Thursday, September 28, 2006

It's censorship. It matters.

Response to the Censored Essentials post really caught me by surprise, and I've been following it with much interest. Thanks again to Groovy Age's own Andy Decker for supplying the scans, and to Bill Cunningham of DISC/ontent for starting the snowball rolling. One interesting exchange takes place in the comments of Heidi MacDonald's The Beat. While I don't think she's quite guilty of what Dirk goes off about, I'm glad he addresses an issue that inevitably comes up whenever anyone expresses an interest in nudity or sex in comics or animation. Here's one forum that also picked up the ToD Essentials topic, and here's another. There are a lot of other sites that linked to the post (click "links to this post" to see them, or scroll down if you're viewing the post on its own page), and I'd recommend checking them out for other perspectives on the matter.

Speaking of other perspectives, a number of people said things I disagree with pretty strongly; conveniently, most of those things were also said by a single commenter here, to whom I will address my responses.

Groovy Agers, meet Conservative Comic Book Pundit, a.k.a. Conservative English Major, a.k.a. John Phelan, which is also an alias, because, as he explains, "I am afraid that if this blog is discovered by my professors, AND they figure out it is me, my grades will drop and my position in the program may suffer." Just read the English Major blog, and you'll understand how scary it is to be conservative in American higher education right now. In his graduate program, they make him look at gay porn, listen to feminists, and worst of all, call black people "African Americans" (a real pet peeve of his, it seems).

So, "John," you've expressed some doubts about whether I'm interested in "serious discussion," and that's understandable I suppose, since you don't seem to have had much luck finding it anywhere else:

The funny thing is, I went into that conversation hoping to have an engaging conversation.

But I have learned there's nothing most liberals fear like actual debate.

What followed was never a discussion of the issue at hand, but something more resembling primal scream therapy mixed with group therapy.

English faculty and their obedient followers
(i.e. - grad students) seem to lack the ability to actually engage in real, honest, sustained debate with conservatives.

I considered responding, but I though better of it, since the texts we were "discussing" that day were all about how awful/evil mainstream society is and that our job as teachers is to liberate our students from the racist/sexist/classist views society has given them.

I gave up at that point. The liberals in the academy have decided that conservatives are dumb by definition, because they see conservatism as the default position of stupid people (anyone following the recent problems at Duke will be aware of this).

Silly me,
I thought it was about clear and honest discussion of all sides of an issue.

A friend of mine in sociology mentioned she had a similar experience with a Communications class. In her words, class time resembled a group therapy session where angry liberals complained all social injustices and railed against conservatives - there was no real discussion of, y'know, communications.

Classroom discussion is unneeded at this point, because the well has been poisoned - this book does not allow students to think for themselves or come to their own conclusions. . . . I could go on, but I won't.

It's nice to live in those cocoons, surrounded by evidence that only supports your individual world view, I guess.
Well, this time you've come to the right place. I have a whole industrial drum of "serious discussion" right here with your name on it. Let's pop the lid off, shall we?

I'll begin with the parenthetical conclusion to your second comment:
(I should say that I hope Marvel reprints them in "uncensored" versions in some other format - but either way the stories were still good and I didn't miss the nudity).
Yes, you're not the only one who's shrugged and said it's no big deal. For example:
Also, I have the volume, and this does nothing to change the quality of the stories whatsoever. Unless you knew to look for these changes, you'd never even notice.
In fact, on my first reading, I didn't know to look for the changes, and no, I didn't notice, and yes, I did enjoy the volume immensely, and no, I wouldn't rather it had not been released at all. But what does any of that prove? Now that I'm looking at the two versions side-by-side, the differences are striking, and all to the worse. They might not affect the story per se, but if they had no effect on the reading experience, they'd never have been made. There's a natural synergy between sex, violence, and supernatural horror--that's why they're combined so often--and these edits unquestionably diminish that effect.

As to this big, deluxe, expensive, uncensored "Masterworks" volume everyone keeps chattering about, when can I expect it to be available? Oh, you're all just speaking hypothetically.

All right, so let's get to the meat of the matter:
It's not censorship, since the people holding the rights to the material are doing it out of their own free will, and not because of government coercion.

Essentials are sold as an All Ages mass market product. They had to cover the nudity to maintain that promise to their audience and distributors. If they ever print Masterworks versions of the comics, the nudity will likely be on full display.

This discussion sounds like saying that anytime anyone decides to make a change to something they own the rights to, it's censorship. That means whenever an author rewrites a novel - it's censorship. When a Director recuts his film for a DVD release and it takes out some scenes: must be censorship. . . .

My main problem is with the overuse of the term censorship. We can say Marvel's move is gutless, stupid, or "not what we would do". But to call it censorship is to dilute the term too far. Unless the government threatened them, or some big corporation threatened to ruin them financially, it really can't be censorship. Instead, it was Marvel making a decision to keep the identity of a particular brand.
Granting that Marvel does own the rights and therefore has the legal right to do with this material as it pleases, this case is nothing like an author revising a novel or a director recutting a film. Gene Colan, not Marvel, was the artist, and he had nothing whatsoever to do with the alterations. The way you slide from rights holder to artist or director, conflating the two, is so clearly spurious in this instance that it's hard for me to believe you're not aware of it. You do, after all, give logic lessons on your blog (then again, you get them wrong).

These changes weren't made by the creator to improve the work aesthetically or bring it more into line with an artistic vision. Nor were they made in the interests of the audience. You mention the "promise to the audience"--I bought this book on the assumption that it would reprint the material with fidelity to the original. I daresay it was a reasonable assumption, since nothing on the cover or anywhere else in the volume indicates otherwise.

It's almost impossible for me to imagine anyone in the real audience for this book--the people who are actually buying it or considering buying it or even remotely likely to consider buying it--preferring the changes if given the option of the uncensored original. As I've mentioned, a few cooler-than-thou people have yawned and said they aren't too concerned about the edits, but show me anyone who likes them better.

The fact is, these changes were made for people who will never buy this book or read it for pleasure, who will probably never even hear about it, but who are so neurotically uncomfortable with the very existence of such material, so vocal about how much it offends them, so determined to eradicate it, and so politically influential these days, that I can almost (nah, not really) sympathize with Marvel's decision to play it safe. I mean, of course, the Religious Right, which still believes in literally burning books, and the Bush administration, which panders to them.

Now I know you think--because you complain about it on your blog--that liberals just make sweeping denunciations and dismissals without ever exposing themselves to the ideas of those they criticize:
This professor is one that constantly complains about the Conservative Media Bias in the news media. She is convinced the New York Times is really a shill for Bush, and that big powerful corporations are controlling the news media to help keep us down.

When in her office, I noticed she nearly two dozen books that argue for either a conservative media bias, or else argue that Bush and his "cronies" censor everything unfavorable to them. I asked her if she had read any book on "liberal" media bias. She said she didn't need to - she had read Goldberg's Bias and found it lacking.

I replied I found it lacking as well, but that there were better books out there, such as Coloring the News and Weapons of Mass Distortion. She said she didn't need to read those books because all claims of liberal media bias "all the same, and all false."
and
A professor made the comment that those who watch the Fox News Channel are hopelessly myopic and are unable to see the truth about anything. I then asked him if he had ever actually watched Fox news ever, even if just for five minutes. He responded - "No, I don't need to."
Well, let's have none of that. No unfounded conspiracy theories here. Let's go straight to the horse's mouth and see what these folks I've identified have to say for themselves.

Among the most defining and powerful evangelical organizations are Focus on the Family and its lobbying offshoot, the Family Research Council, and they absolutely have censorship on their agendas. They actively engage all branches of government, filing Amicus briefs in obscenity court cases, demanding more vigorous enforcement, and promoting stricter legislation. Both organizations make detailed guides available on their websites for how to prevent other adults in your community from enjoying adult entertainment--how to get magazines removed from racks, books removed from libraries, channels removed from cable packages, filters imposed on library computers, local and federal law enforcement pressured into giving obscenity higher priority, stricter zoning laws against adult businesses, etc. They strongly promote grassroots censorship with an "Adopt-a-Community" strategy, and boast of its success. For example:
Convinced that area hotels were distributing obscenity through in-room pay-per-view movies, a community group encouraged local police and prosecutors to investigate. These actions led seven hotels to discontinue offering the movies rather than go to trial for obscenity violations.
I mean, WTF?!? By the way, how are these local groups instructed to identify obscene material? From the Family Research Council's guide, linked above:
Please do not purchase the material to examine its contents. In fact, you should never purchase or view pornography. An educated guess from the covers of such material will tell you whether or not it is pornography.
As if all of that weren't alarming enough, in the immediate aftermath of the 2004 election, James Dobson, the big daddy of both organizations, stood (or at least was widely perceived to be standing) at the height of his political influence. He was frustrated by Ashcroft's failure to pursue obscenity as vigorously as he would have liked, and not content with symbolic sops like Protection from Pornography Week. When Alberto Gonzales was nominated as the new Attorney General, Focus on the Family issued this press release:
"We know the great personal regard President Bush has for Mr. Gonzalez, and we wish him well in his challenging new assignment.

"It will now be Mr. Gonzalez's duty to defend the Partial Birth Abortion Ban Act against the federal court challenges that have blocked its implementation -- a duty handled admirably by Attorney General Ashcroft. American families will also look to Mr. Gonzalez to aggressively prosecute obscenity cases against pornographers who continue to flout federal law.

"We expect these issues and other policy priorities of the president will be carried out by Mr. Gonzalez with excellence."
In short, increasingly and for quite some time, the Religious Right has been seeking to shift the social climate in a much more restrictive direction, and has been pressuring the government to support and enforce its agenda, and the government has responded. The Department of Justice now has a special Obscenity Prosecution Task Force (see also), it has a link on its website to obscenitycrimes.org (set up and maintained by the faith-based Morality in Media, for which Congress approved $150,000 in funding), FCC fines are up, and the FBI rolled out its own anti-obscenity squad. (For a good overview of the many shots fired in the current "War on Porn"--including, I was startled to see, a raid on a Movie Gallery that resulted in arrests!--check out YNOT's Industry News: Law & Politics.) Some of these changes may have been effected more recently than Marvel's decision to make the Essential Tomb of Dracula alterations, but the pressures that brought them about were certainly felt to be at work, and shaped the context in which that decision was made. In such a climate, to say that Marvel made that decision "out of their own free will" is as laughable as Morality in Media claiming,
Enforcement of the Federal or State obscenity laws is NOT censorship because, first of all, the government is exercising no prior restraint on the pornographers. The porn purveyors are free to publish whatever they want, but if what they distribute or exhibit is obscene, they are, after the fact, subject to prosecution under the obscenity laws.
Is that true in even the most quibblingly, legalese, technical sense? Well, let's not get hung up on semantics. What we have is a group of people doing everything they can to suppress and eradicate material they find offensive--call that what you will--and Marvel felt the chill in the climate they created.

It's laughable, too, that you seem to think none of this applies if only Marvel's decision can be characterized as one of strictly "business" or "brand identity," as if such decisions are made in a vacuum with no regard for the prevailing social climate. Notions of what's unacceptable for "mass market distribution" and lower "price points," distributor and retailer concerns, brand/marketing worries, etc. don't just come from nowhere, they aren't simply given, and far from being immutable, they're highly sensitive to restrictive governmental and private pressures. The Family Research Council and Focus on the Family know this well; they engage in and encourage not only the legal persecution of adult entertainment, but also attacking businesses as businesses.

I'd rest my case there, but allow me to anticipate a rejoinder. I've yet to debate a conservative who didn't try to draw some specious and irrelevant comparison between whatever I'm criticizing and something I supposedly favor. I'm not surprised to see you use this tactic yourself:
But then I asked him what the moral difference was between zoning bars and strip joints, and requiring any business that wanted to bid for a government contract to have a certain percentage of minorities on its staff.
My guess is that you'll reach for "political correctness." You sort of do already in the quote above. Lord knows you whine about it enough on your blogs. Of course, if you take the trouble to familiarize yourself with my blog as I've taken to familiarize myself with yours, I daresay you'll find me entirely innocent of "political correctness," which would make such a challenge even more beside-the-point than it already would be even if I did support it.

Still, here's one difference that might not impress you much, but it matters to me: a contributor to this blog has actually gone to jail for "obscenity" (not, I'd hasten to add, in any connection with Groovy Age). Earl Kemp, the contributor in question, and other writers have various articles about it throughout his e-zine; this issue and this one cover a lot of the key points of the trial and Mr. Kemp's experience in prison. If the proceedings don't seem recent enough to you, know that jail time for "offenders" absolutely remains an explicit goal of the Family Research Council and these other obscenity watchdog groups. From the FRC's guide:
If your community has a pornography shop or video store selling hardcore material, your job will be more difficult. That is because owners of such businesses have likely calculated the risks that their business may incur. They may consider fines and even jail time to be the cost of doing business.
If the FRC had its way, "jail time" would always be the cost of producing, providing, or enjoying adult entertainment.

Let's contrast that with your sob stories about the hardships imposed by political correctness:
Anyway - a job opening was offered to the Graduate students here: a small administrative job that doesn't pay well but looks great on a resume. So I went to the secretary to get the application and was told "well, this isn't official, but they won't hire any White Males. I heard the committee talking, and they effectively said they have banned all white males from this position."

Anyone know of the Irish-American folk tune "No Irish Need Apply"? At one time in the USA that was a truism. Stores would have signs that said "No Irish Need Apply."

Instead of correcting that problem, it seems the USA is now becoming more inclusive. Now its "No Irish/Germans/British/French/Anyone White Need Apply."

What is weird (well, not really) is I am literally the only one in the department who sees something wrong with this.
and
I've decided I'm going to stop checking the "white/Caucasian" label. I'm checking the "mixed racial background" box, if there is one.

I've been filling out a lot of forms lately for one reason or another. I have a friend who was born and raised in South Africa, but he happens to be white. He left South Africa because of his disgust over his family's involvement with the repression of Black South Africans, but he still checks "African-American" on any forms he gets (Unless it says "black/African-American").

I have some American Indian/Native American blood in my veins. It's thin and not enough (as far as I have been able to ascertain) to get me any scholarships or jobs - but it's there. I'm mostly German and Irish, with some English and Scottish thrown in - but I have some Indian ancestry.

So, to protest the ridiculous attempts to define someone by their racial category merely because it fits some affirmative action policy I am checking the "mixed racial background" box - because it is true.
Which brings us to another difference. I've noted a number of government entities devoted to combatting obscenity. How many enforce political correctness? Maybe the National Endowments for the Arts and Humanities?--for all the power they wield. The Department of Justice's Civil Rights Division, the agency that would seem most directly tasked with substantive legal enforcement of minority rights (not exactly political correctness, but close enough in your mind, I'd wager), turns out these days to be squarely in your corner:
At the same time, the kinds of cases the Civil Rights Division is bringing have undergone a shift. The division is bringing fewer voting rights and employment cases involving systematic discrimination against African-Americans, and more alleging reverse discrimination against whites and religious discrimination against Christians.
Oh, and why is this administration so interested in search engine data? Here's a hint: not to fight political incorrectness.

So those are some differences I see. Maybe not the "moral difference" you stipulate in the quote above, but as I've said, "political correctness" isn't one of my commitments.

One more thing. It might seem like I'm coming back at you rather harshly, especially considering that you apologized for the tone of your first comment, and I accepted. I assure you my acceptance was genuine. I'm not going off on you like this because you were a "jerk." I'm doing it because you came here with half-assed arguments excusing and enabling something I abhor. Anyone who's read this blog for any length of time could have told you that's just cruising for a bruising.

But you conservatives are a tough lot--STRONG ON TERROR and all that shit--and indeed, you say you used to wrestle, so I trust you'll take it like a man and not try to play the martyr, sniveling like a little bitch about how mean liberals are.

Now, let's see what you're made of. I welcome your response. And anyone else's, who wants a piece of this.

16 comments:

John Phelan said...

That was - interesting.

I need to ponder it a bit longer.
I readily claim my initial response was quite over the top.

But this - you have passion about the subject, I'll give you that.

But I have no problem with calling blacks "African American" - it's when the "blacks" in question are actually English or Australian or (heaven forbid) just plain African that I have a problem with the term. But whatever.


But I don't fall in with the romantic notion of the artist as you seem to, so I'm not even sure if there is a common ground we can find.

Brian Bieniowski said...

I don't think there's anything particularly "romantic" or naive about an artist being unhappy when his or her work is bowdlerized by those who own the rights to it. Certainly, if you're a grad student in English, you can think of several examples when authors must go back and correct these egregious misrepresentations of their work.

Perhaps the Dracula book is not precisely equivalent to Gibbon or Shakespeare as Bowdler saw fit to edit, but I don't believe you can decide that one is appropriate or reasonable and another is not. In these matters, the author's will must remain the final word, even when it is prevented from being so in the publishing reality.

Gotta tell you, John. I read your blog posts linked here and I don't think you're quite up to this debate yet.

Bill Cunningham said...

For those of us who are more blue collar than starch white, stiff neck academicians, my objection to Marvel's censoring the books in question is the following:

They did it without asking me (which is their right - they own it), and they did it without telling me the work was censored. I wouldn't have purchased the book otherwise, and I won't be purchasing any further volumes.

And for the record, the Essentials series has no "all ages" mandate. It is both theoretically and in title an inexpensive archive format. In actuality it is a censored, incomplete archive format - Cliff's notes.

It smacks of, "We know what's best for you so we'll just go ahead and censor this. Don't you worry, this won't offend anyone by the time we're through with it. In fact, we won't even bother to tell you you're not getting the whole story."

WRONG!

It's now patently offensive because it HAS been censored. Especially since the works were previously published in the 1970's. Thought they'd slip that one right by us didn't they?

I don't want a big expensive MASTERWORKS edition. I want a pulpy, sweaty newsprint book I can throw into my bag and take to the coffee shop with me.

It's so funny that if I want the truth, I have to pay extra for it.

How appropriate.

Glen Davis said...

I believe that all of Colan's art on Dracula was work for hire.

Did Marvel have the right to do it?

I'm not a lawyer or anything, but probably.

Was it the right thing to do?

No.

Anonymous said...

Nice blog, I got here (like a lot of others) through the ToD censorship issue, and bookmarked.

I'm about as liberal as it gets and agree that it shouldn't have been censored, but I can give Marvel one break:

The first essentials (I have all the issues themselves, second only to my WWbN run, so this might be an assumption as I never picked up those essentials) were from the comics which were "all-ages". Suddenly it switches to mature. This would be like any book series switching from all-ages to mature in mid-stream; it's possible parents could buy the next issue identifying it with the rest.

Of course, I also believe this country is too repressed and breasts never hurt anybody, but that's a different subject.

Bill Cunningham said...

anonymous -

I agree it is a branding issue and there should have been a way around it:

- Re-numbering.
- Giving this volume a painted cover like the original magazines.
- an appropriate label.
- Re-naming the book so there's no mistaking the content.

I think because this is Marvel, people are giving them a break because, frankly, you kind of expect this sort of cowardice from them.

If this were CREEPY or EERIE or VAMPIRELLA - I think there would be more of an uproar about it.

Anonymous said...

My guess is that Marvel now has the opportunity to publish an uncensored version "because YOU demanded it!".

Anonymous said...

All this talk about boobies seems, well, infantile.

Cripes! Get over it people. If you insist on seeing your boobies, there are about a zillion other places to find them rather than argue over a marginally interesting comic book.

And, yes, I am drive-by commenting. So there.

markus said...

concerning the censorship label, I strongly disagree. For starters, I don't think there is any mileage in your distinction between artist and rights holder. Corporate personhood is real and for all practical and legal purposes the entitiy Marvel told Colan what to paint. He is no more a creator than a pen is - under a WFH contract.

(I'm all for changing that, but right now it isn't just a good idea, it's the law.)

As such, it is at best self-censorship. This indicates that there was no outside governmental (or quasi-governmental) organisation involved, which is good, because there wasn't. Imagined reactions are not pressure to censor because otherwise every creator imagining reactions is subject to censorship. Further, it also makes visible for those caring abot such matters that at heart it isn't censorship, but something a bit like censorship which people elect to group with the other behaviour to bolster their side of the argument.
Because really and truly it's just a change by the entity in charge. It's not really a seperate change from the decision to bundle it all in an essential volume. Both ar epart of the consideration of how to bring that property to market in 2006. No more, no less.

Curt said...

All right, I guess it's time to step in and respond to some of these.

John: My "romantic notion of the artist"? That's an English grad student dodge if I've ever heard one.

Anonymous 1: If this new Essential Tales of the Zombie does indeed carry a mature content warning, that should lay to rest all this nonsense about "brand identity." If Marvel did it for Zombie, they could have done it for Drac.

Anonymous 2: It's strange to have to explain this to someone literate enough to post a comment to a blog, but here's a news flash--there's a difference between "boobies" in horror comics and "boobies" in real life and porn. Since you obviously don't see the difference in this case, here's a clue--it's the "horror comics" part. It's the style of the artist, the visual texture of the medium, and the horror-fantasy context. The two aren't interchangeable, neither one way nor the other.

Markus: Do work-for-hire contracts and the legal fiction of "corporate personhood" have implications beyond the legal/financial for the distinction I was drawing between Marvel and Colan (which I think must be the basis for John's accusation about a "romantic notion of the artist")? I kinda doubt it. Corporate creative direction seems sufficiently different from individual creativity (especially when the individual in question is Gene Colan!) for my distinction to hold. I'll tell you what, though. I actually know some comic book artists who've done work-for-hire. I'll run this by them, and if they support your point, then I'll grant it.

As to your point about it not being censorship because Marvel did it to themselves and the government didn't make them and blah, blah, blah--you're ignoring practically everything I wrote! Look, a significant, vocal, and aggressively punitive segment of society, represented by powerful organizations with influence in the White House, Congress, and the Supreme Court (see Alito's thank you note to James Dobson, for example), has stated in no uncertain terms that it's on a campaign to stamp out material of precisely this sort because they find it offensive. I've pointed to some of the institutional changes and public consequences we've seen recently as a result of their efforts. Given that context as almost certainly the motivation for Marvel's decision, I don't think that decision is at all comparable to bundling these stories into Essentials volumes or reprinting them in black and white as opposed to color. Nobody is out there trying to stamp out color in comic books because they find it offensive (because the Bible tells them so!). Nobody is pressuring or trying to transform the government into being a tool for its anti-color agenda. No huge, electorally-influential organizations are issuing open letters to the Attorney General, telling him they expect him to make it a top priority to crack down on color in popular entertainment.

You seem hung up on seeing something as either censorship (in some strict, narrow sense) or not, which blinkers you to the full spectrum of censorious pressures that come to bear on a case like this and influence the outcome. I can't tell, going only on what you've written here, if you're just naive or if your limited perspective serves some interest or maybe both, but you're excluding and refusing to consider parts of the picture that are absolutely relevant to what we're talking about.

A censorious bunch of people's efforts have led, however indirectly, to them getting their censorious way. Like I said, call that what you will. I call it censorship.

Brian Barnes said...

Curt,

I'm ann 1. I'm with you, I agree it's censorship and would rather have seen the material published the way it was originally.

The difference between ToZ (only a couple stories in) and ToD is that ToZ is the one and only essential, ToD is the 4th (or 5th, again I have the issues) and that is what makes the difference. The follow-up called this branding, I meant to say that it was a change of course in what was before all-ages.

You have three previous issues with one rating, and a fourth with a different.

I am a marvel zombie (ready to admit that, and how it might color my opinion), but I am NOT offering this up as a defense of censorship. I think it's bad, too, and I think it's bad in any case, but I wanted to just add a bit of gray to what quickly became a black and white situation.

Lit and Art should be the place where we can be free of normal cultural boundries; they published Lost Girls without much trouble (so far.) Again, in no way am I defending this, I just want to show that there could be reasons.

Curt said...

Fair enough, Brian. I understand that there are reasons. I'm not claiming that Marvel did this out of its own desire to censor. In fact, I'm trying to show that Marvel was sensitive to an outside brewing climate of intolerance for this kind of material, and I'm trying to show from what quarter that climate was brewing. I understand that this was a "prudent" decision for Marvel to make, given the current social state of things.

But I also believe in pushing back and letting Marvel know that the people actually shelling out cash for these books aren't happy with the changes.

I'm very much looking forward, by the way, to LOST GIRLS (still waiting for Amazon to ship it!).

Bob Ignizio said...

Censorship doesn't have to be direct or from the government to be real. Consider the movie ratings system. If a film gets an NC-17 rating, very few theaters will play it, and very few newspapers or TV stations will accept advertising for it.

This isn't because these media outlets have some kind of moral standard. It's because certain groups have made it clear they will boycott them if they aid in the dissemination of what they consider "pornography".

Sure it's legal, but it's still a kind of censorship. And if the people who don't want NC-17 movies are entitled to use their free speech to call for censorship, what's wrong with people who would like to be treated as adults raising their voices in objection?

This then goes into the "work for hire" argument. Trying to say artists who do "work for hire" aren't "really" artists is just ridiculous. Name almost any great artist in any field of the arts, and chances are some of their best work was done for hire.

Now imagine that the purchaser of a particular highly regarded work of art featuring a nude were to hire some hack to paint clothes on it, or even simply decide that henceforth the only way the work of art could be reproduced in prints, books, etc. is in a clothed version.

Or if a publisher who owned the rights to a controversial work of literature decided that it could only be printed in a version with all the naughty words censored and the adult situations toned down.

I don't care what their reasons are, or if they've been pressured or not. There would be a huge stink raised if those scenarios came to pass, because "fine" art and literature have always been seen as worthy of defending, while "popular" art (comics, movies, pop music) tends to be dismissed as trash and unworthy of taking a stand for.

I also think it's easy to say that being concerned about "boobies" is infantile. Where do you draw the line, though? Is it okay to remove all the scenes of smoking from cartoons, as Ted Turner is currently doing? Is it okay to censor or completely withdraw from circulation Charlie Chan movies, or certain "Little Rascals" shorts, because some people view them as racist? At some point, doesn't it stop being about the "rights holders" and start being about re-writing history?

Curt said...

Hey, very well said, Bob!

pbg said...

As someone who wrote a story for Tomb of Dracula that I was particularly proud of (John Buscema liked it enough that he did full pencils instead of breakdowns on it, which he almost never did) I can tell you that the work-for-hire artist (/writer) has absolutely NO say in what happens to their work. I had...no, I'll be here all day.
I view this with less indignation, because if you knew what happened to the work BEFORE it saw print, you'd be a little less indignant about what happens after the first publication.
(There's a beautiful Berni Wrightson Dracula cover with A John Romita Dracula head replacing Berni's version, just to name an example.)
That said, anybody who says that Gene Colan is not a 'real artist' is gonna have to step outside.

Peter B. Gillis

Curt Purcell said...

Thanks for bringing a pro's inside perspective to this discussion, Peter!