ÒTHE LAST STAND OF THE THREE-TIME LOSERS!Ó Barry battles seemingly routine crooks, but then feels compelled to tell Iris that he is secretly the Flash!

While many American superheroes have multiple powers and complex gadgets, the Flash is simply fast. This simplicity makes his character easily comprehendible for all audiences, whether they are avid comic fans or newcomers to the genre, and in turn he has become one of the most iconic figures in the comic-book industry. This collection of new essays serves as a stepping-stone to an even greater understanding of the Flash, examining various iterations of his character--including those of Jay Garrick, Barry Allen, Wally West and Bart Allen--and what they reveal about the era in which they were written.

As Christopher Nolan’s Batman films and releases from the Marvel Cinematic Universe have regularly topped the box office charts, fans and critics alike might assume that the “comic book movie” is a distinctly twenty-first-century form. Yet adaptations of comics have been an integral part of American cinema from its very inception, with comics characters regularly leaping from the page to the screen and cinematic icons spawning comics of their own. Movie Comics is the first book to study the long history of both comics-to-film and film-to-comics adaptations, covering everything from silent films starring Happy Hooligan to sound films and serials featuring Dick Tracy and Superman to comic books starring John Wayne, Gene Autry, Bob Hope, Abbott & Costello, Alan Ladd, and Dean Martin and Jerry Lewis. With a special focus on the Classical Hollywood era, Blair Davis investigates the factors that spurred this media convergence, as the film and comics industries joined forces to expand the reach of their various brands. While analyzing this production history, he also tracks the artistic coevolution of films and comics, considering the many formal elements that each medium adopted and adapted from the other. As it explores our abiding desire to experience the same characters and stories in multiple forms, Movie Comics gives readers a new appreciation for the unique qualities of the illustrated page and the cinematic moving image.

Two novellas with the title one being on a black pedestrian who is accidentally killed by a car of white youths playing "nigger knockin.'" The youths include a preacher's son who must decide whether to confess or remain silent.

Principles of Polarography is a revised and extended version of an original Czech edition that appeared in 1962 at the Publishing House of the Czechoslovak Academy of Sciences in Prague. Based on a one-term course of lectures for third-year students of chemistry at the Charles University it brings the fundamental results of more than forty years' research in the field of polarography. The book contains 22 chapters and opens with a discussion of the principles of polarography. This is followed by separate chapters on polarizable electrodes used in polarography; charging current; influence of the resistance of the electrolyte on polarographic curves; migration and diffusion-controlled currents; and equation of a reversible polarographic wave. Subsequent chapters deal with reversible processes controlled by diffusion of complex ions; reversible reduction of organic substances; deposition of mercury ions; irreversible electrode processes; applications of limiting currents; polarographic curves for the formation of semiquinones and dimers; and catalytic hydrogen currents.

From the Wizard of Oz to Lolita, from the Heathers to the Spice Girls, images of girlhood have been projected on the silver screen in myriad ways. Whether a girl is taught that "there is no place like home" or is seeking adventure on her own terms, whether she is a seductress or a nerd, a babysitter or a murderer, films have depicted society's problematic expectations of girls together with the dreams, anxieties, and tensions experience by girls themselves. In examining the construction of girlhood from many angles, this collection of essays not only captures the richness of meaning behind "girl films," but also explores the recent resurgence of youth-oriented cinema and the relationship of young female viewers to that medium. The twenty essays approach to the construction of girlhood from a variety of perspectives, including reception, production, star images, and textual analyses, while exploring such topics as star power, the Riot Grrrl movement, coming of age, and loss of innocence. Among the characters given special attention are those in Gidget, Crooklyn, Titanic, Freeway and Girls Town. Written for general and academic readers, this work offers a lively, unprecedented discussion of gender in youth-oriented films.