In “The Pirates and the Mouse: Disney’s War Against the Counterculture,” Bob Levin explores the underground comix scene, focusing on the Air Pirates group – Dan O’Neill, Ted Richard, Bobby London, Gary Hallgren, and Shary Flenniken – and their work to push the boundaries of what the comic book medium could do. Their efforts eventually put them in conflict with both U.S. copyright law and Walt Disney Studios, defining the boundaries of a once-unfettered underground.
Discussing the state of underground comix in the 1970s, Levin writes, “By 1970, significant UG publishers operated in New York, Chicago, and Milwaukee. But the Bay Area remained the movement’s center” (pg. 40). He continues, “The UG world could not have differed more from that of traditional comic books. If it took notice of the Comics Code Authority at all, it was as a checklist to discover additional conventions to defy. Since mainstream outlets would not handle its comics, the UG developed its own distribution system, relying on independent book stores, record stores, and, most heavily, ‘head’ shops” (pg. 40). According to Levin, O’Neill was swept up in the “‘revolutionary fervor’ of the times,” though his fixation on Mickey Mouse and Disney flaunted the underground’s ethical focus on “the perfection of individual style over ripping off someone else’s” (pg. 57). Writes Levin, “The Air Pirates had gone after Disney partly because of its reputation for striking back. But Disney had not obliged” (pg. 65). Desiring a fight, O’Neill found ways to get copies from one person to another so that, eventually, they ended up in the hands of one of Disney’s board member’s sons.
The battle came down to Disney’s extensive copyright enforcement versus the Air Pirates’ claims of fair use (pgs. 91-104). Levin writes, “With characters copyrightable, the question now became: Had the Pirates taken too much for a fair use” (pg. 110). He continues, “Having found that Disney was entitled to an injunction on the basis of a copyright infringement, [Judge] Wollenberg found it unnecessary to address Disney’s trademark infringement and unfair competition claims. He granted the injunction and ordered the Pirates to surrender all copies of the offending books and all material for making additional copies” (pg. 111). Things dragged out in discovery, though. According to Levin, “On December 3, 1974, an informal settlement conference was held before Judge Wollengerg. Stepanian, Morse, and Kennedy, now representing both O’Neill and London, appeared for the Pirates. Turner was represented by Woods. Wollenberg ordered the defendants to provide Disney with information about their financial status so meaningful negotiations could take place” (pg. 124). Turner and Hallgren “agreed to turn over any plates, molds or prints from which copies of these comics could be made. Both agreed to refrain from further infringements upon Disney trademarked or copyrighted property. And both allowed judgement [sic] to be entered against them for $85,000. It was understood, without being memorialized in the official record, that as long as they abided by the other conditions, Disney would not attempt to collect. Turner also had to destroy the unsold Air Pirates books he had in stock” (pg. 124). Disney then requested a summary judgment against the other defendants and Wollenberg found in favor of their copyright and that the Air Pirates’ work exceeded the bounds of fair use (pgs. 187-189).
While the appeals process went back-and-forth, O’Neill continued thumbing his nose at Disney. Levin writes, “While mocking Disney, he was making political points. He was tackling social issues. He was a cartoon-drawing parodist, not a pamphlet-pushing polemicist; but he demanded the same First Amendment that shielded the most astute, the most erudite, the most thoughtful among us. And by so doing, he asserted his middle-finger-extended self into the face of the most august, blackest-robed nay-sayers in the land. (I mean, three freaking tiers of the federal judiciary had already told him to bloody well behave without a dissenting vote.)” (pg. 206, parentheses in original). Disney moved to have O’Neill held in contempt (pg. 214). In the end, Disney negotiated a deal that got O’Neill to cease drawing Mickey Mouse while they acknowledged they could never collect the money owed, roughly $2,000,000 (pg. 223).
From there, Levin traces the history of “Walt Disney Productions v. The Air Pirates” both in the popular consciousness and in other case law, following as well the histories of the various Air Pirates from the 1980s to the current day. He juxtaposes their struggles against Disney’s own brief nadir and meteoric rise of the 1990s. The book, then, is not just a legal history but a story of an American cultural landscape in which corporate and anti-corporate forces battled for the meaning of free expression.
無料のKindleアプリをダウンロードして、スマートフォン、タブレット、またはコンピューターで今すぐKindle本を読むことができます。Kindleデバイスは必要ありません。
ウェブ版Kindleなら、お使いのブラウザですぐにお読みいただけます。
携帯電話のカメラを使用する - 以下のコードをスキャンし、Kindleアプリをダウンロードしてください。
The Pirates and the Mouse: Disney's War Against the Underground ハードカバー – 2003/5/1
英語版
Bob Levin
(著)
During a time of unprecedented political, social, and cultural upheaval in U.S. history, one of the fiercest battles was ignited by a comic book. In 1963, the San Francisco Chronicle made 21-year-old Dan O'Neill the youngest syndicated cartoonist in American newspaper history. As O'Neill delved deeper into the emerging counterculture, his strip, Odd Bodkins, became stranger and stranger and more and more provocative, until the papers in the syndicate dropped it and the Chronicle let him go. The lesson that O'Neill drew from this was that what America most needed was the destruction of Walt Disney. O'Neill assembled a band of rogue cartoonists called the Air Pirates (after a group of villains who had bedeviled Mickey Mouse in comic books and cartoons). They lived communally in a San Francisco warehouse owned by Francis Ford Coppola and put out a comic book, Air Pirates Funnies, that featured Disney characters participating in very un-Disneylike behavior, provoking a mammoth lawsuit for copyright and trademark infringements and hundreds of thousands of dollars in damages. Disney was represented by one of San Francisco's top corporate law firms and the Pirates by the cream of the counterculture bar. The lawsuit raged for 10 years, from the trial court to the US Supreme Court and back again.The novelist and essayist Bob Levin recounts this rollicking saga with humor, wit, intelligence, and skill, bringing alive the times, the issues, the absurdities, the personalities, the changes wrought within them and us all. Includes never-before seen art from the Air Pirates archives! Two excerpted chapters of this book in The Comics Journal in 2001 proved to be one of the magazine's most popular features in recent memory. Black-and-white illustrations throughout.
- 本の長さ266ページ
- 言語英語
- 出版社Fantagraphics Books
- 発売日2003/5/1
- 寸法16.26 x 2.03 x 23.62 cm
- ISBN-10156097530X
- ISBN-13978-1560975304
商品の説明
著者について
Bob Levin lives in Berkeley, CA with his wife, and practices law in his spare time.
登録情報
- 出版社 : Fantagraphics Books (2003/5/1)
- 発売日 : 2003/5/1
- 言語 : 英語
- ハードカバー : 266ページ
- ISBN-10 : 156097530X
- ISBN-13 : 978-1560975304
- 寸法 : 16.26 x 2.03 x 23.62 cm
- カスタマーレビュー:
著者について
著者をフォローして、新作のアップデートや改善されたおすすめを入手してください。
著者の本をもっと発見したり、よく似た著者を見つけたり、著者のブログを読んだりしましょう
他の国からのトップレビュー
RDD
5つ星のうち5.0
Fantastic Legal & Cultural History!
2019年10月7日にアメリカ合衆国でレビュー済みAmazonで購入
Cliente Amazon
5つ星のうち3.0
A kind of book you're not likely to have
2019年7月13日にイタリアでレビュー済みAmazonで購入
A new interesting perspective over Disney's world and its enemies. Sometimes I feel like the book is too long in some passages.
S. matz
5つ星のうち5.0
Dan O' Neill Gets His Due
2004年10月28日にアメリカ合衆国でレビュー済みAmazonで購入
bob levin's writing style aside, this book is an extremely informative expose of the first amendment with regards to copyright infringement and parody. the champion here (or protagonist if you will) is the enlightened dan o' neill. even though the "air pirates" was a collective effort by london, richards, halgren, and flenniken, o'neill was the one who braved this whole mess out with humor, wit, and defiant intellect. the famous phrase "the pen is mightier than the sword" underestimates the relentlessness and ruthlessness of the disney empire against an intellectual threat that put the "disney intellect" to shame; i am again refering to o' neill.
a fine prep in copyright law, the beginings of the underground comics, disney's wrath, and an american champion of free speech: "they should have known he was irish" dan o' neill. you will have more than a few chuckles during your reading....thank you bob levin, dan o' neill, and the rest of the "pirates". you are not forgotten!!!
a fine prep in copyright law, the beginings of the underground comics, disney's wrath, and an american champion of free speech: "they should have known he was irish" dan o' neill. you will have more than a few chuckles during your reading....thank you bob levin, dan o' neill, and the rest of the "pirates". you are not forgotten!!!
Lou
5つ星のうち5.0
Misappropriation and a Lesson in History
2020年2月13日にアメリカ合衆国でレビュー済みAmazonで購入
This book deals with a period in recent American history when seditious behavior was considered to be "cool". However there were some people who apparently went too far. This book deals with a person who was trying to make a political statement through the use of copyrighted characters--and he paid the consequences for his actions.
Richard Milner
5つ星のうち5.0
The underground cartoon wars of the 1960s for the Soul of Mickey Mouse
2018年4月18日にアメリカ合衆国でレビュー済みAmazonで購入
Best inside story of a remarkable incident from the Sixties in California, in which the Walt Disney company
sued a bunch of underground cartoonists known as The Air Pirates for their radical, sexy parodies of Mickey Mouse.
sued a bunch of underground cartoonists known as The Air Pirates for their radical, sexy parodies of Mickey Mouse.