#ingrid bergman history

[antiquepearlss]

Butch and Femme but classic ✨

[secretceremonies]

Ingrid Bergman as Joan of Arc, 1953

[amatesura]

New York 1948-1949 ph. Kerstin Bernhard

[thedivinecomedy0]

Ingrid Bergman and Gregory Peck in Spellbound, 1945 🎬

[pinkmoonmp3]

ingrid bergman in paris, 1957 via mubilat

[schlock-luster-video]

On May 19, 1973, Cries and Whispers was screened at the Cannes Film Festival.

[the-cricket-chirps]

"The Nun, Ingrid Bergman," by Andy Warhol, 1983

[world-of-advice]

[vintagehollywood1]

Casablanca 1942

Ingrid Bergman and Humphrey bogart

[duranduratulsa]

On this day in 1942...80 years ago...Casablanca was released in theaters #movie #movies #drama #history #casablanca #humphreybogart #IngridBergman #playitagainsam

[bargainsleuthbooks]

Hitchcock's Blondes: The Unforgettable Women Behind the Legendary Director's Dark Obsession by Laurence Leamer #ARCReview #NetGalley #BookReview #HollywoodHistory

A new book travels familiar territory: #AlfredHitchcock obsession with blonde actresses. A closer look at #HitchcocksBlondes by #LaurenceLeamer #netgalley #arcreview #bookreview #gpputnam #moviehistory #gracekelly #ingridbergman #bargainsleuth

Alfred Hitchcock was fixated—not just on the dark, twisty stories that became his hallmark, but also by the blond actresses who starred in many of his iconic movies. The director of North by Northwest , Rear Window , and other classic films didn’t much care if they wore wigs, got their hair coloring out of a bottle, or were the rarest human specimen—a natural blonde—as long as they shone with a…

[youremyheaven]

The Astrology of Muses: A Vedic Exploration 🎨🖌👫💏

This is going to be a loooong post so hang in there besties<3

Claire Nakti observed that Ketu being the root or tail of the dragon is the source of our creativity. So whatever we channel during the process of art making is reflective of our Ketu, its placement etc. While I agree with this observation, I'd also like to add that Venus is also very important in determining the creativity, creative nature and career of an individual, as well as who or what they seek inspiration from.

Obviously Sun-Moon relationships and other aspects with luminaries can also determine how we connect to and draw inspiration from others.

First of all, let's understand what a muse is.

A muse is defined as a person (often, a woman but not always) who serves as a source of artistic inspiration creativity, and passion for the artist.

In mythology, the Muses were nine goddesses who symbolized the arts and sciences. 

There is a spiritual reason why women serve as the source of creativity for others. This is because of them being Yin, inwardly expansive and vessels that can be receptive to a variety of influences. Water is the most feminine element and the ability of water to take the shape of whatever's its poured into is very important in this context. Water is life giving but it can also be destructive and turbulent. All of these are very telling about feminine nature.

Anyways, let's look through some artist-muse relationships in history and pop culture.

F Scott Fitzgerald and Zelda Fitzgerald

Probably one of the most famous literary romances. Zelda was Scott's lover, wife and muse. They had a very tumultuous marriage; Zelda was diagnosed with schizophrenia and Scott was an alcoholic but they also enjoyed immense popularity and success early on in their marriage and career.

It is now known that Scott plagiarized much of his work from the diaries and letters of his wife, Zelda and was controlling & abusive towards her when she expressed interest in furthering her own literary career.

Both of them had Mars in Mrigashira as their atmakaraka

Scott had Ketu in Ashlesha & his muse, Zelda was Ashlesha Rising (and mercury which was her amatyakaraka)

2. Vita Sackville West and Virginia Woolf

They were both married to different men when they began their affair with each other. They significantly influenced each other's work; Vita wrote Seducers In Ecuador dedicated to Virginia, while Virginia's Orlando was about Vita. The relationship lasted until Virginia's death in 1941.

Vita was Uttara Ashada Rising, whereas Virginia had Venus in Uttara Ashada

Vita had Venus in Aswini and Virginia was Aswini Moon

3. Ingrid Bergman & Roberto Rossellini

They began an affair when she was still married to her husband whilst filming the movie Stromboli. She got pregnant and they later got married.

While the movies Bergman made with Rossellini were commercial failures, the films have garnered great appreciation and attention for their contribution to Italian Neo-realism.

Bergman was Magha Sun, Venus & Rising, whereas Rossellini was Magha Rising

He had Rahu in Ashlesha and she had Ketu in Ashlesha

4. Lillian Gish & D.W Griffith

Lillian Gish is called "The First Lady of American Cinema"; she was a muse to the first influential filmmaker in Hollywood, D.W. Griffith. She appeared in his ground breaking movies The Birth of a Nation��(1915), Intolerance (1916), Broken Blossoms (1919) and Way Down East (1920).

D.W Griffith was Ashlesha Moon with Mars in Vishaka atmakaraka and Ketu in Chitra

Lillian Gish had Chitra Sun, Venus & Saturn (amatyakaraka) in Vishaka and Ketu in Ashlesha

5. Norma Shearer & Irving Thalberg

Norma Shearer would be dubbed the First Lady of MGM for not only being the contracted actress with the most box-office appeal but also the wife of studio head Irving Thalberg.

Thalberg, was a film executive who was called the  “boy wonder of Hollywood” who, as the production manager of MGM, was largely responsible for the studio’s prestigious reputation.

Shearer and Thalberg were married in 1927, after which Shearer had her pick of films, parts, costars, and directors, and she used this advantage to avoid being typecast. Thalberg largely directed her career until his death in 1936.

She played sexually liberated ingenues in the 1920s & 30s and is now considered a feminist icon.

She was Ashlesha Sun (atmakaraka), Venus & Mars in Ardra and Ketu in Rohini

He was Rohini Sun, Mars in Ashlesha (amatyakaraka) and Ketu in Ardra

5. Godard and Anna Karina

Karina served as a cinematic muse to Godard, appearing in eight of his films; during their five-year marriage and after. Karina liked being the muse, stating in 2016: "How could I not be honoured? Maybe it's too much, it sounds so pompous. But of course, I’m always very touched to hear people say that. Because Jean-Luc gave me a gift to play all of those parts. It was like Pygmalion, you know? I was Eliza Doolittle and he was the teacher."

Their contribution to the French New Wave and to cinema in general is widely acknowledged and well-regarded.

Karina was Ashlesha Venus (amatyakaraka), Punarvasu Rising with Ketu in Revati

Godard was Ashlesha Mars (amatyakaraka), Jupiter in Punarvasu (amatyakaraka) with Rahu in Revati

6. Monica Vitti & Michelangelo Antonioni

For 10 years, Monica Vitti was the muse and lover of Michelangelo Antonioni for almost a decade, starring in many of his most famous films, such as L’Avventura (1960), La Notte (1961), L’Eclisse (1962) & Red Desert (1964).

Vitti is Swati Sun with Ketu in Hasta

Antonioni has Hasta Sun, Mercury & Ketu along with his Venus in Swati

7. YSL & Paloma Picasso

Yves Saint Laurent had many muses but perhaps his most overlooked muse is Paloma Picasso

Paloma Picasso was the muse, who originally inspired Saint Laurent’s ‘Scandal’ collection of ‘71, and his career-defining turn away from the perfectionism of couture to a different kind of empowerment of something more wild, free and personal. 

YSL was Uttarashada moon (atmakaraka), Paloma had Uttarashada moon & jupiter (conjunct)

8. Hubert de Givenchy and Audrey Hepburn

Givenchy designed the iconic 'little black dress' worn by Hepburn in Breakfast at Tiffany's, which cemented the actress as one of the most stylish women of the 20th century.

"His are the only clothes in which I am myself. He is far more than a couturier, he is a creator of personality," said Hepburn. The Breakfast at Tiffany's dress also helped Givenchy gain worldwide recognition, and his intricate, feminine designs became the subject of adoration.

Givenchy is Shatabhisha Sun & Jupiter

Audrey is Shatabhisha Moon

9. Bob Mackie and Cher

Mackie is a costume designer. His work with Cher has a place in fashion history, from the sheer dress she wore to the 1974 Met Gala to the beaded see-through gown she wore to accept her Oscar in 1988 (let alone, designing hundreds of her costumes for The Sonny & Cher Show).

Mackie has Ketu in Bharani and Cher has Mercury in Bharani (amatyakaraka)

10.Jean Paul Gaultier and Madonna

The cone bra—one of Madonna's most famous and recognised stage outfits from her Blonde Ambition tour—was created by Jean Paul Gaultier in 1990. The piece soon launched Gaultier's career, and solidified his relationship with the iconic performer.

Gaultier went on to design stage outfits for many of Madonna's concert tours, and she even made an appearance as a model in his spring summer '95 collection. After almost 30 years of friendship, they attended the 2018 Met Gala together (Madonna wearing one of Gaultier's designs, of course).

Gauthier is Bharani Moon & Madonna is Purva phalguni Moon & Rising

This is an example of Venus attracting & partnering with Venus.

11. Pedro Almodovar and Penelope Cruz

They've done numerous movies together in the last 25 years. They are both Punarvasu Moon

Almodovar is a Purvaphalguni Mercury (amatyakaraka) and Ketu and Penelope is a Bharani Sun, so this is yet another Venusian creative partnership.

When it comes to artist-muse partnerships, sharing Ketu/Venus to Sun/Moon/Rising aspects seems to be very common. Its also common to see artists and their muses share the same luminaries. We are inspired by people who project our qualities in different ways. there is a reason we are drawn to certain people and its always because of how subconsciously they remind us of ourselves.

social muses, trendsetters & it girls

I'm not going to mention Audrey Hepburn, Marilyn Monroe or Princess Diana because I feel like enough has been said about them.

There are some people who seem to inspire not just one person specifically but the tastes and culture of a whole era. They are tastemakers who set trends and are widely imitated and their influence has far reaching impact. They are "muse" to everybody.

Jackie O

she is one of the most culturally influential people of the 20th century and defined her era (60s America) and is probably an early example of an "influencer", which is to say, people imitated her style, her manners etc

Jackie is Pushya Sun & Mercury, Aswini Moon, Ketu & Rising in Vishaka, Venus in Mrigashira atmakaraka.

2. Grace Kelly aka Princess Grace of Monaco

She is synonymous with elegance, flair and grace to this day and is widely regarded for her artistic success as well as her charitable endeavours. She is one of the most influential women in history.

She has Vishaka Sun (amatyakaraka) & Mars, Purvabhadrapada Moon, Swati Mercury, Ketu and Rising

3. Liz Taylor

Liz Taylor was known for her love of diamonds. She always dressed like a movie star, in very extravagant style with her plunging necklines, fur wraps, feather boas, and eye-catching headpieces. She was very glamorous

She was the first celebrity to have her own fragrance and thirty five years later, her perfume empire remains one of the most successful celebrity fragrance ventures of all time. White Diamonds is one the best selling celebrity fragrances in history. She paved the way for numerous others to follow in her foot steps, although not everyone has had her success.

She is Shatabhisha Sun & Mercury, Vishaka Moon, Jyeshta Rising along with Venus in Revati atmakaraka and Jupiter in Ashlesha amatyakaraka

4. Twiggy

She is the world's first supermodel. She is an important cultural icon and was the face of the Swinging Sixties in her babydoll dresses and mary janes.

She's Pushya Moon & Mars, and Punarvasu Rising

5. Diana Ross

Miss Ross rose to fame as the lead singer of the girl group the Supremes, which became Motown's most successful act in the 1960s, and one of the world's best-selling girl groups of all time. After leaving the group in 1970, she launched a successful solo career, with many huge hits across the next couple of decades. She is known for her extravagant style and is a true 80s diva who blurred the lines between costumes and everyday clothing.

She is UBP Sun, Bharani Moon, Vishaka Rising

Mercury in Revati amatyakaraka and Jupiter in Ashlesha atmakaraka

6. Beyonce

Beyonce is one of the most influential women of the 21st century. Her impact on culture is immense and undeniable.

She is Purvaphalguni Sun, Vishaka Moon (atmakaraka) & Chitra Rising

Bey & Jay have been each other's muses for a good while and have multiple albums inspired by each other. They are pop culture royalty.

Jay is Jyeshta Sun & Mercury (atmakaraka), Hasta Moon, Ketu & Rising in Purvaphalguni

7. Rihanna

RiRi is one of the most iconic women ever.

Her music, looks, products, personality- everything about her is influential af. She's multi talented and has excelled in several fields.

She is a Revati Stellium (moon, venus (amatyakaraka) & rising)

8. Paris Hilton

Probably the OG influencer. Paris defined her era (the 2000s) and has had a lasting impact on pop culture that needs to be studied. She was written out of her family will and built her own empire. She paved the way for all influencers.

Dhanishta Sun & Mercury, Pushya Moon & Jyeshta Rising

9.Kim & Kylie

I don't like them but to say they haven't had an impact on beauty/fashion/pop culture would be lying. I personally see it as a negative impact 😬 but its an impact nonetheless.

They normalized plastic surgery to such an extent that every other girl in the West and almost every famous woman at this point has fillers, botox, BBL or something done. They also paved the way for influencers entering the fashion world.

Kim is Chitra Sun, UBP Moon & Jyeshta Rising with Mercury in Vishaka amatyakaraka and Venus in Purva phalguni atmakaraka

Kylie is Ashlesha Sun, Swati Moon & Purva ashada Rising

She has Venus in Uttaraphalguni atmakaraka & Saturn in Revati amatyakaraka

10. Bella Hadid

cannot talk about it girls and not mention Bella.

she's had such a massive impact on pop culture in the late 2010s & now in the 2020s. she made y2k style as popular as it is today and is probably the only true supermodel of our era.

She's Hasta Sun (amatyakaraka), Purva phalguni Moon & Rising with Ketu in UBP, Mars in Ashlesha atmakaraka

she's inspired practically The Weeknd's entire discography. He has Ketu in Ashlesha

it's interesting to me how all the Hadid siblings have inspired a lot of pop music. (Gigi with Zayn, Anwar with Dua Lipa etc)

11. Selena Gomez

Selena's inspired way too many heartbreak songs to not be on this list.

She's Pushya Sun & Rising with Aswini Moon with Ashlesha Mercury (atmakaraka) & Venus

There has been a lot of Vishaka women and Jupiter natives in general, Pushya ladies, Ketuvian (esp Aswini), Venusian influence and a lot of people with Ashlesha atmakaraka/amatyakaraka. Pisces influence and Jyeshta influence is also seen. Why are these planets/naks/rashis recurring?

Talking about people who have a very wide impact, it makes sense as to why Jupiter natives would be here; its expansiveness reaches everyone. In fact if you look at the era defining cultural figures of any decade, you will see a common Jupiter influence. This is also why Pisces rashi (Pisces is ruled by Jupiter) is so common in the world of art & entertainment.

Venusian placements are what creates trendsetters imo. Its what makes others imitate you and want to be like you.

Ashlesha natives dominate the entertainment sphere because entertainment and all art tbh, is in the simplest terms, manipulating others.

Pushya women inspire others with their feminine charms. Ketu being the root or the tail means that its very easy for others to project on to them. They lack identity on their own; its a very shadowy realm. This is what celebrities are to most people; you don't know them or understand them, which makes it easier to project onto them and love them for that illusion.

Jyeshta represents lack and in the world of influence, more than abundance, its that space of lack that makes it easier for people to add/built on to the persona they see of someone.

I'll make a part 2 sometime but for now this is it. I hope it was insightful.

[vintagetvstars]

little bits of propaganda for claude rains!

-was good friends with bette davis! she called him her favorite male costar and they worked on four films together. also, she had a FAT crush on him and she visited a lot!

-speaking of where he lived, claude owned and worked on farms! he was proud to grow and cultivate land, often restoring and preserving whatever he could and loved the history behind things! he raised cattle, grew crops, and tilled the land himself

-is literally the wikepedia subject for the term 'character actor' - he said it himself on his versatility as an actor, saying "i can play the butcher, the baker, and the candlestick maker

-eleanor roosevelt saw him in 'darkness at noon' on broadway and personally praised him for his performances

-he served in ww1 and was gassed, resulting in 90% blindness in his right eye and damaged vocal chords - giving him his signature voice

-was nominated for 4! academy awards for best supporting actor and also won a tony for best leading actor in a play

-taught at the royal academy for dramatic art, teaching students like john gielgud and sir laurence olivier

-was cast in the invisible man soley on his voice, to quote director james whale, "i don't care what he looks like, i just want that voice!"

-depending on who you ask, he was the first actor to receive a million dollars for a role (as well as risking his life traveling overseas to england during ww2 for filming on 'caesar and cleopatra'

-claude probably worked with your favorite star! his list of co-stars was endless and included people such as bette davis, james stewart, humphrey bogart, paul henried, gloria stuart, basil rathbone, cedric hardwicke, errol flynn, cary grant, ingrid bergman, ronald reagan, and paul muni to name a few.

all in all, i'm pledging my vote for claude rains!!

Hi, thank you for the Claude Rains propaganda!

Friendly reminder to please try to keep things focused on actors TV careers as this is a TV focused competition. Sharing about an actors life is great but we like to steer things away from talk of their movie, theater, or music career and focus on what makes them a hot television star!

- mod vintage

[bleedingcoffee42]

so many wips! need to hear about casablanca <3

I did too much research into Lewis Nixon I and have to use it. Nix comes homes to his parents divorced, Stanhope being Stanhope and most of his grandfathers estate sold off. The will still not anywhere near a probate court. He's staying at the Yale Club and struggling with how much has chanced. Dick isn't back yet. Kathy is now the ex-wife. He doesn't have his dog. He has drinking and a bit of nostaglia and a family who owned a house damned near everywhere. Except---not anymore. There are articles in the paper about Grandpa's estate, he needs something to get his mind out of a fog. Starts looking into it, I mean what else does a former intelligence officer do? Some habits are hard to break.

The scene is set: The house in Monmouth Beach. It always seemed a little sketchy to him that the 'hotel' next door burned down because the town had been after the owner to shut the illegal hotel down. Even taking it to the NJ Supreme court. Still, the Nell Grace Hotel remained open. The town, filled with men like Grandpa who had outrageously large and expensive homes, probably were not happy with the operation of the hotel next door. So, it always struck him as convenient that the place burned down. And that they used the water spicket on Grandpa's house to fight the fire, a house he wasn't going to be staying at because it was winter and was winterized, yet the hotel was occupied and water was frozen. He's known the men in this neighborhood all his life, he wouldn't put it past them to resort to arson.

Why does it matter if the neighbor lady's house is gone? Well, probably nothing except that the records on Grandpas house list Mary Nixon selling it to another rich widow. Mary using an address in Newark he's never heard of. Mary who has been busy selling off everything. He's a little suspicious that the will left everything to her, without a single thing to his grandkids or Joel. He thinks there could be another will hidden somewhere and his guess would be the house closest to the ocean, the old sailor was always in a better mood when he could breathe in salty ocean air.

The problem was the house was sold and sold again. And the great hurricane of 1944 had battered the shore, destroying roads and houses. When he drives by so many houses are gone and another era of Jersey history forgotten. However, he remembers good times sitting under that red and white striped awning on the porch listening to stories of the sea, stories of Grandpa going to school with the King of England, meeting the Czar, having Stanhope meet the Pope(Lew is convinced it was for an exorcism) and a slew of other insane stories that were packed into amazing life of his Grandpa. Someone he wished he could have come home and talked to about everything that haunts him.

It doesn't make sense he got nothing. That Blanche got nothing. And Joel, nothing? He adopted that kid, named him after his own father, and leaves him nothing but the Nixon name? None of them needed money, but there was a lot of sentimental value lost. And something feels wrong. So he buys the house, and comes up with a reason to piss off whatever neighbors are left so he can find out who exactly was behind the Hotel burning down.

So why not make it a bar? Maybe some illegal gambling thrown in to really twist the knife. He has just watched Casablanca with Blanche, and he drank enough to get through it that he started to blur the lines of what was on screen and any fantasies he had of Dick looking fabulous in a tux and him being some snarky investigator who clearly was more of a love interest than Ingrid Bergman. Hell, that movie was about those two guys ending up together, wasn't it? Screw the girl, let her leave with the text book husband and the dog and save the world, who needs her when you have a buddy who has a gambling and drinking problem and sharp whit? So he names it Dick's Cafe Americana and has the arch thing from Holland built over the sidewalk to the house. Puts up dick's picture. Uses the bar that's already there because grandpa was a fine gentleman. Has the piano tuned. Adds tables. Hell, the place looks like it was sold full furnished, so he starts looking for hiding spaces he remembers to see if there is a copy of the will somewhere.

And Dick finally comes home and is a dick about not calling. So Nix has to call him and ask why he doesn't want the job he offered him. Instead of meeting in New York, take the train to Monmouth Beach I have something to show you--

And Dick Winters thinks his friend has gone insane but he's glad he's not drunk. Owning a bar seems like a bad idea, owning a bar because you want to piss off an arsonist even worse. Dick's been locked up in his bedroom for a week so he's not really upset at the change of venue and Nix tells him he can go swim in the ocean if he wants. beach is next door. Nix plays the piano for him, As time goes by, and Dick is 100% gone and agreeing to all of it.

Dick takes the job at the factory, and spends weekends with Nix on his little project. It feels like good times, working together. It feels like purpose. The struggle to blend back in at home lessens when he's too busy being a host to Nix's neighborhood parties on the weekends. He gets to see a little of the old Nix, the Nix who he met at OCS come through as he works the crowds for information and gambles and drinks with the rich neighbors. And he is weak for Lew playing piano....

Maybe it just ends up being another Winnix and a gay bar fic.

[ariel-seagull-wings]

@themousefromfantasyland @piterelizabethdevries @thealmightyemprex @the-blue-fairie @professorlehnsherr-almashy @stickypersonaearthquake

Do you know the conflict between Autheur Theory vs Art as Collaboration?

Basically, Autheur Theory began between French critics and filmmakers, as a way of analyzing the film industry: originally films were clearly a collaboration, and it was common to have more than one director on the same project until the final edit of the film was reached (Gone with the Wind and The Wizard of Oz being famous examples).

But the Autheur Theory presented and popularized the idea that, to have the same prestige as, for example, a classic novel, it is necessary to have a figure defined as "the Author of the film", and the chosen figure was the director.

And this vision became dominant from the 60s onwards, when a wave of directors grew up who exercised strong control over films, and whose names became the brand that attracted people to watch. Before, you went to watch a film expecting to be entertained by the fiction, and to see the actors and characters who were the Stars. You would go by Judy Garland, Gary Cooper, Vivien Leigh, Humphrey Bogart, Ingrid Bergman, etc. From the 60s onwards, you will see films by director Alfred Hitchcock, Stanley Kubrick, Ingmar Bergman, Federico Fellini, Martin Scorsese, Francis Ford Copolla, etc.

And there was the simplified idea that "the director is a visionary genius who is a champion against the oppression of producers and studios who care only about money." But decades passed, and after some box office failures of films made using the Autheur model (Heaven's Gate directed Michael Cimino being the most famous), the cult of Autheur began to be questioned, as it denied the fact the role of all the team collaborating to make a film, often this personality cult of the director encourages abuse practices in the name of the "vision of genius", the fact that just because the director has a style and trademarks common to his films, it does not This means that it is automatically good, just that it repeats themes and subjects, the study of the history of cinema showing that Autheur itself is also a brand to be sold, and that it is not the "great champion against the studios", but in fact, he becomes prominent because when he makes a film that is successful and the studios see that it makes a profit, the studio will support him to do what he wants in the hope of always replicating that success, and the prestige of his name is it works as marketing in the same way that the face of the Actor who is a Star works.

I bring up this discussion because I think a similar conflict applies to the American comics industry: American society is obsessed with the idea of ​​the Great Man, the Visionary Genius. Originally, artists drew the character, and then he became part of the publishing house (Detective Comics, Fox, Timely, etc.).

Those who originally created them continued drawing for a while, then went to work on other titles, and then another artist would take care of drawing the Phantom, Mandrake, Flash Gordon, Batman, Superman, Wonder Woman, The Society of Justice of America, the Blue Beetle, Namor the Sub-Mariner, Captain America. Another artist could expand the universe and increase the lore and create a new villain, but he did not compete to erase what the previous artist had built and only establish what their idea was as "the true version".

It was the old collaboration model in which the name of the artist didn't matter, what mattered was telling a good story about those characters. Not everything was rosy, obviously: with the publisher being the owner of the character, the artists were often screwed and left in the cold. poverty. Siegel and Shuster suffered from poverty after creating Superman, and it was the fact that other cartoonists came together to demand decent pay that helped them in their old age.

But narratively, there was a focus on cohesion and collaboration.

But in the 60s, as in the film industry, things changed: the idea of ​​control and authorship grew.

And now you had Marvel (former Timely) selling the image of Stan Lee as the creator of his entire Universe, Steve Ditko defending the view that the Artist should be considered the author of the work, names like Alan Moore, Frank Miller and John Byrne becoming stars, and it all comes back to the idea that the Author should have all the control.

And when a name and work become popular and make money, remember what companies do: they let you do whatever you want:

You are the Autheur.

And readers bought into that idea: His redesign and rewrite of Daredevil and graphic novels The Dark Knight Returns and Year One made people for decades venerate Frank Miller to the point of denying everything that came before as the "version wrong" of the characters and that Miller "fixed" them, no one heard of Swamp Thing and Miracle Man until Alan Moore's name was on the cover, no one remembers that one day Sandman was a masked guy with a sleeping gas gun before being portrayed as the embodiment of the concept of Dreams in the graphic novels of a certain accused of sexual abuse Neil Gaiman.

Now, imagine you are an artist or writer who becomes known as a star in the comic book industry, whose name becomes prestigious and helps sell the magazine, and then you are given the job of drawing an existing character.

Everyone worships you, your word is considered law, you are a genius who can do no wrong, and then you think:

"Why do I have to follow rules, because I have to think about what has already been established as a characteristic of that character, when I can use it to represent what is MY artistic VISION of what a hero SHOULD be?"

And as a result. ..comic crossover events where a bunch of characters die horribly or turn evil for no reason, weddings you've followed developing for decades erased from continuity, characters committing horrible acts without any idea on how to examine the consequences.

We, as the public, created the cult of the genius, the comics industry responded to this by thinking it was a viable economic model in which to profit, and art suffered in the process.

Recognizing the importance of collaboration is the solution to dealing with this problem.

And there are other comic industries outside the US where collaboration, rather than competition between "visions of genius", is encouraged:

In France, more people came to draw Asterix and Obelix after the passing of Gossiny and Uderzo, building the stories based on the work they established.

In Brazil, Maurício de Souza's publishing house produces both Classica Mônica and Friends and Monica's Teen Manga series magazines with several artists and scriptwriters working together as graphics novels in which individual artists reinterpret characters, but without wanting to impose their interpretation as the only correct one.

And the Japanese manga industry has the model of one or two artists working on a story with a beginning, middle and end, which allows other artists, often fans, to develop sequels or spin offs that expand or complement the previous title, without ever trying to erase what was done before.

[schlock-luster-video]

On December 14, 1973, Cries and Whispers debuted in Portugal.