journalist, Ben Bohane, says it has seven independent commands.[9] Tentara Nasional Indonesia (TNI), Indonesia's army, says the OPM has two main wings, the 'Victoria Headquarters' and 'Defenders of Truth'. The former is small, and was led by M L Prawar until he was shot dead in 1991. The latter is much larger and operates all over West Papua. [9]
The larger organisation, or 'Defender of the Truth' or Pembela Kebenaran (henceforth PEMKA), chaired by Mr. Jacob Prai, and Seth Roemkorem was the leader of Victoria Faction. During the killing of Prawar, Roemkorem was his commander.
Prior to this separation, TPN/OPM was one, under the leadership of Seth Roemkorem as the Commander of OPM, then the President of West Papua Provisional Government, while Jacob Prai as the Head of Senate. OPM reached its peak in organisation and management (in modern terms) as it as structurally well organised. During this time, Senegal Government recognised the presence of OPM and allowed OPM to open its Embassy in Dakhar, with Mr. Tanggahma as the Ambassador.
During this time, an undercover operation went on to split the OPM, and resulted in the separation as mentioned above.
Due to the rivalry, Roemkorem left his base and went to the Netherlands. During this time, Prai took over the leadership. John Otto Ondawame (a that time he left his law school in Jayapura because of being followed and threatened to be killed by the Indonesian ABRI day and night) became the right-hand man of Jacob Prai. It was Prai's initiative to establish OPM Regional Commanders. He appointed and ordered nine Regional Commanders. Most of them were members of his own troops at the PEMKA headquarter, Skotiau, Vanimo-West Papua border.
Of those regional Commanders, Mathias Wenda was the commander for region II (Jayapura - Wamena), Kelly Kwalik for Nemangkawi (Fakfak regency), Tadeus Yogi (For Paniai Regency), Bernardus Mawen for Maroke region and others. These commanders have been active ever since.
In 2009, an OPM command group led by General Goliath Tabuni (Puncak Jaya Regency) was featured on an undercover BBC report about the West Papuan independence movement[10].
History Free Papua Movement graffiti in Sentani, Papua During World War II Netherlands East Indies (to become Indonesia) fell under Japanese Occupati
History
Free Papua Movement graffiti in Sentani, Papua
During World War II Netherlands East Indies (to become Indonesia) fell under Japanese Occupation and subsequently gained its independence during the Indonesian National Revolution from 1945 to 1950. Netherlands New Guinea (Western New Guinea), on the other hand, was only partially occupied by Japanese forces (along the north coast) and was not part of the Dutch-Indonesian agreement on Indonesian independence in December 1949.
Its pre-war colonial relationship with the Netherlands was continued including the development of independent civil services[2] and the election of a national New Guinea Council in January 1961 which was inaugurated in April 1961. White House advisors McGeorge Bundy and Robert Komer from April 1961 lobbied US President John F. Kennedy to negotiate for Indonesia the trade of West New Guinea to Indonesian control[3]; the resulting New York Agreement was drafted by Robert Kennedy and signed by the Netherlands, Indonesia and United Nations in August 1962.
Although the Netherlands had insisted the West New Guinea people be allowed self-determination in accord with the United Nations charter and General Assembly Resolution 1514 (XV) which was to be called the "Act of Free Choice"; the New York Agreement instead provided a seven year delay and gave the United Nations no authority to supervise the act.[4] The legitimacy of this transfer was not recognized by the Papuan population, the majority of whom have continued civil disobedience by raising the West Papua Morning Star flag each year on the 1 December although this action is illegal under Indonesian law and may result in imprisonment of seven to twenty years if caught and handed over to the police for prosecution.[5]
In October 1968 Mr Nicolaas Jouwe, member of the New Guinea Council and of the National Committee elected by the Council in 1962, lobbied the United Nations claiming 30,000 Indonesian troops and thousands of Indonesian civil servants were repressing the Papuan population.[6] According to US Ambassador Galbraith, the Indonesian Foreign Minister Adam Malik also believed the Indonesian military was the cause of problems in the territory and the number of troops should be reduced by at least one half. Ambassador Galbraith further described the OPM to "represent an amorphous mass of anti-Indonesia sentiment" with "possibly 85 to 90 percent [of Papuans], are in sympathy with the Free Papua cause or at least intensely dislike Indonesians".[7]
Brigadier General Sarwo Edhie oversaw the design and conduct of the "Act of Free Choice" which took place from 14 July to 2 August 1969. The United Nations representative Ambassador Oritiz Sanz arrived on 22 August 1968 and made repeated requests for to the Brigadier-General for Indonesia to allow a one-man one-vote system (a process known as a referendum or plebiscite) but these requests were refused on the grounds that such activity was not specified nor requested by the 1962 New York Agreement.[8] One thousand and twenty five Papuans were selected from and instructed on the required procedure as specified by the article 1962 New York Agreement. The resulting vote was unanimous for integration, but by many Papuans and representatives of foreign governments, claim the result was rigged by the Indonesian Government.
In response, Oom Nicolas Jouwe and two OPM commanders, Seth Jafeth Roemkorem and Jacob Hendrik Prai, planned to announce Papuan Independence in 1971. On 1 July 1971 Roemkorem and Prai declared a Republic of West Papua, and drafted a constitution.
Conflicts over strategy between Roemkorem and Prai soon initiated a split of the OPM into two factions; the PEMKA led by Prai, and TPN led by Roemkorem. This greatly weakened OPM's ability as a centralized combat force. It remains widely used, however, invoked by both contemporary fighters and domestic and expatriate political activists.
In 1982 a OPM Revolutionary Council (OPMRC) was established, and under the chairmanship of Moses Werror the OPMRC has sought independence through an International Diplomacy campaign. OPMRC aims to obtain international recognition for West Papuan independence through international forums such as the United Nations, The Non-Aligned Movement of Nations, The South Pacific Forum, and The Association of South East Asian Nations.
In 1984 OPM staged an attack on Jayapura, the provincial capital and a city dominated by non-Melanesian Indonesians. The attack was quickly repelled by the Indonesian military, who followed it with broader counter-insurgency activity. This triggered an exodus of Papuan refugees, apparently supported by the OPM, into camps across the border in Papua New Guinea.
In the mid-1990s, the organization gained renewed prominence and greater support among indigenous Papuans. This was fueled in large part by anger over the actions of the gold mining corporation Freeport-McMoRan, which is accused of environmental damage and of supporting alleged human rights abuses by the Indonesian military. In separate incidents in January and August 1996, OPM captured European and Indonesian hostages; first from a research group and later from a logging camp. Two hostages from the former group were killed and the rest were released.
In July 1998 the OPM raised their independence flag at the Kota Biak water tower on the island of Biak. They stayed there for the following few days before the Indonesian Military broke the group up using force. Reports of a massacre have since surfaced.
Free Papua Movement graffiti in Sentani, Papua
During World War II Netherlands East Indies (to become Indonesia) fell under Japanese Occupation and subsequently gained its independence during the Indonesian National Revolution from 1945 to 1950. Netherlands New Guinea (Western New Guinea), on the other hand, was only partially occupied by Japanese forces (along the north coast) and was not part of the Dutch-Indonesian agreement on Indonesian independence in December 1949.
Its pre-war colonial relationship with the Netherlands was continued including the development of independent civil services[2] and the election of a national New Guinea Council in January 1961 which was inaugurated in April 1961. White House advisors McGeorge Bundy and Robert Komer from April 1961 lobbied US President John F. Kennedy to negotiate for Indonesia the trade of West New Guinea to Indonesian control[3]; the resulting New York Agreement was drafted by Robert Kennedy and signed by the Netherlands, Indonesia and United Nations in August 1962.
Although the Netherlands had insisted the West New Guinea people be allowed self-determination in accord with the United Nations charter and General Assembly Resolution 1514 (XV) which was to be called the "Act of Free Choice"; the New York Agreement instead provided a seven year delay and gave the United Nations no authority to supervise the act.[4] The legitimacy of this transfer was not recognized by the Papuan population, the majority of whom have continued civil disobedience by raising the West Papua Morning Star flag each year on the 1 December although this action is illegal under Indonesian law and may result in imprisonment of seven to twenty years if caught and handed over to the police for prosecution.[5]
In October 1968 Mr Nicolaas Jouwe, member of the New Guinea Council and of the National Committee elected by the Council in 1962, lobbied the United Nations claiming 30,000 Indonesian troops and thousands of Indonesian civil servants were repressing the Papuan population.[6] According to US Ambassador Galbraith, the Indonesian Foreign Minister Adam Malik also believed the Indonesian military was the cause of problems in the territory and the number of troops should be reduced by at least one half. Ambassador Galbraith further described the OPM to "represent an amorphous mass of anti-Indonesia sentiment" with "possibly 85 to 90 percent [of Papuans], are in sympathy with the Free Papua cause or at least intensely dislike Indonesians".[7]
Brigadier General Sarwo Edhie oversaw the design and conduct of the "Act of Free Choice" which took place from 14 July to 2 August 1969. The United Nations representative Ambassador Oritiz Sanz arrived on 22 August 1968 and made repeated requests for to the Brigadier-General for Indonesia to allow a one-man one-vote system (a process known as a referendum or plebiscite) but these requests were refused on the grounds that such activity was not specified nor requested by the 1962 New York Agreement.[8] One thousand and twenty five Papuans were selected from and instructed on the required procedure as specified by the article 1962 New York Agreement. The resulting vote was unanimous for integration, but by many Papuans and representatives of foreign governments, claim the result was rigged by the Indonesian Government.
In response, Oom Nicolas Jouwe and two OPM commanders, Seth Jafeth Roemkorem and Jacob Hendrik Prai, planned to announce Papuan Independence in 1971. On 1 July 1971 Roemkorem and Prai declared a Republic of West Papua, and drafted a constitution.
Conflicts over strategy between Roemkorem and Prai soon initiated a split of the OPM into two factions; the PEMKA led by Prai, and TPN led by Roemkorem. This greatly weakened OPM's ability as a centralized combat force. It remains widely used, however, invoked by both contemporary fighters and domestic and expatriate political activists.
In 1982 a OPM Revolutionary Council (OPMRC) was established, and under the chairmanship of Moses Werror the OPMRC has sought independence through an International Diplomacy campaign. OPMRC aims to obtain international recognition for West Papuan independence through international forums such as the United Nations, The Non-Aligned Movement of Nations, The South Pacific Forum, and The Association of South East Asian Nations.
In 1984 OPM staged an attack on Jayapura, the provincial capital and a city dominated by non-Melanesian Indonesians. The attack was quickly repelled by the Indonesian military, who followed it with broader counter-insurgency activity. This triggered an exodus of Papuan refugees, apparently supported by the OPM, into camps across the border in Papua New Guinea.
In the mid-1990s, the organization gained renewed prominence and greater support among indigenous Papuans. This was fueled in large part by anger over the actions of the gold mining corporation Freeport-McMoRan, which is accused of environmental damage and of supporting alleged human rights abuses by the Indonesian military. In separate incidents in January and August 1996, OPM captured European and Indonesian hostages; first from a research group and later from a logging camp. Two hostages from the former group were killed and the rest were released.
In July 1998 the OPM raised their independence flag at the Kota Biak water tower on the island of Biak. They stayed there for the following few days before the Indonesian Military broke the group up using force. Reports of a massacre have since surfaced.
Legal Status OPM is classified as a terrorist organization under Indonesian law. Providing any form of substantial aid to OPM is a ruled an act of tr
Legal Status
OPM is classified as a terrorist organization under Indonesian law. Providing any form of substantial aid to OPM is a ruled an act of treason. Recognition of the movement is a lesser offence treason and it is a crime to display the alleged flag of Independent Papua in public.[1] Since its inception the OPM has attempted diplomatic dialogue, conducted West Papuan flag raising ceremonies, and undertaken militant actions as part of the Papua Conflict.
While the organization, and in turn Papuan independence, is not supported by the significant immigrant Javanese population, it is supported by some Papuans, though not the Biak and Kai majority ethnicities, as they consider themselves to have no cultural or historical ties with Austronesian Indonesians. According to OPM supporters, Indonesian administration of West Papua is a military occupation.
OPM is classified as a terrorist organization under Indonesian law. Providing any form of substantial aid to OPM is a ruled an act of treason. Recognition of the movement is a lesser offence treason and it is a crime to display the alleged flag of Independent Papua in public.[1] Since its inception the OPM has attempted diplomatic dialogue, conducted West Papuan flag raising ceremonies, and undertaken militant actions as part of the Papua Conflict.
While the organization, and in turn Papuan independence, is not supported by the significant immigrant Javanese population, it is supported by some Papuans, though not the Biak and Kai majority ethnicities, as they consider themselves to have no cultural or historical ties with Austronesian Indonesians. According to OPM supporters, Indonesian administration of West Papua is a military occupation.
Free Papua Movement
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The flag of the Free Papua Movement, the Morning Star.
The Free Papua Movement (Indonesian: Organisasi Papua Merdeka, abbreviated OPM) is a separatist organization (classified as a terrorist organisation under Indonesian law) established in 1965 to seek independence for Western New Guinea from Indonesia. The territory is currently administered by Indonesia as the provinces of Papua and West Papua.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The flag of the Free Papua Movement, the Morning Star.
The Free Papua Movement (Indonesian: Organisasi Papua Merdeka, abbreviated OPM) is a separatist organization (classified as a terrorist organisation under Indonesian law) established in 1965 to seek independence for Western New Guinea from Indonesia. The territory is currently administered by Indonesia as the provinces of Papua and West Papua.
National People's Party (Indonesia) From Wikipedia, the free encyclopedia Jump to: navigation, search National People's Party Partai Rakyat Nasional C
National People's Party (Indonesia)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
National People's Party
Partai Rakyat Nasional
Chairman Dr. Djody Gondokusomo
Founded July 1950
Ideology Nationalism
The National People's Party (Indonesian: Partai Rakyat Nasional, PRN) was a nationalist political party in Indonesia.[1] The party was initially called Indonesian National Party - Merdeka ('Freedom'), and was formed in July 1950 after a split within the Indonesian National Party (PNI). The divisions with the PNI had appeared at the party congress in May the same year, when Sidik Djojosukarto's followers (whom the founders of PNI-Merdeka/PRN opposed) had emerged victorious (after the split the PNI labelled the PRN as 'right-wing' and 'capitalistic').[2] Dr. Djody Gondokusomo was the chairman of the party.[3]
PRN had 10 seats in the People's Representative Council, five from the Republic of the United States of Indonesia and five from BFO. Abdullah Aidit, one of the PRN parliamentarians, was the father of the Communist Party leader D.N. Aidit.[4] In October 1950, a vote of confidence was held in the DPR towards the Natsir cabinet. PRN supported the Natsir cabinet in the confidence vote, the sole parliamentary group not represented in the government to do so.[5] Later in the same month, the party adopted the name PRN.[2]
As of 1951 the party claimed to have two million members, although that figure was probably highly inflated.[6]
In March 1951 the party joined the Consultative Body of Political Parties, a broad coalition that soon became non-functional.[1]
When the first Ali Sastroamidjojo cabinet was formed in 1953, the PRN leader Dr. Djody Gondokusomo was named Minister of Justice. In November 1953 he was joined the PRN politician I Gusti Gde Rake, who became Minister of Agrarian Affairs.[7]
In the 1955 parliamentary election, PRN got 242,125 votes (0.6% of the national vote), and got two seats in the DPR (down from 13 that the party had before the dissolution of the Council).[8] After the election the PRN joined the National Progressive Fraction, a body of ten MPs from Java.[9]
In 1956 the party suffered a split, as there was a division between the Javanese leadership (loyal to Dr. Gondokusomo) and a group of non-Javanese leaders (a headed by Bebasa Daeng Lalo). The Bebasa Daeng Lalo-faction counted on the support of two PRN ministers in the Burhanuddin Harahap cabinet, F. Laoh and Gunawan.[3]
In late 1956 the PRN supported President Sukarno's konsepsi, introduction of Guided Democracy in Indonesia.[10]
From Wikipedia, the free encyclopedia
Jump to: navigation, search
National People's Party
Partai Rakyat Nasional
Chairman Dr. Djody Gondokusomo
Founded July 1950
Ideology Nationalism
The National People's Party (Indonesian: Partai Rakyat Nasional, PRN) was a nationalist political party in Indonesia.[1] The party was initially called Indonesian National Party - Merdeka ('Freedom'), and was formed in July 1950 after a split within the Indonesian National Party (PNI). The divisions with the PNI had appeared at the party congress in May the same year, when Sidik Djojosukarto's followers (whom the founders of PNI-Merdeka/PRN opposed) had emerged victorious (after the split the PNI labelled the PRN as 'right-wing' and 'capitalistic').[2] Dr. Djody Gondokusomo was the chairman of the party.[3]
PRN had 10 seats in the People's Representative Council, five from the Republic of the United States of Indonesia and five from BFO. Abdullah Aidit, one of the PRN parliamentarians, was the father of the Communist Party leader D.N. Aidit.[4] In October 1950, a vote of confidence was held in the DPR towards the Natsir cabinet. PRN supported the Natsir cabinet in the confidence vote, the sole parliamentary group not represented in the government to do so.[5] Later in the same month, the party adopted the name PRN.[2]
As of 1951 the party claimed to have two million members, although that figure was probably highly inflated.[6]
In March 1951 the party joined the Consultative Body of Political Parties, a broad coalition that soon became non-functional.[1]
When the first Ali Sastroamidjojo cabinet was formed in 1953, the PRN leader Dr. Djody Gondokusomo was named Minister of Justice. In November 1953 he was joined the PRN politician I Gusti Gde Rake, who became Minister of Agrarian Affairs.[7]
In the 1955 parliamentary election, PRN got 242,125 votes (0.6% of the national vote), and got two seats in the DPR (down from 13 that the party had before the dissolution of the Council).[8] After the election the PRN joined the National Progressive Fraction, a body of ten MPs from Java.[9]
In 1956 the party suffered a split, as there was a division between the Javanese leadership (loyal to Dr. Gondokusomo) and a group of non-Javanese leaders (a headed by Bebasa Daeng Lalo). The Bebasa Daeng Lalo-faction counted on the support of two PRN ministers in the Burhanuddin Harahap cabinet, F. Laoh and Gunawan.[3]
In late 1956 the PRN supported President Sukarno's konsepsi, introduction of Guided Democracy in Indonesia.[10]
Controversy In September 2003, Rakyat Merdeka’s former chief editor Karim Paputungan was sentenced by the Central Jakarta District Court to five mont
Controversy
In September 2003, Rakyat Merdeka’s former chief editor Karim Paputungan was sentenced by the Central Jakarta District Court to five months in jail, suspended for 10 months, for insulting the speaker of the DPR, Akbar Tandjung. In a separate case, Suparatkam, another editor, was given a suspended six-month jail sentence and a one-year probation, after being found guilty by a Jakarta court for "spreading hatred" after he published headlines critical of the Indonesian government and then President Megawati Sukarnoputri [2].
On 27 March 2006, the newspaper published a front page editorial cartoon depicting the Australian Prime and Foreign Ministers as dingos.
In September 2003, Rakyat Merdeka’s former chief editor Karim Paputungan was sentenced by the Central Jakarta District Court to five months in jail, suspended for 10 months, for insulting the speaker of the DPR, Akbar Tandjung. In a separate case, Suparatkam, another editor, was given a suspended six-month jail sentence and a one-year probation, after being found guilty by a Jakarta court for "spreading hatred" after he published headlines critical of the Indonesian government and then President Megawati Sukarnoputri [2].
On 27 March 2006, the newspaper published a front page editorial cartoon depicting the Australian Prime and Foreign Ministers as dingos.
Rakyat Merdeka From Wikipedia, the free encyclopedia Jump to: navigation, search Rakyat Merdeka ("Free People") is an Indonesian daily tabloid newspa
Rakyat Merdeka
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Rakyat Merdeka ("Free People") is an Indonesian daily tabloid newspaper, owned by the country’s largest media group Jawa Pos. The newspaper has gained prominence as a result of its controversial headlines and its "gritty, often abrasive, style" [1], with articles and caricatures that frequently strongly criticize the political establishment.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Rakyat Merdeka ("Free People") is an Indonesian daily tabloid newspaper, owned by the country’s largest media group Jawa Pos. The newspaper has gained prominence as a result of its controversial headlines and its "gritty, often abrasive, style" [1], with articles and caricatures that frequently strongly criticize the political establishment.
Meetings [edit] ASEAN Summit The organisation holds meetings, known as the ASEAN Summit, where heads of government of each member meet to discuss and
Meetings
[edit] ASEAN Summit
The organisation holds meetings, known as the ASEAN Summit, where heads of government of each member meet to discuss and resolve regional issues, as well as to conduct other meetings with other countries outside of the bloc with the intention of promoting external relations.
The ASEAN Leaders' Formal Summit was first held in Bali, Indonesia in 1976. Its third meeting was held in Manila in 1987 and during this meeting, it was decided that the leaders would meet every five years.[41] Consequently, the fourth meeting was held in Singapore in 1992 where the leaders again agreed to meet more frequently, deciding to hold the summit every three years.[41] In 2001, it was decided to meet annually to address urgent issues affecting the region. Member nations were assigned to be the summit host in alphabetical order except in the case of Myanmar which dropped its 2006 hosting rights in 2004 due to pressure from the United States and the European Union.[42]
By December 2008, the ASEAN Charter came into force and with it, the ASEAN Summit will be held twice in a year.
The formal summit meets for three days. The usual itinerary is as follows:
* Leaders of member states would hold an internal organisation meeting.
* Leaders of member states would hold a conference together with foreign ministers of the ASEAN Regional Forum.
* A meeting, known as ASEAN Plus Three, is set for leaders of three Dialogue Partners (People's Republic of China, Japan, South Korea)
* A separate meeting, known as ASEAN-CER, is set for another set of leaders of two Dialogue Partners (Australia, New Zealand).[citation needed]
[edit] ASEAN Summit
The organisation holds meetings, known as the ASEAN Summit, where heads of government of each member meet to discuss and resolve regional issues, as well as to conduct other meetings with other countries outside of the bloc with the intention of promoting external relations.
The ASEAN Leaders' Formal Summit was first held in Bali, Indonesia in 1976. Its third meeting was held in Manila in 1987 and during this meeting, it was decided that the leaders would meet every five years.[41] Consequently, the fourth meeting was held in Singapore in 1992 where the leaders again agreed to meet more frequently, deciding to hold the summit every three years.[41] In 2001, it was decided to meet annually to address urgent issues affecting the region. Member nations were assigned to be the summit host in alphabetical order except in the case of Myanmar which dropped its 2006 hosting rights in 2004 due to pressure from the United States and the European Union.[42]
By December 2008, the ASEAN Charter came into force and with it, the ASEAN Summit will be held twice in a year.
The formal summit meets for three days. The usual itinerary is as follows:
* Leaders of member states would hold an internal organisation meeting.
* Leaders of member states would hold a conference together with foreign ministers of the ASEAN Regional Forum.
* A meeting, known as ASEAN Plus Three, is set for leaders of three Dialogue Partners (People's Republic of China, Japan, South Korea)
* A separate meeting, known as ASEAN-CER, is set for another set of leaders of two Dialogue Partners (Australia, New Zealand).[citation needed]
Policies Question book-new.svg This section does not cite any references or sources. Please help improve this article by adding citations to reliable
Policies
Question book-new.svg
This section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2008)
Leaders of ASEAN and Yasuo Fukuda (Singapore, November 21, 2007)
Apart from consultations and consensus, ASEAN’s agenda-setting and decision-making processes can be usefully understood in terms of the so-called Track I and Track II. Track I refers to the practice of diplomacy among government channels. The participants stand as representatives of their respective states and reflect the official positions of their governments during negotiations and discussions. All official decisions are made in Track I. Therefore, "Track I refers to intergovernmental processes".[37] Track II differs slightly from Track I, involving civil society groups and other individuals with various links who work alongside governments.[38] This track enables governments to discuss controversial issues and test new ideas without making official statements or binding commitments, and, if necessary, backtrack on positions.
Although Track II dialogues are sometimes cited as examples of the involvement of civil society in regional decision-making process by governments and other second track actors, NGOs have rarely got access to this track, meanwhile participants from the academic community are a dozen think-tanks. However, these think-tanks are, in most cases, very much linked to their respective governments, and dependent on government funding for their academic and policy-relevant activities, and many working in Track II have previous bureaucratic experience.[37] Their recommendations, especially in economic integration, are often closer to ASEAN’s decisions than the rest of civil society’s positions.
The track that acts as a forum for civil society in Southeast Asia is called Track III. Track III participants are generally civil society groups who represent a particular idea or brand.[39] Track III networks claim to represent communities and people who are largely marginalised from political power centres and unable to achieve positive change without outside assistance. This track tries to influence government policies indirectly by lobbying, generating pressure through the media. Third-track actors also organise and/or attend meetings as well as conferences to get access to Track I officials.
While Track II meetings and interactions with Track I actors have increased and intensified, rarely has the rest of civil society had the opportunity to interface with Track II. Those with Track I have been even rarer.
Looking at the three tracks, it is clear that until now, ASEAN has been run by government officials who, as far as ASEAN matters are concerned, are accountable only to their governments and not the people. In a lecture on the occasion of ASEAN’s 38th anniversary, the incumbent Indonesian President Dr. Susilo Bambang Yudhoyono admitted:
“All the decisions about treaties and free trade areas, about declarations and plans of action, are made by Heads of Government, ministers and senior officials. And the fact that among the masses, there is little knowledge, let alone appreciation, of the large initiatives that ASEAN is taking on their behalf.” [40]
Question book-new.svg
This section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2008)
Leaders of ASEAN and Yasuo Fukuda (Singapore, November 21, 2007)
Apart from consultations and consensus, ASEAN’s agenda-setting and decision-making processes can be usefully understood in terms of the so-called Track I and Track II. Track I refers to the practice of diplomacy among government channels. The participants stand as representatives of their respective states and reflect the official positions of their governments during negotiations and discussions. All official decisions are made in Track I. Therefore, "Track I refers to intergovernmental processes".[37] Track II differs slightly from Track I, involving civil society groups and other individuals with various links who work alongside governments.[38] This track enables governments to discuss controversial issues and test new ideas without making official statements or binding commitments, and, if necessary, backtrack on positions.
Although Track II dialogues are sometimes cited as examples of the involvement of civil society in regional decision-making process by governments and other second track actors, NGOs have rarely got access to this track, meanwhile participants from the academic community are a dozen think-tanks. However, these think-tanks are, in most cases, very much linked to their respective governments, and dependent on government funding for their academic and policy-relevant activities, and many working in Track II have previous bureaucratic experience.[37] Their recommendations, especially in economic integration, are often closer to ASEAN’s decisions than the rest of civil society’s positions.
The track that acts as a forum for civil society in Southeast Asia is called Track III. Track III participants are generally civil society groups who represent a particular idea or brand.[39] Track III networks claim to represent communities and people who are largely marginalised from political power centres and unable to achieve positive change without outside assistance. This track tries to influence government policies indirectly by lobbying, generating pressure through the media. Third-track actors also organise and/or attend meetings as well as conferences to get access to Track I officials.
While Track II meetings and interactions with Track I actors have increased and intensified, rarely has the rest of civil society had the opportunity to interface with Track II. Those with Track I have been even rarer.
Looking at the three tracks, it is clear that until now, ASEAN has been run by government officials who, as far as ASEAN matters are concerned, are accountable only to their governments and not the people. In a lecture on the occasion of ASEAN’s 38th anniversary, the incumbent Indonesian President Dr. Susilo Bambang Yudhoyono admitted:
“All the decisions about treaties and free trade areas, about declarations and plans of action, are made by Heads of Government, ministers and senior officials. And the fact that among the masses, there is little knowledge, let alone appreciation, of the large initiatives that ASEAN is taking on their behalf.” [40]
The ASEAN way Question book-new.svg This section does not cite any references or sources. Please help improve this article by adding citations to rel
The ASEAN way
Question book-new.svg
This section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2008)
In the 1960s, the push for decolonisation promoted the sovereignty of Indonesia and Malaysia among others. Since nation building is often messy and vulnerable to foreign intervention, the governing elite wanted to be free to implement independent policies with the knowledge that neighbours would refrain from interfering in their domestic affairs. Territorially small members such as Singapore and Brunei were consciously fearful of force and coercive measures from much bigger neighbours like Indonesia and Malaysia. "Through political dialogue and confidence building, no tension has escalated into armed confrontation among ASEAN member countries since its establishment more than three decades ago".[34]
The ASEAN way can be traced back to the signing of the Treaty of Amity and Cooperation in South East Asian. "Fundamental principles adopted from this included: mutual respect for the independence, sovereignty, equality, territorial integrity, and national identity of all nations;
the right of every State to lead its national existence free from external interference, subversion or coercion;
non-interference in the internal affairs of one another;
settlement of differences or disputes by peaceful manner;
renunciation of the threat or use of force; and
effective cooperation among themselves".[35]
On the surface, the process of consultations and consensus is supposed to be a democratic approach to decision making, but the ASEAN process has been managed through close interpersonal contacts among the top leaders only, who often share a reluctance to institutionalise and legalise co-operation which can undermine their regime's control over the conduct of regional co-operation. Thus, the organisation is chaired by the secretariat.[36]
All of these features, namely non-interference, informality, minimal institutionalisation, consultation and consensus, non-use of force and non-confrontation have constituted what is called the ASEAN Way.
Since the late 1990s, many scholars have argued that the principle of non-interference has blunted ASEAN efforts in handling the problem of Myanmar, human rights abuses and haze pollution in the region. Meanwhile, with the consensus-based approach, every member in fact has a veto and decisions are usually reduced to the lowest common denominator. There has been a widespread belief that ASEAN members should have a less rigid view on these two cardinal principles when they wish to be seen as a cohesive and relevant community.
Question book-new.svg
This section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2008)
In the 1960s, the push for decolonisation promoted the sovereignty of Indonesia and Malaysia among others. Since nation building is often messy and vulnerable to foreign intervention, the governing elite wanted to be free to implement independent policies with the knowledge that neighbours would refrain from interfering in their domestic affairs. Territorially small members such as Singapore and Brunei were consciously fearful of force and coercive measures from much bigger neighbours like Indonesia and Malaysia. "Through political dialogue and confidence building, no tension has escalated into armed confrontation among ASEAN member countries since its establishment more than three decades ago".[34]
The ASEAN way can be traced back to the signing of the Treaty of Amity and Cooperation in South East Asian. "Fundamental principles adopted from this included: mutual respect for the independence, sovereignty, equality, territorial integrity, and national identity of all nations;
the right of every State to lead its national existence free from external interference, subversion or coercion;
non-interference in the internal affairs of one another;
settlement of differences or disputes by peaceful manner;
renunciation of the threat or use of force; and
effective cooperation among themselves".[35]
On the surface, the process of consultations and consensus is supposed to be a democratic approach to decision making, but the ASEAN process has been managed through close interpersonal contacts among the top leaders only, who often share a reluctance to institutionalise and legalise co-operation which can undermine their regime's control over the conduct of regional co-operation. Thus, the organisation is chaired by the secretariat.[36]
All of these features, namely non-interference, informality, minimal institutionalisation, consultation and consensus, non-use of force and non-confrontation have constituted what is called the ASEAN Way.
Since the late 1990s, many scholars have argued that the principle of non-interference has blunted ASEAN efforts in handling the problem of Myanmar, human rights abuses and haze pollution in the region. Meanwhile, with the consensus-based approach, every member in fact has a veto and decisions are usually reduced to the lowest common denominator. There has been a widespread belief that ASEAN members should have a less rigid view on these two cardinal principles when they wish to be seen as a cohesive and relevant community.
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