Interview snippet from Edward Summer's 'The Men Who Made the Comics'.
Narrator: George Lucas the director of American Graffiti and Star Wars is a longtime dedicated fan of the comics. He collects the artist's original drawings of Prince Valiant and Flash Gordon
GL: Basically, you know, my main interest in school and ever since has been cultural anthropology and sociology and those related social fields. And so my take on art is more culturally oriented, and I look at art as a sort of a way of judging a culture and understanding— not really what it looks like or anything, but what the people were thinking, and what the people were feeling, and what was going on in a particular time. And the comic books and comic art is a really strong and a very— it's a very close to the pulse of the culture kind of art.
It's really a cultural signpost of the times in which it was drawn, which is to me the most important aspect of art. I think it's a lot more important than say, you know, New Hampshire landscapes or anything like that. I mean it really tells you what's going on in a country or what the people are feeling at a particular moment in history.
And that way I don't think it'll ever die out. I think what is drawn today will be come very important. It's the hieroglyphs, or the graffiti of our times.
Interview snippet from Edward Summer's 'The Men Who Made the Comics'.
Narrator: George Lucas the director of American Graffiti and Star Wars is a longtime dedicated fan of the comics. He collects the artist's original drawings of Prince Valiant and Flash Gordon
GL: Basically, you know, my main interest in school and ever since has been cultural anthropology and sociology and those related social fields. And so my take on art is more culturally oriented, and I look at art as a sort of a way of judging a culture and understanding— not really what it looks like or anything, but what the people were thinking, and what the people were feeling, and what was going on in a particular time. And the comic books and comic art is a really strong and a very— it's a very close to the pulse of the culture kind of art.
It's really a cultural signpost of the times in which it was drawn, which is to me the most important aspect of art. I think it's a lot more important than say, you know, New Hampshire landscapes or anything like that. I mean it really tells you what's going on in a country or what the people are feeling at a particular moment in history.
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