Keskustelujen arkisto

Fernando:

>November 3, 2000
>
>Dear Mr. Malone:
>
>Thank you very much for your recent letter regarding the "cuts
>and edits" in some of our recent re-issued films on the DVD
>format.
>
>It has served to pointedly call our attention to the issues you
>(and those whose letters and Emails you include) are concerned
>with, and I can assure you that we take them very seriously.
>
>We are now in the process of taking a closer look at our own
>policies in this regard (although that probably won't happen
>until after the end of the year), and I will make it a point to
>keep you informed if we should decide that those policies might
>be changed in some way. Clearly I can't be more specific than
>that.
>
>Again, thanks for your concern.
>
>Sincerly,
>
>Roy E. Disney"

This is extremely interesting. It was Roy E. Disney who fielded a
complaint about a chapter in Gladstone's edition of "The Life and
Times of Scrooge McDuck" that supposedly depicted Scrooge as
"Satanic" (the silhouette of an enraged Scrooge while held captive by
Soapy Slick inside a riverboat). This complaint reportedly first
appeared on the desk of Michael Eisner, who delegated the matter to
Mr. Disney. For a while we were genuinely concerned that this would
halt Gladstone's publication of the series in midstream, but Mr.
Disney ultimately addressed the matter in a way that enabled us to
continue uninterrupted and with no worries.

It may not be reason for unbridled hope, but it's enough, I think, to
give Mr. Disney the benefit of the doubt in the present matter.
--
Gary

****************************
"Good night, and may God Bless...good night." - Red Skelton
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com/gladstone

At 2000-12-05 23:23 +0200, Apostolis Trikourakis wrote:
>Komix 119, page 53-54:
>A 2-pages article titled "The Great Italian: Romano Scarpa". A very nice
>article about Romano's art eras: 1953-1962 (the early ages), 1963-1966 (the
>transitional ages), 1967-1973 (the Classic period), 1974-1983 (the maturity
>period), 1984-Today (the modern ages).

Somehow this one sounds familiar... ;-)
When's the date of that Komix? Compare it with the date on the following.
http://www.uk.research.att.com/~fms/disney/scarpa/

Frank (filologo disneyano) http://www.uk.research.att.com/~fms/

From: "Apostolis Trikourakis" <komix43 at hotmail.com>

> I can translate the articles. but I need someone to check my
translations
> for mistakes. Maybe Kriton can help me, if he have free time offcourse
:-)

Of course, I was only proposing, no hurry :-)

> Komix 61, page 25:
> A 1-page article titled "Scrooge, Brigitta and the Last Balaboo". It's
about
> the extinction of the animals.

Might be original. BUT we need someone who owns the Italian "Grandi Storie
di Romano Scarpa" 11 to check this article:
Qit/CCD 11C Leonardo Gori "I paperi... animalisti"
that might be it. (And it might be from Gladstone US 242 too)

> Komix 63, page 25:
> A 1-page article titled "The Old Duck and his Foundation". It's about
> Scrooge's competitors.

Check:
Qit/CCD 1C Leonardo Gori "Il mecenate di Paperopoli"
and/or
Gladstone US 241

> Komix 91, page 61:
> A 1-page interview titled "Romano Scarpa: the Comics Conductor". I'll
try to
> make a translation as soon as I can.

This might really be original, interesting and the first to translate :-)

> Komix 119, page 53-54:
> A 2-pages article titled "The Great Italian: Romano Scarpa". A very nice
> article about Romano's art eras: 1953-1962 (the early ages), 1963-1966
(the
> transitional ages), 1967-1973 (the Classic period), 1974-1983 (the
maturity
> period), 1984-Today (the modern ages).

This we have alredy dropped, for obvious reasons...

> Komix 124, page 4-6:
> A 3-pages article titled "A Journey to the Ancient Egypt". It's an
article
> about Egypt, Nile and the famous pharaoh's families. Mostly, a
historical
> guide to the Ancient Egypt.

So, maybe, not that interesting for the comic itself.

> Konix 131, page 4-5:
> A 2-pages article titled (I'm not sure if I'm translating that
correctly)
> "The Miracle's yard of a great man from Venice, Romano Scarpa". That's
an
> article with a small introduction of his life and some words about his
> cooperation with other great Italian artists.

It doesn't ring any bell... maybe it's original.

> Komix 139, page52-54:
> A 3-pages article titled "Romano Scarpa's Lentints" and subtitled
"Money,
> adventure and cooking from the Ancient Babylon". It's about both the
> Babylon's lentints and the culture. Also there is a Babylon Lentint's
recipe
> from Sylvester Kolomisky, a chief from Paris! :-)

Ah!That was a recipe! It looks like a recipe, but I'd seen a Paris address
there and I couldn't understand what it was doing there :-)
nyway...

Check:
Qit/CCD 11D Leonardo Gori "Per un piatto di lenticchie"
and/or
Gladstone Uncle Scrooge Adventures 30.

--
Sprea

Dani?l wrote:

> BTW. What I find interesting about the knight story is that Barks
> shows what I've heard before, namely that people in panic do not
> remember how a door works when it opens inward. Not being able
> to think anymore, because of their panic, they start pushing the
> door and so they "lock" it with their own strength.

As some people probably know, in the USA all doors in public buildings must
open to the outside. The USA had a law about that after many people died in
a burning hotel, because they couldn't leave through the door. This was
somewhere in the 1920s, I think.

In Europe (or at least the part I'm familiar with), most doors still open to
the inside.

--Harry.

Dear Francesco,

browsing through my Komix collection, I've found most
of the articles:

Komix#63: About Buckefeller, the contrast between him
and Glomgold and Rockerfeller, and the fact that
Romano never used him again. The preview cells are in
Italian.

Komix#91 : (Blot's Double Mystery). Seems to be a
transcribed interview (I don't know from where), and
it's about the cover story, but also how he met Barks,
etc. Elementary Stuff.

Komix #121 : The colossus: More about the real
catastrophe of the colossus, refers only Romano's
attitude towards it.

Le Lenticchi: About Romano's mediterranean style, that
is, quick but coherent, the different attitude of
Barks' style (he would have made 3 stories out of this
scenario) and his satire of ads and TV.

Tapioca's Mystery does not have any Scarpa atricle.

I can translate the articles you' d like in English
(weekends only), but I'm not good at Italian; I can
only manage insulting words.

Hatred, Gift and Poison
Anthony Liolios

PS. Why don't we write all together a DCML story
(preferrably about the Ducks)?

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>As some people probably know, in the USA all doors in public buildings must
>open to the outside. The USA had a law about that after many people died in
>a burning hotel, because they couldn't leave through the door. This was
>somewhere in the 1920s, I think.

This is also the case in France as well, all doors in public places should open to the outside.

Very nice Sinterklaas to all Dutch members ! (and people from Greece ?)

Favio
http://members.forez.com/alfredsirven/

*******************************
Disney Comics Online:
http://www.liviaonline.com/
Disney Comics Made in Brazil
http://members.forez.com/brazil
Al Taliaferro
http://www.geocities.com/Paris/Cinema/9080
______________________________________________________
Bo?te aux lettres - Caramail - http://www.caramail.com

Besides all of those cruel and painful slapstick shenanigans, one can't
forget Stan Laurel's love of ending the Laurel and Hardy shorts with the
boys in bizarre positions like their heads twisted around backwards on
their bodies and things like that. Come to think of it, I'm pretty sure
that Stan had to fight to keep some of those in the films when they were
originally made.

And I'm sure that if I were an artist like Don, I'd never get used to
thoughtless screw-ups either. And as far as I'm concerned the few
instances of censorship in Gladstone's books (besides the Rosa stories,
the censorship of Treasure Of Marco Polo in the CBL comes to mind) were a
few too many, but we can hardly blame the Gladstone staff for that.

Rodney Bowcock

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FRANCESCO:

>And so seem to be all the other articles, unfortunately, even though it
>seems that Komix considers a bad thing to credit its contents.
>Maybe Komix is *not* that great magazine I thought it was.

There was a time (a long time at that!) when KOMIX would indeed not credit
original sources of the articles it presented in its contents--however,
after much budgering, in the past couple of years they are trying to put
references to the articles they translate.

But let's be fair and realistic here: in order to write original articles
you need to hire people that know both the comics and the authors; for many
years that was not the case here in Greece. Lately, however, this has been
changing and it's mirrored in the growing number of "fans" and in the
appearance in these past 2-3 years of a number of what "seem to be" original
articles in KOMIX--many of them are translated by Kriton in regular
intervals for the dcml.

On a personal note, about 6 years ago, I was in contact with the big boss at
KOMIX (Mr. Terzopoulos) and I had offered to write a few original articles
for KOMIX. It didn't work out because I had asked for a (what I thought to
be a modest) price they apparently found prohibitive. Obviously, translating
articles costs less. Still, I'm heartened to see that lately they do publish
interesting original analyses which means that they must have good people on
board.

Not giving credit where credit is due will very likely continue: on another
personal note, yours truly played a (minor) role in the publication of "The
Incredible Shrinking Tightwad" in KOMIX in its "complete, unedited form":
more specifically, Mr. Stelios Nikolaou, KOMIX's editor had contacted me
last Spring when I was still in the U.S. and had asked me whether I had
Gladstone's publication of that story (they were missing one of its parts).
I told them that I had all my comics back in Greece, but that I could easily
locate for them a copy in the U.S. However, I also told them that Gladstone
had published the story in a heavily edited version, and that if they wanted
to publish it in its entirety all they had to do was get in contact with Don
Rosa, who would be more than happy to supply them with the entire story.
When I visited Don at his place in late May, I had mentioned to him the
whole story and as it turned out Don sent them all the missing parts. In
KOMIX's article on how "tIST" made it to their pages, not a single word is
mentioned on my small (my critical) contribution in them publishing the
story in its entirety...Ah, well....

Cheers,

Archontis

---------------------------------------
Archontis L. Pantsios, Ph.D.
Assistant Academic Dean and Associate Professor
The American College of Thessaloniki
Thessaloniki, Greece
Phone: +30 31 398228