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{{Redirect|Peter Parker}}
{{pp-move-indef}}
{{About|the superhero}}
{{Infobox person
{{pp-semi-protected|small=yes}}
| name = عباس کیارستمی<br/>Abbās Kiyārostamī
{{Good article}}
| image = Abbas-kiarostami-venice.jpg
{{Infobox comics character
| image_size =100px
<!--Wikipedia:WikiProject Comics-->
| caption = Kiarostami at the 65th Venice Film Festival, 2008
| image = Spider-Man.jpg
| birth_name =
| imagesize =
| birth_date = {{Birth date and age|df=yes|1940|06|22}}
| converted=y
| birth_place = [[Tehran]], [[Iran]]
| caption = From ''[[The Amazing Spider-Man]]'' #547 (March 2008)<br />Art by [[Steve McNiven]] and [[Dexter Vines]]
| occupation = Director, screenwriter, producer
| publisher = [[Marvel Comics]]
| years_active = 1962–present
| debut = ''[[Amazing Fantasy]]'' #15 (Aug. 1962)
| creators = [[Stan Lee]], [[Steve Ditko]]
| alter_ego =
| real_name = Peter Benjamin Parker
| species = [[mutate (comics)|Human Mutate]]
| alliances = [[Daily Bugle]]<br/>Front Line<br/>[[Fantastic Four|New Fantastic Four]]<br/>[[Avengers (comics)|Avengers]]<br/>[[The New Avengers (comics)|New Avengers]]<br/>[[Future Foundation]]<br/>[[Heroes for Hire]]
| partners = [[Venom (comics)|Venom]]<br/>[[Ben Reilly|Scarlet Spider]]<br/>[[Wolverine (comics)|Wolverine]]<br/>[[Human Torch]]<br/>[[Daredevil (Marvel Comics)|Daredevil]]<br/>[[Black Cat (comics)|Black Cat]]<br/>[[Punisher]]<br/>[[Toxin (comics)|Toxin]]<br/> [[Iron Man]]<br/>[[Ms. Marvel]]
| supports = <!-- optional -->
| aliases = [[Ricochet (comics)|Ricochet]], [[Dusk (comics)|Dusk]], [[Prodigy (comics)|Prodigy]], [[Hornet (comics)|Hornet]], [[Ben Reilly]]/[[Scarlet Spider]]
| powers = *[[Superhuman strength]], [[Speedster (fiction)|speed]], agility, and [[Superhuman durability|endurance]]
*[[Healing factor]]
*Ability to cling to most surfaces
*Able to shoot extremely strong spider-web strings from wrists
*[[Precognition|Precognitive]] Spider-Sense
*Genius-level intellect
*Master hand-to-hand combatant
| cat = super
| subcat = Marvel Comics
| hero = y
| villain =
| sortkey = Spider-Man
}}
}}


'''Spider-Man''' ('''Peter Parker''') is a [[Character (arts)|fictional character]], a [[Marvel Comics]] [[superhero]] created by writer-editor [[Stan Lee]] and writer-artist [[Steve Ditko]]. He [[first appearance|first appeared]] in ''[[Amazing Fantasy]]'' #15 (August 1962). Lee and Ditko conceived of the character as an orphan being raised by his [[Aunt May]] and [[Uncle Ben]], and as a [[teenager]], having to deal with the normal struggles of adolescence in addition to those of a costumed crime fighter. Spider-Man's creators gave him super strength and agility, the ability to cling to most surfaces, shoot spider-webs using devices of his own invention which he called "web-shooters", and react to danger quickly with his "spider-sense", enabling him to combat his foes.
'''Abbas Kiarostami''' ({{lang-fa| عباس کیارستمی }} ''Abbās Kiyārostamī''; born 22 June 1940) is an internationally acclaimed [[Iran]]ian [[film director]], [[screenwriter]], [[photographer]] and [[film producer]].<ref name="GuardianRanking">{{Cite news
| url = http://www.guardian.co.uk/film/2003/nov/14/1
| title = The world's 40 best directors
| accessdate=2007-02-23
| year = 2006
| author = Panel of critics
| publisher = Guardian Unlimited
| location=London
| date=2003-11-14}}</ref><ref name="WexnerAK">{{Cite web
| url =http://wexarts.org/info/press/db/87_nr-kiarostami_elec.pdf
|format=PDF | title = Abbas Kiarostami Films Featured at Wexner Center
| accessdate=2007-02-23
| year = 2002
| author = Karen Simonian
| publisher = Wexner center for the art
}}</ref><ref name="BFIpoll">{{Cite web
| url = http://www.bfi.org.uk/sightandsound/feature/63/
| title = 2002 Ranking for Film Directors
| accessdate=2007-02-23
| year = 2002
| publisher = British Film Institute
}}</ref> An active filmmaker since 1970, Kiarostami has been involved in over forty films, including [[short film|shorts]] and [[Documentary film|documentaries]]. Kiarostami attained critical acclaim for directing the ''[[Koker Trilogy]]'' (1987–94), ''[[Taste of Cherry]]'' (1997), and ''[[The Wind Will Carry Us]]'' (1999).


When Spider-Man first appeared in the early 1960s, teenagers in superhero comic books were usually relegated to the role of [[sidekick]] to the protagonist. The Spider-Man series broke ground by featuring Peter Parker, a teenage high school student and person behind Spider-Man's [[secret identity]] to whose "self-obsessions with rejection, inadequacy, and loneliness" young readers could relate.<ref name="Wright">{{Cite book|author=Wright, Bradford W.|title=Comic Book Nation|year=2001|publisher=Johns Hopkins Press : Baltimore|isbn=0801874505}}</ref> Unlike previous teen heroes such as [[Bucky]] and [[Dick Grayson|Robin]], Spider-Man did not benefit from being the protégé of any adult superhero mentors like [[Captain America]] and [[Batman]], and thus had to learn for himself that "with great power there must also come great responsibility"—a line included in a text box in the final panel of the first Spider-Man story, but later [[retcon|retroactively attributed]] to his guardian, the late Uncle Ben.
Kiarostami has worked extensively as a [[screenplay|screenwriter]], [[film editing|film editor]], [[art director]] and producer and has designed credit titles and publicity material. He is also a poet, [[photographer]], [[Painting|painter]], [[illustrator]], and [[graphic designer]]. He is part of a generation of filmmakers in the [[Iranian New Wave]], a [[Cinema of Iran|Persian cinema]] movement that started in the late 1960s and includes pioneering directors such as [[Forough Farrokhzad]], [[Sohrab Shahid Saless]], [[Mohsen Makhmalbaf]], [[Bahram Beizai]], and [[Parviz Kimiavi]]. These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues.<ref name="Princeton">{{Cite web
| url =http://etc.princeton.edu/films/index.php?option=com_content&task=blogsection&id=8&Itemid=2
| title =Abbas Kiarostami
| accessdate=2007-02-23
| year = 2007
| author = Ivone Margulies
| publisher =Princeton University
}}</ref>


Marvel has featured Spider-Man in several [[List of Spider-Man titles|comic book series]], the first and longest-lasting of which is titled ''[[The Amazing Spider-Man]]''. Over the years, the Peter Parker character has developed from shy, nerdy high school student to troubled but outgoing college student, to married high school teacher to, in the late 2000s, a single freelance photographer, his most typical adult role. As of 2011, he is additionally a member of the [[Avengers (comics)|Avengers]] and the [[Fantastic Four]], Marvel's flagship superhero teams. In the comics, Spider-Man is often referred to as "Spidey", "web-slinger", "wall-crawler", or "web-head".
Kiarostami has a reputation for using child protagonists, for documentary style narrative films,<ref name="FirouzanFilmBio">{{Cite web
| url = http://www.firouzanfilms.com/HallOfFame/Inductees/AbbasKiarostami.html
| title = Abbas Kiarostami Biography
| accessdate=2007-02-23
| year = 2004
| author =
| publisher = Firouzan Film
}}</ref> for stories that take place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras. He is also known for his use of contemporary [[Persian literature|Iranian poetry]] in the dialogue, titles, and themes of his films.


Spider-Man is one of the most popular and commercially successful superheroes.<ref>{{cite news|title=Why Spider-Man is popular.|url=http://abcnews.go.com/Entertainment/story?id=101230&page=1|accessdate=18 November 2010}}</ref> As Marvel's flagship character and company mascot, he has appeared in many forms of media, including several animated and live-action [[Spider-Man television series|television shows]], [[Print syndication|syndicated]] newspaper [[The Amazing Spider-Man#Newspaper comic strip|comic strips]], and a [[Spider-Man in film|series of films]] starring [[Tobey Maguire]] as the "friendly neighborhood" hero in the first three movies. [[Andrew Garfield]] will take over the role of Spider-Man in a [[The Amazing Spider-Man (2012 film)|planned reboot of the films]].<ref>{{cite web|url=http://www.comingsoon.net/news/movienews.php?id=67468 |title=It's Official! Andrew Garfield to Play Spider-Man! |publisher=Comingsoon.net |date=2010-07-02 |accessdate=2010-10-09}}</ref> [[Reeve Carney]] stars as Spider-Man in the 2010 [[Broadway musical]] ''[[Spider-Man: Turn Off the Dark]]''.<ref>{{cite web|url=http://www.broadway.com/shows/spider-man-turn-off-the-dark/buzz/153279/complete-cast-announced-for-spider-man-turn-off-the-dark/ |title=Complete Cast Announced for Spider-Man: Turn Off the Dark |publisher=Broadway.com |date=2010-08-16 |accessdate=2010-10-09}}</ref> Spider-Man placed 3rd on IGN's Top 100 Comic Book Heroes of All Time in 2011.<ref>{{cite web|url=http://www.ign.com/top/comic-book-heroes/3|title=IGN's Top 100 Comic Book Heroes|accessdate=2011-05-09}}</ref>
==Early life and background==
[[Image:UT honarhaye ziba.jpg|thumb|right|Kiarostami majored in painting and graphic design at the [[Tehran University]] College of [[Fine art|Fine Arts]]]]
Kiarostami was born in [[Tehran]]. His first artistic experience was painting, which he continued into his late teens, winning a painting competition at the age of eighteen shortly before he left home to study at the [[Tehran University]] School of Fine Arts.<ref name="AKzeitgeit"/> There he majored in painting and graphic design, and supported his degree by working as a traffic policeman. As a painter, designer, and illustrator, Kiarostami worked in advertising in the 1960s, designing [[poster]]s and creating commercials. Between 1962 and 1966, he shot around 150 advertisements for Iranian television. Towards the late 1960s, he began creating credit titles for films (including ''[[Qeysar (film)|Gheysar]]'' by [[Masoud Kimiai]]) and illustrating children's books.<ref name="AKzeitgeit"/><ref name="AKOpenDemocracy">{{Cite web
| url = http://www.opendemocracy.net/arts-Film/article_815.jsp
| title = 10 x Ten: Kiarostami’s journey
| accessdate=2007-02-23
| year = 2002
| author = Ed Hayes
| publisher = Open Democracy
}}</ref>


==Publication history==
In 1969, Abbas married Parvin Amir-Gholi but later divorced her in 1982; they had two sons, Ahmad (born 1971) and Bahman (1978). At the age of fifteen, [[Bahman Kiarostami]] became a director and cinematographer by directing a documentary ''[[Journey to the Land of the Traveller]]'' in 1993.
===Creation and development===
[[File:Spider Strikes v1n1 i05 Wentworth.png|thumb|right|Richard Wentworth a.k.a. the [[Spider (pulp fiction)|Spider]] in the pulp magazine ''The Spider''. Stan Lee stated that it was the name of this character that inspired him to create a character that would become Spider-Man.<ref name="LeeMair"/>]]
In 1962, with the success of the [[Fantastic Four]], Marvel Comics editor and head writer [[Stan Lee]] was casting about for a new superhero idea. He said the idea for Spider-Man arose from a surge in teenage demand for comic books, and the desire to create a character with whom teens could identify.<ref name="DeFalco" />{{rp|1}} In his autobiography, Lee cites the non-superhuman [[pulp magazine]] crime fighter the [[Spider (pulp fiction)|Spider]] (see also [[The Spider's Web]] and [[The Spider Returns]]) as a great influence,<ref name="LeeMair">{{Cite book|author=[[Stan Lee|Lee, Stan]]; Mair, George|title=Excelsior!: The Amazing Life of Stan Lee|publisher=Fireside|year=2002|isbn=0-684-87305-2}}</ref>{{rp|130}} and in a multitude of print and video interviews, Lee stated he was further inspired by seeing a [[spider]] climb up a wall—adding in his autobiography that he has told that story so often he has become unsure of whether or not this is true.<ref group="note">{{Cite book|author=[[Stan Lee|Lee, Stan]]; Mair, George|title=Excelsior!: The Amazing Life of Stan Lee|publisher=Fireside|year=2002|isbn=0-684-87305-2|quote=He goes further in his biography, claiming that even while pitching the concept to publisher Martin Goodman, "I can't remember if that was literally true or not, but I thought it would lend a big color to my pitch."}}</ref> Looking back on the creation of Spider-Man, 1990s Marvel editor-in-chief [[Tom DeFalco]] stated he did not believe that Spider-Man would have been given a chance in today's comics world, where new characters are vetted with test audiences and marketers.<ref name="DeFalco">{{Cite book|author=[[Tom DeFalco|DeFalco, Tom]]; [[Stan Lee|Lee, Stan]]|editor=O'Neill, Cynthia|title=Spider-Man: The Ultimate Guide|publisher=[[Dorling Kindersley]]|location=New York|isbn=078947946X|year=2001}}</ref>{{rp|9}} At that time, however, Lee had to get only the consent of Marvel publisher [[Martin Goodman (publisher)|Martin Goodman]] for the character's approval.<ref name="DeFalco" />{{rp|9}} In a 1986 interview, Lee described in detail his arguments to overcome Goodman's objections.<ref group="note">''[[Detroit Free Press]]'' interview with Stan Lee, quoted in ''The Steve Ditko Reader'' by [[Greg Theakston]] (Pure Imagination, Brooklyn, NY; ISBN 1-56685-011-8), p. 12 (unnumbered). "He gave me 1,000 reasons why Spider-Man would never work. Nobody likes spiders; it sounds too much like Superman; and how could a teenager be a superhero? Then I told him I wanted the character to be a very human guy, someone who makes mistakes, who worries, who gets acne, has trouble with his girlfriend, things like that. [Goodman replied,] 'He's a hero! He's not an average man!' I said, 'No, we make him an average man who happens to have super powers, that's what will make him good.' He told me I was crazy".</ref> Goodman eventually agreed to let Lee try out Spider-Man in the upcoming final issue of the canceled science-fiction and supernatural anthology series ''Amazing Adult Fantasy,'' which was renamed ''[[Amazing Fantasy]]'' for that single issue, #15 (Aug. 1962).<ref name="Daniels">{{Cite book|author=Daniels, Les|authorlink=Les Daniels|title=Marvel: Five Fabulous Decades of the World's Greatest Comics|publisher=Harry N. Abrams|location= New York|year=1991|isbn=0-8109-3821-9}}</ref>{{rp|95}}
<!--add in info about approving the character -->


Comics historian [[Greg Theakston]] says that Lee, after receiving Goodman's approval for the name Spider-Man and the "ordinary teen" concept, approached artist [[Jack Kirby]]. Kirby told Lee about an unpublished character on which he collaborated with [[Joe Simon]] in the 1950s, in which an orphaned boy living with an old couple finds a magic ring that granted him superhuman powers. Lee and Kirby "immediately sat down for a story conference" and Lee afterward directed Kirby to flesh out the character and draw some pages. Steve Ditko would be the inker.<ref group="note">{{Cite book|author=Ditko, Steve|authorlink=Steve Ditko|title=Alter Ego: The Comic Book Artist Collection|editor=Roy Thomas|publisher=[[TwoMorrows Publishing]]|year= 2000|isbn=1893905063|editor-link= Roy Thomas}} "'Stan said a new Marvel hero would be introduced in #15 [of what became titled ''Amazing Fantasy'']. He would be called Spider-Man. Jack would do the penciling and I was to ink the character.' At this point still, 'Stan said Spider-Man would be a teenager with a magic ring which could transform him into an adult hero—Spider-Man. I said it sounded like the [[Fly (Red Circle Comics)|Fly]], which Joe Simon had done for [[Archie Comics]]. Stan called Jack about it but I don't know what was discussed. I never talked to Jack about Spider-Man... Later, at some point, I was given the job of drawing Spider-Man'".</ref> When Kirby showed Lee the first six pages, Lee recalled, "I ''hated'' the way he was doing it! Not that he did it badly—it just wasn't the character I wanted; it was too heroic".<ref name="Theakston">{{Cite book|author=Theakston, Greg|title=The Steve Ditko Reader|publisher=Pure Imagination|location=Brooklyn, NY|year=2002|isbn=1-56685-011-8}}</ref>{{rp|12}} Lee turned to Ditko, who developed a visual style Lee found satisfactory. Ditko recalled:
Kiarostami was one of the few directors who remained in Iran after the [[Iranian revolution|1979 revolution]], when many of his colleagues fled to the west, and he believes that it was one of the most important decisions of his career. He has stated that his permanent base in Iran and his national identity have consolidated his ability as a filmmaker:
{{blockquote|One of the first things I did was to work up a costume. A vital, visual part of the character. I had to know how he looked ... before I did any breakdowns. For example: A clinging power so he wouldn't have hard shoes or boots, a hidden wrist-shooter versus a web gun and holster, etc. ... I wasn't sure Stan would like the idea of covering the character's face but I did it because it hid an obviously boyish face. It would also add mystery to the character....<ref name="ditko-history"/>}} Although the interior artwork was by Ditko alone, Lee rejected Ditko's cover art and commissioned Kirby to pencil a cover that Ditko inked.<ref name=gcd-af>[http://www.comics.org/series/1514/ ''Amazing Fantasy''] at the Grand Comics Database</ref> As Lee explained in 2010, "I think I had Jack sketch out a cover for it because I always had a lot of confidence in Jack's covers."<ref>{{cite news|url=https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B_lZovnpi13JNWQ5MDJmOTgtZDMzYy00MzI3LTllYjctNmM0ZWE4NjgyOWEx&hl=en_US | title= Deposition of Stan Lee|publisher = United States District Court, Southern District of New York: "Marvel Worldwide, Inc., et al., vs. Lisa R. Kirby, et al."| page= 37|location = [[Los Angeles]], [[California]]|date=December 8, 2010}}</ref>
<blockquote>When you take a tree that is rooted in the ground, and transfer it from one place to another, the tree will no longer bear fruit. And if it does, the fruit will not be as good as it was in its original place. This is a rule of nature. I think if I had left my country, I would be the same as the tree.-''Abbas Kiarostami''<ref name="GuardianLanscapes">{{Cite news
| url =http://www.guardian.co.uk/film/2005/apr/16/art
| title =Landscapes of the mind
| accessdate=2007-02-28
| author =
| publisher =Guardian Unlimited
| location=London
| first=Stuart
| last=Jeffries
| date=2005-11-29}}</ref></blockquote>


In an early recollection of the character's creation, Ditko described his and Lee's contributions in a mail interview with Gary Martin published in ''Comic Fan'' #2 (Summer 1965): "Stan Lee thought the name up. I did costume, web gimmick on wrist & spider signal."<ref>{{cite web|author=Ditko, Steve; Martin, Gary|year=1965|url=http://www.ditko.comics.org/ditko/artist/arcomicf.html|title= Steve Ditko - A Portrait of the Master|work=Comic Fan #2, Summer 1965|accessdate=2008-04-03}}{{Dead link|date=July 2010}}</ref> At the time, Ditko shared a Manhattan studio with noted [[Sexual fetishism|fetish]] artist [[Eric Stanton]], an art-school classmate who, in a 1988 interview with Theakston, recalled that although his contribution to Spider-Man was "almost nil", he and Ditko had "worked on storyboards together and I added a few ideas. But the whole thing was created by Steve on his own... I think I added the business about the webs coming out of his hands".<ref name="Theakston" />{{rp|14}}
Kiarostami frequently appears wearing dark-lensed spectacles or sunglasses. He wears them for medical reasons due to a [[Photophobia |sensitivity to light]].<ref name="Glasses">{{Cite web
| url =http://www.iranian.com/Books/2006/September/Memoir/index.html
| title =Besides censorship
| accessdate=2007-02-27
| year = 2006
| author = Ari Siletz
| publisher =Iranian.com
}}</ref>


Kirby disputed Lee's version of the story, and claimed Lee had minimal involvement in the character's creation. According to Kirby, the idea for Spider-Man had originated with Kirby and [[Joe Simon]], who in the 1950s had developed a character called The Silver Spider for the [[Crestwood Publications|Crestwood]] comic ''Black Magic,'' who was subsequently not used.<ref group="note">Jack Kirby in "Shop Talk: Jack Kirby", ''[[Will Eisner]]'s [[The Spirit|Spirit]] Magazine'' #39 (February 1982): "Spider-Man was discussed between [[Joe Simon]] and myself. It was the last thing Joe and I had discussed. We had a strip called 'The Silver Spider.' The Silver Spider was going into a magazine called ''Black Magic.'' ''Black Magic'' folded with [[Crestwood Publications|Crestwood]] (Simon & Kirby's 1950s comics company) and we were left with the script. I believe I said this could become a thing called Spider-Man, see, a superhero character. I had a lot of faith in the superhero character that they could be brought back... and I said Spider-Man would be a fine character to start with. But Joe had already moved on. So the idea was already there when I talked to Stan".</ref> Simon, in his 1990 autobiography, disputed Kirby's account, asserting that ''Black Magic'' was not a factor, and that he (Simon) devised the name "Spider-Man" (later changed to "The Silver Spider"), while Kirby outlined the character's story and powers. Simon later elaborated that his and Kirby's character conception became the basis for Simon's [[Archie Comics]] superhero the [[Fly (Red Circle Comics)|Fly]]. Artist [[Steve Ditko]] stated that Lee liked the name [[Hawkman]] from [[DC Comics]], and that "Spider-Man" was an outgrowth of that interest.<ref name="ditko-history">{{Cite book|author=Ditko, Steve|authorlink=Steve Ditko|title=Alter Ego: The Comic Book Artist Collection|editor=Roy Thomas|publisher=[[TwoMorrows Publishing]]|year= 2000|isbn=1893905063|editor-link= Roy Thomas}}</ref> The hyphen was included in the character's name to avoid confusion with DC Comics' [[Superman]].<ref>{{cite web|url=http://www.thehotspotonline.com/blahblah/articles/spidy.htm |title=Spider-Man: The Birth of an Icon |publisher=thehotspotonline.com |date= |accessdate=2010-04-10}}</ref>
In 2000, at the [[San Francisco Film Festival]] award ceremony, Kiarostami surprised everyone by giving away his [[Akira Kurosawa|Akira Kurosawa Prize]] for lifetime achievement in directing to veteran Iranian actor [[Behrooz Vossoughi]] for his contribution to Iranian Cinema.<ref name="Firouzan">{{Cite web
| url =http://www.firouzanfilms.com/Reviews/BookReviews/AriSiletz_NotQuiteAMemoir.html
| title = Not Quite a Memoire
| accessdate=2007-02-23
| date =
| author = Judy Stone | publisher = Firouzan Films
}}</ref><ref name="SC">{{Cite web
| url =http://archive.sensesofcinema.com/contents/festivals/00/7/sfiff.html
| title = 43rd Annual San Francisco International Film Festival
| year = 2000
| author = Jeff Lambert
| publisher = Sense of Cinema
}}</ref>


Simon concurred that Kirby had shown the original Spider-Man version to Lee, who liked the idea and assigned Kirby to draw sample pages of the new character but disliked the results—in Simon's description, "[[Captain America]] with cobwebs".<ref group="note">Simon, Joe, with Jim Simon. ''The Comic Book Makers'' (Crestwood/II, 1990) ISBN 1-887591-35-4. "There were a few holes in Jack's never-dependable memory. For instance, there was no ''Black Magic'' involved at all. ... Jack brought in the Spider-Man logo that I had loaned to him before we changed the name to The Silver Spider. Kirby laid out the story to Lee about the kid who finds a ring in a spiderweb, gets his powers from the ring, and goes forth to fight crime armed with The Silver Spider's old web-spinning pistol. Stan Lee said, 'Perfect, just what I want.' After obtaining permission from publisher [[Martin Goodman (publisher)|Martin Goodman]], Lee told Kirby to pencil-up an origin story. Kirby... using parts of an old rejected superhero named Night Fighter... revamped the old Silver Spider script, including revisions suggested by Lee. But when Kirby showed Lee the sample pages, it was Lee's turn to gripe. He had been expecting a skinny young kid who is transformed into a skinny young kid with spider powers. Kirby had him turn into... Captain America with cobwebs. He turned Spider-Man over to Steve Ditko, who... ignored Kirby's pages, tossed the character's magic ring, web-pistol and goggles... and completely redesigned Spider-Man's costume and equipment. In this life, he became high-school student Peter Parker, who gets his spider powers after being bitten by a radioactive spider. ... Lastly, the Spider-Man logo was redone and a dashing hyphen added".</ref> Writer [[Mark Evanier]] notes that Lee's reasoning that Kirby's character was too heroic seems unlikely—Kirby still drew the covers for ''Amazing Fantasy'' #15 and the first issue of ''The Amazing Spider-Man''. Evanier also disputes Kirby's given reason that he was "too busy" to also draw Spider-Man in addition to his other duties since Kirby was, said Evanier, "always busy".<ref name="Evanier">{{Cite book|author=[[Mark Evanier|Evanier, Mark]]; [[Neil Gaiman|Gaiman, Neil]]|year=2008|title=Kirby: King of Comics|publisher=Abrams|location=|isbn=081099447X}}</ref>{{rp|127}} Neither Lee's nor Kirby's explanation explains why key story elements like the magic ring were dropped; Evanier states that the most plausible explanation for the sudden change was that Goodman, or one of his assistants, decided that Spider-Man as drawn and envisioned by Kirby was too similar to the Fly.<ref name="Evanier" />{{rp|127}}
==Film career==


Author and Ditko scholar Blake Bell writes that it was Ditko who noted the similarities to the Fly. Ditko recalled that, "Stan called Jack about the Fly", adding that "[d]ays later, Stan told me I would be penciling the story panel breakdowns from Stan's synopsis". It was at this point that the nature of the strip changed. "Out went the magic ring, adult Spider-Man and whatever legend ideas that Spider-Man story would have contained". Lee gave Ditko the premise of a teenager bitten by a spider and developing powers, a premise Ditko would expand upon to the point he became what Bell describes as "the first [[work for hire]] artist of his generation to create and control the narrative arc of his series". On the issue of the initial creation, Ditko states, "I still don't know whose idea was Spider-Man".<ref>Bell, Blake. ''Strange and Stranger: The World of Steve Ditko'' (2008). Fantagraphic Books.p.54-57.</ref> Kirby noted in a 1971 interview that it was Ditko who "got ''Spider-Man'' to roll, and the thing caught on because of what he did".<ref>Skelly, Tim. "Interview II: 'I created an army of characters, and now my connection to them is lost.'" (Initially broadcast over WNUR-FM on "The Great Electric Bird," May 14, 1971. Transcribed and published in ''The Nostalgia Journal'' #27.) Reprinted in ''The Comics Journal Library Volume One: Jack Kirby'', George, Milo ed. May, 2002, Fantagraphics Books. p. 16</ref> Lee, while claiming credit for the initial idea, has acknowledged Ditko's role, stating, "If Steve wants to be called co-creator, I think he deserves [it]".<ref>Ross, Jonathon. ''In Search of Steve Ditko'', BBC 4, September 16, 2007.</ref> Writer Al Nickerson believes "that Stan Lee and Steve Ditko created the Spider-Man that we are familiar with today [but that] ultimately, Spider-Man came into existence, and prospered, through the efforts of not just one or two, but many, comic book creators".<ref>Nickerson, Al. "[http://alnickerson.blogspot.com/2009/02/who-really-created-spider-man.html Who Really Created Spider-Man?]" ''P.I.C. News'', 5 February 2009. Accessed 2009-02-17. [http://www.webcitation.org/5eea8wTXN Archived] 2009-02-17.</ref>
===1970s===
In 1969, when the [[Iranian New Wave]] began with [[Dariush Mehrjui]]'s film ''[[The Cow (film)|Gāv]]'', Kiarostami helped set up a filmmaking department at the Institute for Intellectual Development of Children and Young Adults (Kanun) in Tehran. Its debut production and Kiarostami's first film was the twelve-minute ''[[The Bread and Alley]]'' (1970), a [[Neorealism (art)|neo-realistic]] short film about an unfortunate schoolboy's confrontation with an aggressive dog. ''[[Breaktime]]'' followed in 1972. The department went on to become one of Iran’s most famous film studios, producing not only Kiarostami's films, but acclaimed Persian films such as ''[[The Runner (Davandeh)|The Runner]]'' and ''[[Bashu, the Little Stranger]]''.<ref name="AKzeitgeit"/>
[[Image:BreadAlley2.jpg|thumb|left|170px|A close-up of the boy in Kiarostami's first film ''[[The Bread and Alley]]'' (1970)]]


In 2008, an anonymous donor bequeathed the [[Library of Congress]] the original 24 pages of Ditko art of ''Amazing Fantasy'' #15, including Spider-Man's debut and the stories "The Bell-Ringer", "Man in the Mummy Case", and "There Are Martians Among Us".<ref>[http://www.loc.gov/today/pr/2008/08-089.html "Library of Congress Receives Original Drawings for the First Spider-Man Story, 'Amazing Fantasy' #15"], [[Library of Congress]] [[press release]], April 30, 2008. [http://www.webcitation.org/5q8m1QvXp WebCitation archive]. Additionally: Raymond, Matt. [http://blogs.loc.gov/loc/2008/04/library-of-congress-acquires-spider-mans-birth-certificate "Library of Congress Acquires Spider-Man's 'Birth Certificate'"], Library of Congress Blog, April 30, 2008.<!--not a personal blog; government/institutional and allowable per "professionals in the field on which they write" at [[WP:IRS]]--> [http://www.webcitation.org/5q8mun5gG WebCitation archive].</ref>
In the 1970s, as part of the Iranian cinematic renaissance, Kiarostami pursued an [[individualism|individualistic]] style of film making.<ref name="AKStrictFS">{{Cite web
| url = http://www.filmref.com/journal2002.html
| title = Notes on Close Up – Iranian Cinema: Past, Present and Future
| accessdate=2007-02-23
| year = 2002
| author = Hamid Dabashi
| publisher = Strictly Film School
}}</ref> When discussing his first film, he stated:
<blockquote>"''Bread and Alley'' was my first experience in cinema and I must say a very difficult one. I had to work with a very young child, a dog, and an unprofessional crew except for the cinematographer, who was nagging and complaining all the time. Well, the cinematographer, in a sense, was right because I did not follow the conventions of film making that he had become accustomed to."<ref name = "AKSynoptique"/>
</blockquote>


===Commercial success===
Following ''[[The Experience (film)|The Experience]]'' (1973), Kiarostami released ''[[The Traveller (film)|The Traveler]]'' (''Mossafer'') in 1974. ''The Traveller'' tells the story of Hassan Darabi, a troublesome, amoral ten-year-old boy in a small Iranian town. He wishes to see the [[Iran national football team]] play an important match in Tehran. In order to achieve that, he scams his friends and neighbors. After a number of adventures, he finally reaches Tehran stadium in time for the match. The film addresses the boy's determination in his goal, and his indifference to the effects of his actions on other people, particularly those closest to him. The film is an examination of human behavior and the balance of right and wrong. The film furthered Kiarostami's reputation of [[Realism (dramatic arts)|realism]], [[Diegesis|diegetic]] simplicity, and stylistic complexity, as well as showing a fascination with physical and spiritual journeys.<ref name="BBCAKseason">{{Cite web
[[File:Amazing Fantasy 15.jpg|thumb|''Amazing Fantasy'' #15 (Aug. 1962). The issue that first introduced the fictional character. It was a gateway to the commercial success to the superhero and inspired the launch of ''[[The Amazing Spider-Man]]'' comics. Cover art by [[Jack Kirby]] (penciller) & [[Steve Ditko]] (inker).<ref name="Daniels"/> ]]
| url = http://www.bbc.co.uk/films/festivals/abbas_kiarostami_2005.shtml
A few months after Spider-Man's introduction in ''Amazing Fantasy'' #15 (Aug. 1962), publisher Martin Goodman reviewed the sales figures for that issue and was shocked to find it to have been one of the nascent Marvel's highest-selling comics.<ref name="Daniels" />{{rp|97}} A solo [[ongoing series]] followed, beginning with ''[[The Amazing Spider-Man]]'' #1 (March 1963). The title eventually became Marvel's top-selling series<ref name="Wright"/>{{rp|211}} with the character swiftly becoming a cultural icon; a 1965 ''[[Esquire (magazine)|Esquire]]'' poll of college campuses found that college students ranked Spider-Man and fellow Marvel hero the [[Hulk (comics)|Hulk]] alongside [[Bob Dylan]] and [[Che Guevara]] as their favorite revolutionary icons. One interviewee selected Spider-Man because he was "beset by woes, money problems, and the question of existence. In short, he is one of us."<ref name="Wright" />{{rp|223}} Following Ditko's departure after issue #38 (July 1966), [[John Romita, Sr.]] replaced him as [[penciler]] and would draw the series for the next several years. In 1968, Romita would also draw the character's extra-length stories in the comics magazine ''[[The Spectacular Spider-Man#Magazine|The Spectacular Spider-Man]]'', a proto-[[graphic novel]] designed to appeal to older readers but which lasted only two issues.<ref>Saffel, Steve. ''Spider-Man the Icon: The Life and Times of a Pop Culture Phenomenon'' ([[Titan Books]], 2007) ISBN 978-1-84576-324-4, "A Not-So-Spectacular Experiment", p. 31</ref> Nonetheless, it represented the first Spider-Man spin-off publication, aside from the original series' [[annual publication|summer annuals]] that began in 1964.
| title = Abbas Kiarostami Season
| accessdate=2007-02-23
| year = 2005
| author = David Parkinson
| publisher = BBC
}}</ref>


An early 1970s Spider-Man story led to the revision of the [[Comics Code Authority|Comics Code]]. Previously, the Code forbade the depiction of the use of [[illegal drugs]], even negatively. However, in 1970, the [[Richard Nixon|Nixon]] administration's [[Department of Health, Education, and Welfare]] asked Stan Lee to publish an anti-drug message in one of Marvel's top-selling titles.<ref name="Wright" />{{rp|239}} Lee chose the top-selling [[Green Goblin Reborn!|''The Amazing Spider-Man;'' issues #96–98]] (May–July 1971) feature a [[story arc]] depicting the negative effects of drug use. In the story, Peter Parker's friend [[Harry Osborn]] becomes addicted to pills. When Spider-Man fights the [[Green Goblin]] (Norman Osborn, Harry's father), Spider-Man defeats the Green Goblin, by revealing Harry's drug addiction. While the story had a clear anti-drug message, the Comics Code Authority refused to issue its seal of approval. Marvel nevertheless published the three issues without the Comics Code Authority's approval or seal. The issues sold so well that the industry's self-censorship was undercut and the Code was subsequently revised.<ref name="Wright" />{{rp|239}}
In 1975, Kiarostami directed two short films ''[[So Can I]]'' and ''[[Two Solutions for One Problem]]''. In early 1976, he released ''[[Rang-ha (film)|Colors]]'', followed by the fifty-four minute film ''[[A Wedding Suit]]'', a story about three teenagers coming into conflict over a suit for a wedding.<ref name="C4AK">{{Cite web
| url = http://www.channel4.com/film/reviews/feature.jsp?id=145506&page=1
| title = Abbas Kiarostami Masterclass
| accessdate=2007-02-23
| date =
| author = Chris Payne
| publisher = Channel4
}}</ref><ref name="StanfordAK">{{Cite web
| url = http://www.stanford.edu/group/psa/events/1999-00/kiarostami/filmography.utf8.html
| title = Films by Abbas Kiarostami
| year = 1999
| author =
| publisher = Stanford University
}}</ref> Kiarostami's first [[feature film]] was the 112-minute ''[[The Report|Report]]'' (1977). It revolved around the life of a [[tax collector]] accused of accepting bribes; [[suicide]] was among its themes. In 1979, he produced and directed ''[[First Case, Second Case]]''.


In 1972, a second monthly [[ongoing series]] starring Spider-Man began: ''[[Marvel Team-Up]],'' in which Spider-Man was paired with other superheroes and villains. In 1976, his second solo series, ''[[Peter Parker, the Spectacular Spider-Man|The Spectacular Spider-Man]]'' began running parallel to the main series. A third series featuring Spider-Man, ''[[Web of Spider-Man]],'' launched in 1985, replacing ''[[Marvel Team-Up]]''. The launch of a fourth monthly title in 1990, the "adjectiveless" ''[[Peter Parker: Spider-Man|Spider-Man]]'' (with the storyline "[[Torment (comics)|Torment]]"), written and drawn by popular artist [[Todd McFarlane]], debuted with several different covers, all with the same interior content. The various versions combined sold over 3 million copies, an industry record at the time. There have generally been at least two ongoing Spider-Man series at any time. Several [[limited series]], [[One-shot (comics)|one-shots]], and loosely related comics have also been published, and Spider-Man makes frequent cameos and guest appearances in other comic series.<ref name="Wright" />{{rp|279}}
===1980s===
In the early 1980s, Kiarostami directed several [[short film]]s including ''[[Dental Hygiene]]'' (1980), ''[[Orderly or Disorderly]]'' (1981), and ''[[The Chorus (Kiarostami film)|The Chorus]]'' (1982). In 1983, he directed ''[[Fellow Citizen]]'', but it was not until 1987 that Abbas began to gain recognition outside of Iran with the release of ''[[Where Is the Friend's Home?]]''.


The original ''Amazing Spider-Man'' ran through issue #441 (Nov. 1998). Writer-artist [[John Byrne (comics)|John Byrne]] then revamped the origin of Spider-Man in the 13-issue limited series ''[[Spider-Man: Chapter One]]'' (Dec. 1998 - Oct. 1999, with an issue #0 midway through and some months containing two issues), similar to Byrne's adding details and some revisions to Superman's origin in [[DC Comics]]' ''[[The Man of Steel (comics)|The Man of Steel]]''.<ref name="Byrne">{{cite web | url=http://www.comicbookresources.com/?page=article&id=151=article | title=John Byrne: The Hidden Story | publisher=Comic book resources | accessdate=May 27, 2011 | author=Michael Thomas}}</ref> Running concurrently, ''The Amazing Spider-Man'' was restarted with vol. 2, #1 (Jan. 1999). With what would have been vol. 2, #59, Marvel reintroduced the original numbering, starting with #500 (Dec. 2003).
''Where Is the Friend's Home?'' tells a deceptively simple account of a conscientious eight-year-old schoolboy's quest to return his friend's notebook in a neighboring village lest his friend be expelled from school. The traditional beliefs of Iranian rural people were depicted throughout the movie. The film has been noted for its poetic use of the Iranian [[rural]] landscape and its earnest realism, both important elements of Kiarostami's work. Kiarostami also made the film from a child's point of view, without the condescending tone common to many films about children.<ref name="AKWorldRecord">{{Cite web
| url = http://www.eworldrecords.com/wherisfrienh.html
| title = Where Is the friend's home?
| accessdate=2007-02-27
| date =
| author = Rebecca Flint
| publisher = World records
}}</ref><ref name="AKzeitWFH">{{Cite web
| url = http://www.zeitgeistfilms.com/films/whereisthefriendshome/presskit.pdf
|format=PDF | title = Where Is the Friend's Home?
| accessdate=2007-02-27
| date =
| author = Chris Darke
| publisher = Zeitgeistfilms
| archiveurl = http://web.archive.org/web/20070127080038/http://www.zeitgeistfilms.com/films/whereisthefriendshome/presskit.pdf | archivedate = January 27, 2007}}</ref>


By the end of 2007, Spider-Man regularly appeared in ''The Amazing Spider-Man,'' ''[[The New Avengers (comics)|New Avengers]]'', ''[[Spider-Man Family]]'', and various limited series in mainstream Marvel Comics continuity, as well as in the [[Parallel universe (fiction)|alternate-universe]] series ''[[Spider-Girl|The Amazing Spider-Girl]],'' the [[Ultimate Marvel|Ultimate Universe]] title ''[[Ultimate Spider-Man]],'' the alternate-universe [[Preadolescence|tween]] series ''[[Spider-Man Loves Mary Jane]],'' the alternate-universe children's series ''[[Marvel Adventures Spider-Man]]'', and ''[[Marvel Adventures: The Avengers]].''
''Where Is the Friend's Home?'', ''[[And Life Goes On]]'' (1992) (also known as ''Life and Nothing More''), and ''[[Through the Olive Trees]]'' (1994) are described by critics as the ''[[Koker trilogy]]'', because all three films feature the village of [[Koker]] in northern Iran. The films are based around the [[1990 Manjil-Rudbar earthquake]] in which 40,000 people lost their lives; Kiarostami uses the themes of life, death, change, and continuity to connect the films. The trilogy went on to become successful in France in the 1990s and other countries such as the [[Netherlands]], [[Sweden]], Germany and [[Finland]].<ref name="AKBBC2005">{{Cite web
| url = http://www.bbc.co.uk/films/festivals/abbas_kiarostami_2005.shtml
| title = Abbas Kiarostami Season: National Film Theatre, 1st-31 May 2005
| accessdate=2007-02-23
| year = 2005
| author = David Parkinson
| publisher = BBC
}}</ref> However, Kiarostami does not consider the 3 films as part of a trilogy, suggesting instead that the last two titles plus ''Taste of Cherry'' (1997) comprise a trilogy, given their common theme – the preciousness of life.<ref name="CriterionAK">{{Cite web
| url = http://www.criterion.com/asp/release.asp?id=45&eid=63&section=essay
| title = Taste of Cherry
| accessdate=2007-02-23
| date =
| author = Godfrey Cheshire
| publisher = The Criterion Collection
}}</ref> In 1987, Kiarostami was involved in the screenwriting of ''[[Kelid|The Key]]'', which he edited but did not direct. In 1989, he released ''[[Homework (1989 film)|Homework]]''.


When primary series ''The Amazing Spider-Man'' reached issue #545 (Dec. 2007), Marvel dropped its spin-off ongoing series and instead began publishing ''The Amazing Spider-Man'' three times monthly, beginning with #546-549 (each Jan. 2008). The three times monthly scheduling of ''The Amazing Spider-Man'' lasted until November 2010 when the comic book was increased from 22 pages to 30 pages each issue and published only twice a month, beginning with #648-649 (each Nov. 2010). The following year (Nov. 2011) Marvel started publishing ''[[Avenging Spider-Man]]'' as the first spin-off ongoing series in addition to the still twice monthly ''The Amazing Spider-Man'' since the previous ones were cancelled at the end of 2007.
===1990s===
Kiarostami first film of the decade was ''[[Close-Up (film)|Close-Up]]'' (1990), which narrates the story of the real-life trial of a man who impersonated film-maker [[Mohsen Makhmalbaf]], conning a family into believing they would star in his new film. The family suspects theft as the motive for this charade, but the impersonator, Hossein Sabzian, argues that his motives were more complex. The part documentary, part staged film examines Sabzian's moral justification for usurping Makhmalbaf's identity, questioning his ability to sense his cultural and artistic flair.<ref name="AKslant">{{Cite web
| url = http://www.slantmagazine.com/film/film_review.asp?ID=101
| title = Close Up
| year = 2002
| author = Ed Gonzalez
| publisher = Slant Magazine
}}</ref><ref name="AKCombustibleCelluloid">{{Cite web
| url = http://www.combustiblecelluloid.com/closeup.shtml
| title = Close-Up: Holding a Mirror up to the Movies
| year = 2000
| author = Jeffrey M. Anderson
| publisher = Combustible Celluloid
| accessdate = 2007-02-22
}}</ref> ''Close-Up'' received praise from directors such as [[Quentin Tarantino]], [[Martin Scorsese]], [[Werner Herzog]], [[Jean-Luc Godard]], and [[Nanni Moretti]]<ref name="AKBfiVideoPublishing">{{Cite web
| url = http://www.amazon.co.uk/Close-Up-Hossain-Sabzian/dp/B00004CWIZ
| title = Close-Up
| year = 1998
| publisher = Bfi Video Publishing
}}</ref> and was released across Europe.<ref name="AKTheHindu">{{Cite web
| url = http://www.hinduonnet.com/thehindu/fr/2005/05/13/stories/2005051303400400.htm
| title = Celebrating film-making
| year = 2005
| author = Hemangini Gupta
| publisher = The Hindu
}}</ref>


==Comic book character==
In 1992, Kiarostami directed ''[[Life, and Nothing More...]]'', regarded by critics as the second film of the Koker trilogy. The film follows a father and his young son as they drive from Tehran to Koker in search of two young boys who they fear might have perished in the 1990 earthquake. As they travel through the devastated landscape, they meet earthquake survivors forced to carry on with their lives amid tragedy.<ref name="MMartyrAK">{{Cite web
[[Image:Spider-Man spider-bite.jpg|200px|thumb|left|The spider bite that gave Peter Parker his powers. ''[[Amazing Fantasy]]'' #15, art by [[Steve Ditko]].]]
| url = http://www.moviemartyr.com/1991/lifeandnothingmore.htm
In [[Forest Hills, Queens]], [[New York City]],<ref name=kempton /> [[high school]] student Peter Parker is a science- whiz orphan living with his [[Uncle Ben]] and [[Aunt May]]. As depicted in ''[[Amazing Fantasy]]'' #15 (Aug. 1962), he is bitten by a [[radioactive]] [[spider]] (erroneously classified as an [[insect]] in the panel) at a science exhibit and "acquires the agility and proportionate strength of an [[arachnid]]."<ref name="Debut">{{ Cite comic | writer=[[Stan Lee|Lee, Stan]] | artist=[[Steve Ditko|Ditko, Steve]] | story= | title=[[Amazing Fantasy]] | issue=15 |date = August 1962| publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref> Along with super strength, he gains the ability to adhere to walls and ceilings. Through his native knack for science, he develops a gadget that lets him fire adhesive webbing of his own design through small, wrist-mounted barrels. Initially seeking to capitalize on his new abilities, he dons a costume and, as "Spider-Man", becomes a novelty television star. However, "He blithely ignores the chance to stop a fleeing thief, [and] his indifference ironically catches up with him when the same criminal later robs and kills his Uncle Ben."<ref name=daniels95 /> Spider-Man tracks and subdues the killer and learns, in the story's next-to-last caption, "With great power there must also come—great responsibility!"<ref name=daniels95>
| title = Life and Nothing More… (Abbas Kiarostami) 1991
[[Les Daniels|Daniels, Les]]. ''Marvel: Five Fabulous Decades of the World's Greatest Comics'' (Harry N. Abrams, New York, 1991) ISBN 0-8109-3821-9, p. 95</ref>
| year = 2002
| author = Jeremy Heilman
| publisher = MovieMartyr
}}</ref><ref name="ChicagoReaderAK">{{Cite web
| url = http://www.chicagoreader.com/movies/archives/1998/0598/05298.html
| title = Fill In The Blanks
| year = 1997
| author = Jonathan Rosenbaum
| publisher = Chicago Reader
}}</ref><ref name="ZeitinfoAK">{{Cite web
| url = http://www.zeitgeistfilms.com/film.php?directoryname=andlifegoeson
| title = And Life Goes On (synopsis)
| date =
| author = Film Info
| publisher = Zeitgeistfilms
}}</ref>
That year Kiarostami won a [[Roberto Rossellini|Prix Roberto Rossellini]], the first professional film award of his career, for his direction of the film. The last film of the so-called ''Koker trilogy'' was ''Through the Olive Trees'' (1994), which turns a peripheral scene from ''Life and Nothing More'' into the central drama.<ref name="SenseCinemaAK1">{{Cite web
| url = http://www.sensesofcinema.com/2003/29/kiarostami_rural_space_and_place/
| title = Days in the Country: Representations of Rural Space ...
| year = 2003
| author = Stephen Bransford
| publisher = Sense of Cinema
}}</ref>
Critics such as [[Adrian Martin]] have called the style of filmmaking in the ''Koker trilogy'' as "diagrammatical", linking the zig-zagging patterns in the landscape and the geometry of forces of life and the world.<ref name="FilmIrelandAK1">{{Cite web
| url = http://www.filmireland.net/reviews/kiarostami.htm
| title = Kiarostami: The Art of Living
| date =
| author = Maximilian Le Cain
| publisher = Film Ireland
}}</ref><ref name="BFIAKWID">{{Cite web
| url = http://www.bfi.org.uk/sightandsound/issue/200505
| title = Where is the director?
| year = 2005
| author =
| publisher = British Film Institute
}}</ref> A flashback of the zigzag path in ''Life and Nothing More...'' (1992) in turn triggers the spectator’s memory of the previous film, ''Where Is the Friend’s Home?'' back in 1987, shot before the earthquake. This in turn symbolically links to post-earthquake reconstruction in ''Through the Olive Trees'' in 1994.


Despite his superpowers, Parker struggles to help his widowed aunt pay rent, is taunted by his peers—particularly football star [[Flash Thompson]]—and, as Spider-Man, engenders the editorial wrath of [[newspaper]] publisher [[J. Jonah Jameson]].<ref name=saffel21>Saffel, Steve. ''Spider-Man the Icon: The Life and Times of a Pop Culture Phenomenon'' ([[Titan Books]], 2007) ISBN 978-1-84576-324-4, p. 21</ref><ref>{{ Cite comic | writer=[[Stan Lee|Lee, Stan]] | artist=[[Steve Ditko|Ditko, Steve]] | story= Spider-Man"; "Spider-Man vs. The Chameleon"; "Duel to the Death with the Vulture; "The Uncanny Threat of the Terrible Tinkerer! | title=[[The Amazing Spider-Man]] | volume=1 | issue=1-2 | date= March, May 1963 | publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref> As he battles his enemies for the first time,<ref name=gcd>[http://www.comics.org/series/1570/ ''Amazing Spider-Man, The'' (Marvel, 1963 Series)] at the [[Grand Comics Database]]</ref> Parker finds juggling his personal life and costumed adventures difficult. In time, Peter graduates from high school,<ref>{{ Cite comic | writer=[[Stan Lee|Lee, Stan]] | artist=[[Steve Ditko|Ditko, Steve]] | story= The Menace of the Molten Man! | title=[[The Amazing Spider-Man]] | volume=1 | issue=28 | date= September 1965 | publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref> and enrolls at [[Empire State University]] (a fictional institution evoking the real-life [[Columbia University]] and [[New York University]]).,<ref name=saffel51>Saffel, p. 51</ref> where he meets roommate and best friend [[Harry Osborn]] and first girlfriend [[Gwen Stacy]],<ref name="mnyc">{{cite book | last = Sanderson | first = Peter | authorlink = | coauthors = | title = The Marvel Comics Guide to New York City | publisher = [[Pocket Books]] | year = 2007 | location = New York City | pages = 30–33 | url = | doi = | id = | isbn = 1-14653-141-6}}</ref> and Aunt May introduces him to [[Mary Jane Watson]].<ref name=gcd /><ref>{{ Cite comic | writer=[[Stan Lee|Lee, Stan]] | artist=[[John Romita, Sr.|Romita, John]] | story= The Birth of a Super-Hero! | title=[[The Amazing Spider-Man]] | volume=1 | issue=42 | date= November 1966| publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref><ref name=saffel27>Saffel, p. 27</ref> As Peter deals with Harry's drug problems, and Harry's father is revealed to be Spider-Man's nemesis the [[Green Goblin]], Peter even attempts to give up his costumed identity for a while.<ref>{{ Cite comic | writer=[[Stan Lee|Lee, Stan]] | penciller=[[John Romita, Sr.|Romita, John]] | inker=[[Mike Esposito (comics)|Mickey Demeo]] | story= Spider-Man No More! | title=[[The Amazing Spider-Man]] | volume=1 | issue=50 | date= July 1967 | publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref><ref>{{ Cite comic | writer=[[Stan Lee|Lee, Stan]] | penciller=[[Gil Kane|Kane, Gil]] | inker=[[Frank Giacoia|Giacoia, Frank]] | story= The Spider or the Man? | title=[[The Amazing Spider-Man]] | volume=1 | issue=100 | date= September 1971| publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref> Gwen's Stacy's father, [[New York City Police]] detective captain [[George Stacy]] is accidentally killed during a battle between Spider-Man and [[Doctor Octopus]] (#90, Nov. 1970).<ref name=saffel60>Saffel, p. 60</ref> In the course of his adventures Spider-Man has made a wide variety of friends and contacts within the superhero community, who often come to his aid when he faces problems that he cannot solve on his own.
In 1995, [[Miramax Films]] released ''Through the Olive Trees'' in the US theatrically. Kiarostami next wrote the screenplays for [[The Journey (1995 film)|''The Journey'']] and ''[[The White Balloon]]'' (1995), for his former assistant [[Jafar Panahi]].<ref name="AKzeitgeit"/> Between 1995 and 1996, he was involved in the production of ''[[Lumière and Company]]'', a collaboration with 40 other film directors. Kiarostami won the ''[[Palme d'Or]]'' (Golden Palm) award at the [[1997 Cannes Film Festival|Cannes Film Festival]] for ''[[Taste of Cherry]]'',<ref name="festival-cannes.com">{{Cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/4835/year/1997.html |title=Festival de Cannes: Taste of Cherry |accessdate=2009-09-23 |work=festival-cannes.com}}</ref> the tale of a man, Mr. Badii, determined to commit suicide. The film involved themes such as morality, the legitimacy of the act of suicide, and the meaning of compassion.<ref name="SenseCinemaSuicide">{{Cite web
| url = http://archive.sensesofcinema.com/contents/00/9/taste.html
| title = Concepts of Suicide in Kiarostami's Taste of Cherry
| year = 2000
| author = Constantine Santas
| publisher = Sense of Cinema
}}</ref>


In [[The Night Gwen Stacy Died|issue #121]] (June 1973),<ref name = gcd /> the Green Goblin throws [[Gwen Stacy]] from a tower of either the [[Brooklyn Bridge]] (as depicted in the art) or the [[George Washington Bridge]] (as given in the text).<ref>Saffel, p. 65, states, "In the battle that followed atop the Brooklyn Bridge (or was it the George Washington Bridge?)...." On page 66, Saffel reprints the panel of ''The Amazing Spider-Man'' #121, page 18, in which Spider-Man exclaims, "The George Washington Bridge! It figures Osborn would pick something named after his favorite president. He's got the same sort of hangup for dollar bills!" Saffel states, "The span portrayed...is the GW's more famous cousin, the Brooklyn Bridge. ... To address the contradiction in future reprints of the tale, though, Spider-Man's dialogue was altered so that he's referring to the Brooklyn Bridge. But the original snafu remains as one of the more visible errors in the history of comics."</ref><ref>Sanderson, ''Marvel Universe'', p. 84, notes, "[W]hile the script described the site of Gwen's demise as the George Washington Bridge, the art depicted the Brooklyn Bridge, and there is still no agreement as to where it actually took place."</ref> She dies during Spider-Man's rescue attempt; a note on the letters page of issue #125 states: "It saddens us to say that the [[Whiplash (medicine)|whiplash effect]] she underwent when Spidey's webbing stopped her so suddenly was, in fact, what killed her."<ref name=saffel65>Saffel, p. 65</ref> The following issue, the Goblin appears to accidentally kill himself in the ensuing battle with Spider-Man.<ref name="GwenDeath">{{ Cite comic | writer=[[Gerry Conway|Conway, Gerry]] | penciller=[[Gil Kane|Kane, Gil]] | inker=[[John Romita Sr.|Romita, John]] | story=The Night Gwen Stacy Died | title=[[The Amazing Spider-Man]] | volume=1 | issue=121 | date=June 1973 | publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref>
Kiarostami directed ''[[The Wind Will Carry Us]]'' in 1999, which won the Grand Jury Prize (Silver Lion) at the [[Venice Film Festival|Venice International Film Festival]]. The film contrasted rural and urban views on the dignity of labor, addressing themes of gender equality and the benefits of progress, by means of a stranger's sojourn in a remote [[Kurdistan|Kurdish]] village.<ref name="AKBBC2005"/> An interesting feature of the movie is that many of the characters are heard but not seen, and there are at least thirteen to fourteen characters in the film who remain invisible throughout.<ref name="GuardianUnlimitedinterview">{{Cite news
| url = http://www.guardian.co.uk/film/2005/apr/28/hayfilmfestival2005.guardianhayfestival
| title = Abbas Kiarostami, interview
| author =Geoff Andrew
| publisher = Guardian Unlimited
| location=London
| date=2005-05-25
| accessdate=2010-04-12}}</ref>


Working through his grief, Parker eventually develops tentative feelings toward Watson, and the two "become confidants rather than lovers."<ref name = Sanderson85>Sanderson, ''Marvel Universe'', p. 85</ref> Parker graduates from college in issue #185,<ref name=gcd /> and becomes involved with the shy Debra Whitman and the extroverted, flirtatious costumed thief Felicia Hardy, the [[Black Cat (comics)|Black Cat]],<ref name=sanderson83>Sanderson, ''Marvel Universe'', p. 83</ref> whom he meets in issue #194 (July 1979).<ref name=gcd />
===2000s===


From 1984 to 1988, Spider-Man wore a different costume than his original. Black with a white spider design, this new costume originated in the ''[[Secret Wars]]'' [[limited series]], on an alien planet where Spider-Man participates in a battle between Earth's major superheroes and villains.<ref>{{ Cite comic | writer=[[Jim Shooter|Shooter, Jim]] | penciller=[[Mike Zeck|Zeck, Michael]] | inker=[[John Beatty (illustrator)|Beatty, John]], [[Jack Abel|Abel, Jack]], and [[Mike Esposito (comics)|Esposito, Mike]] | story= Invasion | title=[[Secret Wars|Marvel Super-Heroes Secret Wars]] | volume=1 | issue=8 | date= December 1984| publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref> Not unexpectedly, the change to a longstanding character's iconic design met with controversy, "with many hardcore comics fans decrying it as tantamount to sacrilege. Spider-Man's traditional red and blue costume was iconic, they argued, on par with those of his D.C. rivals Superman and Batman."<ref name=cc>Leupp, Thomas. [http://www.reelzchannel.com/article.aspx?articleId=292 "Behind the Mask: The Story of Spider-Man's Black Costume"], ReelzChannel.com, 2007, n.d. [http://www.webcitation.org/5qn5Uiwyw WebCitation archive].</ref> The creators then revealed the costume was an alien [[Symbiote (comics)|symbiote]] which Spider-Man is able to reject after a difficult struggle,<ref>{{ Cite comic | writer=[[Louise Simonson|Simonson, Louise]] | penciller=[[Greg LaRocque|LaRocque, Greg]] | inker=[[Jim Mooney|Mooney, Jim]] and [[Vince Colletta|Colletta, Vince]] | story= 'Til Death Do Us Part! | title=[[Web of Spider-Man]] | volume=1 | issue=1 | date= April 1985| publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref> though the symbiote returns several times as [[Venom (comics)|Venom]] for revenge.<ref name=gcd />
In 2001, Kiarostami and his assistant, Seifollah Samadian, traveled to [[Kampala]], [[Uganda]] at the request of the [[United Nations]] [[International Fund for Agricultural Development]], to film a documentary about programs assisting Ugandan orphans. He stayed for ten days and made ''[[ABC Africa]]''. The trip was originally intended as a research in preparation for the actual filming, but Kiarostami ended up editing the entire film from the video footage obtained.<ref>Geoff Andrew, ''Ten'' (London: BFI Publishing, 2005), p. 35.</ref> Although Uganda's orphans are overwhelmingly the result of the [[HIV/AIDS in Africa|AIDS epidemic]], ''[[Time Out (company)|Time Out]]'' editor and [[BFI Southbank|National Film Theatre]] chief programmer Geoff Andrew stated about Kiarostami's film: "Like his previous four features, this film is not about death but life-and-death: how they're linked, and what attitude we might adopt with regard to their symbiotic inevitability."<ref>Geoff Andrew, ''Ten'', (London: BFI Publishing, 2005) p. 32.</ref>


Parker proposes to Watson in ''The Amazing Spider-Man'' #290 (July 1987), and she accepts two issues later, with [[The Wedding! (comics)|the wedding]] taking place in ''The Amazing Spider-Man Annual'' #21 (1987)—promoted with a real-life mock wedding using actors at [[Shea Stadium]], with Stan Lee officiating, on June 5, 1987.<ref name=saffel124>Saffel, p. 124</ref><ref name="Wedding">{{ Cite comic | writer=[[Jim Shooter|Shooter, Jim]] and [[David Michelinie|Michelinie, David]]| penciller=[[Paul Ryan (comics)|Ryan, Paul]] | inker=[[Vince Colletta|Colletta, Vince]] | story= The Wedding | title=[[The Amazing Spider-Man Annual]] | volume=1 | issue=21 | date= 1987| publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref> However, [[David Michelinie]], who scripted based on a plot by editor-in-chief [[Jim Shooter]], said in 2007, "I didn't think they actually should [have gotten] married. ... I had actually planned another version, one that wasn't used."<ref name=saffel124 /> In a controversial storyline, Peter becomes convinced that [[Ben Reilly]], the [[Scarlet Spider]] (a clone of Peter created by his college professor [[Jackal (Marvel Comics)|Miles Warren]]) is the real Peter Parker, and that he, Peter, is the clone. Peter gives up the Spider-Man identity to Reilly for a time, until Reilly is killed by the returning Green Goblin and revealed to be the clone after all.<ref name="Life of Reilly">{{cite web|archiveurl=http://web.archive.org/web/19960101-re_/http://www.newcomicreviews.com/GHM/specials/LifeOfReilly/|archivedate=1996-01-01|url=http://www.newcomicreviews.com/GHM/specials/LifeOfReilly/|publisher= NewComicsReviews.com|title= "Life of Reilly", 35-part series, ''GreyHaven Magazine'', 2003, n.d.}}</ref> In stories published in 2005 and 2006 (such as "[[Spider-Man: The Other|The Other]]"), he develops additional spider-like abilities including biological web-shooters, toxic stingers that extend from his forearms, the ability to stick individuals to his back, enhanced Spider-sense and night vision, and increased strength and speed. Peter later becomes a member of the [[New Avengers]], and reveals his civilian identity to the world,<ref>{{ Cite comic | writer=[[Mark Millar|Millar, Mark]]| penciller=[[Steve McNiven|McNiven, Steve]] | inker=[[Dexter Vines|Vines, Dexter]] | story= Civil War| title=[[Civil War (comics)|Civil War]] | volume=1 | issue=2 | date= August 2006| publisher=[[Marvel Comics]] | location=[[New York, NY]] }}</ref> furthering his already numerous problems. His marriage to Mary Jane and public unmasking are later erased in the controversial<ref name=OMDPart1p1>Weiland, Jonah. [http://www.comicbookresources.com/?page=article&id=12230 "The 'One More Day' Interviews with Joe Quesada, Pt. 1 of 5"], ''[[Newsarama]]'', December 28, 2007. [http://www.webcitation.org/5qkzIuMKI WebCitation archive].</ref> storyline "[[Spider-Man: One More Day|One More Day]]", in a [[Faustian bargain]] with the demon [[Mephisto (comics)|Mephisto]], resulting in several adjustments to the timeline, such as the resurrection of Harry Osborn, the erasure of Parker's marriage, and the return of his traditional tools and powers.<ref name="OneMoreDay">{{ Cite comic | writer=[[J. Michael Straczynski|Straczynski, J. Michael]] | penciller=[[Joe Quesada|Quesada, Joe]] | inker=Miki, Danny | story= One More Day Part 4 | title=[[The Amazing Spider-Man]] | volume= | issue=545 | date= Dec. 2007| publisher=[[Marvel Comics]] }}</ref>
The following year, Kiarostami directed ''[[Ten (film)|Ten]]'', revealing an unusual method of filmmaking and abandoning many scriptwriting conventions.<ref name="GuardianUnlimitedinterview"/> Kiarostami focused on the socio-political landscape of Iran, and the images are seen through the eyes of one woman as she drives through the streets of Tehran over a period of several days. Her journey is composed of ten conversations with various passengers, which include her sister, a hitchhiking prostitute and a jilted bride and her demanding young son. This style of filmmaking was praised by a number of professional film critics such as [[A. O. Scott]] in ''[[The New York Times]]'', who wrote that Kiarostami, "in addition to being perhaps the most internationally admired Iranian filmmaker of the past decade, is also among the world masters of automotive cinema...He understands the automobile as a place of reflection, observation and, above all, talk."<ref name="ZeitGeistTen">{{Cite web
| url = http://www.zeitgeistfilms.com/film.php?directoryname=ten
| title = Ten (film) synopsis
| accessdate=2007-02-23
| date =
| author = Ten info
| publisher = Zeitgeistfilms
}}</ref>


That storyline came at the behest of editor-in-chief [[Joe Quesada]], who said, "Peter being single is an intrinsic part of the very foundation of the world of Spider-Man".<ref name=OMDPart1p1/> It caused unusual public friction between Quesada and writer [[J. Michael Straczynski]], who "told Joe that I was going to take my name off the last two issues of the [story] arc" but was talked out of doing so.<ref name=OMDPart2p1>Weiland, Jonah. [http://www.comicbookresources.com/?page=article&id=12238 "The 'One More Day' Interviews with Joe Quesada, Pt. 2 of 5"], ''[[Newsarama]]'', December 31, 2007. [http://www.webcitation.org/5qkz3fKei WebCitation archive].</ref> At issue with Straczynski's climax to the arc, Quesada said, was
In 2003, Kiarostami directed ''[[Five (2003 film)|Five]]'', a poetic feature with no dialogue or characterization. It consists of five long shots of nature which are single-take sequences, shot with a hand-held [[DV]] camera, along the shores of the [[Caspian Sea]]. Although the film lacks a clear storyline, Geoff Andrew argues that the film is "more than just pretty pictures". He further adds, "Assembled in order, they comprise a kind of abstract or emotional narrative arc, which moves evocatively from separation and solitude to community, from motion to rest, near-silence to sound and song, light to darkness and back to light again, ending on a note of rebirth and regeneration."<ref>Geoff Andrew, ''Ten'', (London: BFI Publishing, 2005) pp 73–4.</ref> He further notes the degree of artifice concealed behind the apparent simplicity of the imagery.


{{bquote|...that we didn't receive the story and methodology to the resolution that we were all expecting. What made that very problematic is that we had four writers and artists well underway on [the sequel arc] "Brand New Day" that were expecting and needed "One More Day" to end in the way that we had all agreed it would. ... The fact that we had to ask for the story to move back to its original intent understandably made Joe upset and caused some major delays and page increases in the series. Also, the science that Joe was going to apply to the [[retcon]] of the marriage would have made over 30 years of Spider-Man books worthless, because they never would have had happened. ...[I]t would have reset way too many things outside of the Spider-Man titles. We just couldn't go there....<ref name=OMDPart2p1 />}}
Kiarostami produced ''[[10 on Ten]]'', a journal documentary that shares ten lessons on movie-making while driving through the locations of his past films, in 2004. The movie is shot on digital video with a stationary camera mounted inside the car, in a manner reminiscent of ''Taste of Cherry'' and ''Ten''. In 2005 and 2006, he directed ''[[The Roads of Kiarostami]]'', a 32-minute documentary that reflects on the power of landscape, combining austere black-and-white photographs with poetic observations, engaging music with political subject matter. Also in 2005, Kiarostami contributed the central section to ''[[Tickets (film)|Tickets]]'', a [[anthology film|portmanteau film]] set on a train traveling through Italy. The other segments were directed by [[Ken Loach]] and [[Ermanno Olmi]]. In 2008 he directed the feature ''[[Shirin (film)|Shirin]]''.
<!--Every current thing that goes on needs to be cited. If by an issue please use [[Template:Cite comics]] because citations are normally meant to be unbare. Sorry for the trouble but a certain editor is striving for this article to maybe be a Featured article in the future and everything needs to be reliable. Happy editing-->


===2010s===
===Personality===
{{quote box|width=33%|quote="People often say glibly that Marvel succeeded by blending super hero adventure stories with soap opera. What Lee and Ditko actually did in ''[[The Amazing Spider-Man]]'' was to make the series an ongoing novelistic chronicle of the lead character's life. Most super heroes had problems no more complex or relevant to their readers' lives than thwarting this month's bad guys.... Parker had far more serious concern in his life: coming to terms with the death of a loved one, falling in love for the first time, struggling to make a living, and undergoing crises of conscience."|source=Comics historian [[Peter Sanderson]]<ref>[[Peter Sanderson|Sanderson, Peter]]. ''Marvel Universe: The Complete Encyclopedia of Marvel's Greatest Characters'' (Harry N. Abrams, New York, 1998) ISBN 0-8109-8171-8, p. 75</ref>}}
''[[Certified Copy (film)|Certified Copy]]'' (2010) was made in Tuscany, Kiarostami's first film to be shot and produced outside Iran. The story of an encounter between a British man and a French woman, it was entered in competition for the [[Palme d'Or]] in the [[2010 Cannes Film Festival]].
As one contemporaneous journalist observed, "Spider-Man has a terrible identity problem, a marked [[inferiority complex]], and a fear of women. He is [[Antisocial personality disorder|anti-social]], [sic] [[castration]]-ridden, racked with [[Oedipus complex|Oedipal guilt]], and accident-prone ... [a] functioning [[neurotic]]".<ref name=kempton>Kempton, Sally, "Spiderman's [sic] Dilemma: Super-Anti-Hero in Forest Hills", ''[[The Village Voice]]'', April 1, 1965</ref> Agonizing over his choices, always attempting to do right, he is nonetheless viewed with suspicion by the authorities, who seem unsure as to whether he is a helpful vigilante or a clever criminal.<ref name=daniels96>Daniels, p. 96</ref>


Notes cultural historian Bradford W. Wright,
==Cinematic style==
{{blockquote|Spider-Man's plight was to be misunderstood and persecuted by the very public that he swore to protect. In the first issue of ''The Amazing Spider-Man'', J. Jonah Jameson, publisher of the ''[[Daily Bugle]]'', launches an editorial campaign against the "Spider-Man menace." The resulting negative publicity exacerbates popular suspicions about the mysterious Spider-Man and makes it impossible for him to earn any more money by performing. Eventually, the bad press leads the authorities to brand him an outlaw. Ironically, Peter finally lands a job as a photographer for Jameson's ''[[Daily Bugle]]''.<ref name="Wright"/>{{rp|212}}}}
{{Main|Cinematic style of Abbas Kiarostami}}


The mid-1960s stories reflected the political tensions of the time, as early 1960s Marvel stories had often dealt with the [[Cold War]] and [[Communism]].<ref name="Wright"/>{{rp|220-223}} As Wright observes,
===Individualism===
{{blockquote|From his high-school beginnings to his entry into college life, Spider-Man remained the superhero most relevant to the world of young people. Fittingly, then, his comic book also contained some of the earliest references to the politics of young people. In 1968, in the wake of actual militant [[student demonstration]]s at Columbia University, Peter Parker finds himself in the midst of similar unrest at his Empire State University. ... Peter has to reconcile his natural sympathy for the students with his assumed obligation to combat lawlessness as Spider-Man. As a law-upholding liberal, he finds himself caught between militant leftism and angry conservatives.<ref name="Wright"/>{{rp|234-235}}}}
Though Kiarostami has been compared to [[Satyajit Ray]], [[Vittorio De Sica|Vittorio de Sica]], [[Éric Rohmer]], and [[Jacques Tati]], his films exhibit a singular style, often employing techniques of his own invention.<ref name="AKzeitgeit"/>


==Other versions==
During the filming of ''The Bread and Alley'' in 1970, Kiarostami had major differences with his experienced [[cinematographer]] about how to film the boy and the attacking dog. While the cinematographer wanted separate shots of the boy approaching, a close up of his hand as he enters the house and closes the door, followed by a shot of the dog, Kiarostami believed that if the three scenes could be captured as a whole it would have a more profound impact in creating tension over the situation. That one shot took around forty days to complete, until Kiarostami was fully content with the scene. Abbas later commented that the breaking of scenes would have disrupted the [[rhythm]] and content of the film's structure, preferring to let the scene flow as one.<ref name = "AKSynoptique"/>
{{Main|Alternative versions of Spider-Man}}
Due to Spider-Man's popularity in the mainstream [[Marvel Universe]], publishers have been able to introduce different variations of Spider-Man outside of mainstream comics as well as reimagined stories in many other [[Multiverse (Marvel Comics)|multiversed]] spinoffs such as ''[[Ultimate Spider-Man]]'', ''[[Spider-Man 2099]]'', and ''[[Spider-Man: India]]''. Marvel has also made its own parodies of Spider-Man in comics such as ''[[Not Brand Echh]]'', which was published in the late 1960s and featured such characters as Peter Pooper alias Spidey-Man,<ref>{{cite web|url=http://www.dialbforblog.com/archives/180/ |title=examples of "Not Brand Echh" comics |publisher=Dialbforblog.com |date= |accessdate=2010-04-10}}</ref> and Peter Porker, the Spectacular [[Spider-Ham]], who appeared in the 1980s. The fictional character has also inspired a number of deratives such as a [[Spider-Man: The Manga|manga version of Spider-Man]] drawn by
[[Japan]]ese artist [[Ryoichi Ikegami]] as well as [[Hideshi Hino]]'s ''The Bug Boy'', which has been cited as inspired by Spider-Man.<ref>McCarthy, Helen, ''500 Manga Heroes and Villains'' (Barron's Educational Series, 2006), ISBN 978-0-7641-3201-8, {{Page needed|date=August 2010}}</ref> Also the French comic ''Télé-Junior'' published strips based on popular TV series. In the late 1970s, the publisher also produced original Spider-Man adventures. Artists included Gérald Forton, who later moved to America and worked for Marvel.<ref>{{cite web|author=Lambiek comic shop and studio in Amsterdam, The Netherlands |url=http://lambiek.net/artists/f/forton_gerald.htm |title=Lambiek Comiclopedia: Gérald Forton |publisher=Lambiek.net |date= |accessdate=2010-04-10}}</ref>


==Powers and equipment==
Unlike other directors, Kiarostami has showed no interest in staging extravagant [[combat]] scenes or complicated chase scenes in large-scale productions, instead attempting to mold the medium of film to his own specifications.<ref name="IHFAkrami"/> Kiarostami appeared to have settled on his style with the ''Koker trilogy'', which included a myriad of references to his own film material, connecting common themes and subject matter between each of the films. Stephen Bransford has contended that Kiarostami's films do not contain references to the work of other directors, but are fashioned in such a manner that they are self-referenced. Bransford believes his films are often fashioned into an ongoing dialectic with one film reflecting on and partially demystifying an earlier film.<ref name="SenseCinemaAK1"/>
{{Main|Spider-Man's powers and equipment}}
A bite from a radioactive spider on a school field trip causes a variety of changes in the body of Peter Parker and gives him superpowers.<ref name="Science">Gresh, Lois H., and Robert Weinberg. "The Science of Superheroes" (John Wiley & Sons, Inc., 2002) ISBN 0-471-02460-0 ([http://books.google.com/books?id=TCv0LyEnzsUC&pg=PA65#PPA66,M1 preview])</ref> In the original [[Stan Lee|Lee]]-[[Steve Ditko|Ditko]] stories, Spider-Man has the ability to cling to walls, superhuman strength, a sixth sense ("spider-sense") that alerts him to danger, perfect balance and equilibrium, as well as superhuman speed and agility. Some of his comic series have him shooting webs from his wrists.<ref name="Science"/> Brilliant, Parker excels in applied science, chemistry, and physics. The character was originally conceived by Stan Lee and Steve Ditko as intellectually gifted, but not a genius. However, later writers have depicted the character as a genius.<ref>{{Cite book|author=Kiefer, Kit; Couper-Smartt, Jonathan|year=2003|title=Marvel Encyclopedia Volume 4: Spider-Man|publisher=[[Marvel Comics]]|location=New York|isbn= 0-785-11304-5}}</ref> With his talents, he sews his own [[Spider-Man's costumes|costume]] to conceal his identity, and constructs many devices that complement his powers, most notably mechanical web-shooters.<ref name="Science"/> This mechanism ejects an advanced adhesive, releasing web-fluid in a variety of configurations, including a single rope-like strand to swing from, a net to bind enemies, a single strand for yanking opponents into objects, strands for whipping foreign objects at enemies, and a simple glob to foul machinery or blind an opponent. He can also weave the web material into simple forms like a shield, a spherical protection or hemispherical barrier, a club, or a hang-glider wing. Other equipment include spider-tracers (spider-shaped adhesive homing beacons keyed to his own spider-sense), a light beacon which can either be used as a flashlight or project a "Spider-Signal" design, and a specially modified camera that can take pictures automatically.


==Supporting characters==
Nevertheless, he continued experimenting with new modes of filming, using different directorial methods and techniques. A case in point is ''Ten'', which was filmed in a moving automobile in which Kiarostami was not present. He gave suggestions to the actors about what to do, and a camera placed on the [[dashboard]] then filmed them while they drove around Tehran.<ref name="AKSynoptique">{{Cite web
{{main|List of Spider-Man supporting characters}}
| url = http://www.synoptique.ca/core/en/articles/kiarostami_interview
Spider-Man has had a large range of [[supporting character]]s introduced in the comics that are essential in the issues and storylines that star him. After [[Richard and Mary Parker|his parents]] died, Peter Parker was raised by his loving aunt, [[Aunt May|May Parker]], and his uncle and father figure, [[Uncle Ben|Ben Parker]]. After Uncle Ben is murdered by a [[Burglar (comics)|burglar]], Aunt May is virtually Peter's only family, and she and Peter are very close.<ref name="Debut"/>
| title = A Talk with the Artist: Abbas Kiarostami in Conversation
| accessdate=2007-02-23
| year = 2004
| author = Shahin Parhami
| publisher =Synoptique
}}</ref><ref name="Liberty">{{Cite web
| url =http://www.macalester.edu/weekly/120503/arts01.html
| title =With liberty for all: the films of Kiarostami
| accessdate=2007-02-27
| year = 2003
| author = Ben Sachs
| publisher =The Mac Weekly
| archiveurl = http://web.archive.org/web/20060922072655/http://www.macalester.edu/weekly/120503/arts01.html | archivedate = September 22, 2006}}</ref> The camera was allowed to roll, capturing the faces of the people involved during their daily routine, using a series of extreme-close shots. ''Ten'' was an experiment that used digital cameras to virtually eliminate the director. This new direction towards a ''[[Cinematic style of Abbas Kiarostami#Kiarostami and digital micro cinema|Digital-Micro-Cinema]]'', is defined as a micro-budget filmmaking practice, allied with a digital production basis.<ref>Ganz, A. & Khatib, L. (2006) "Digital Cinema: The transformation of film practice and aesthetics" in New Cinemas, vol. 4 no 1, pp 21–36</ref>


[[J. Jonah Jameson]] is depicted as the publisher of the [[Daily Bugle]] and is Peter Parker's boss and as a harsh critic of Spider-Man, always saying negative things about the superhero in the newspaper. Although his publishing editor and confidant [[Robbie Robertson (comics)|Robbie Robertson]] is alway depicted as a supporter of both Peter Parker and Spider-Man.<ref name=saffel21/>
Kiarostami's cinema offers a different definition of ''film''. According to film professors such as Jamsheed Akrami of [[William Paterson University]], Kiarostami has consistently attempted to redefine [[film]] by lowering its full definition and forcing the increased involvement of the audience. In recent years, he has also progressively trimmed down the timespan of his films, which Akrami believes reduces the filmmaking experience from a collective endeavor to a purer, more basic form of artistic expression.<ref name="IHFAkrami">{{Cite web
| url = http://www.iranheritage.com/kiarostamiconference/abstracts_full.htm
| title = Cooling Down a 'Hot Medium'
| accessdate=2007-02-23
| year = 2005
| author = Jamsheed Akrami
| publisher =Iran Heritage Foundation
}}</ref>


[[Flash Thompson|Eugene "Flash" Thompson]] is commonly depicted as Parker's high school tormentor and [[bully]] but in some comic issues as a friend as well.<ref name=saffel21/> Meanwhile [[Harry Osborn]], son of Norman Osborn, is most commonly recognized as Peter's best friend but has also been depicted sometimes as his rival in the comics.<ref name = gcd />
===Fiction and non-fiction===
Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. Kiarostami has stated, "We can never get close to the truth except through lying."<ref name="AKzeitgeit"/><ref name="SenseCinemaBalloon">{{Cite web
| url = http://archive.sensesofcinema.com/contents/01/15/panahi_balloon.html
| title = The White Balloon and Iranian Cinema
| accessdate=2007-02-23
| year = 2001
| author = Adrian Martin
| publisher =Sense of Cinema
| archiveurl = http://web.archive.org/web/20070127060947/http://www.sensesofcinema.com/contents/01/15/panahi_balloon.html | archivedate = January 27, 2007}}</ref>


Peter Parker's [[romantic interest]]s range between his first crush, the fellow high-school student [[Liz Allan]],<ref name=saffel21/> to having his first date with Jameson's secretary, [[Betty Brant]],<ref name=origins>Lee, Stan, ''Origins of Marvel Comics'' ([[Marvel Fireside Books|Simon and Schuster/Fireside Books]], 1974)<!--Book predates publisher's change to ampersand in corporate name--> p. 137</ref> the secretary to ''[[Daily Bugle]]'' newspaper publisher J. Jonah Jameson. After his breakup with Betty Brant, Parker eventually falls in love with his college girlfriend [[Gwen Stacy]],<ref name = gcd /><ref name="mnyc"/> daughter of [[New York City Police Department]] detective captain [[George Stacy]], both of whom are later killed by [[supervillain]] enemies of Spider-Man.<ref name=saffel60/><ref name=saffel60/> [[Mary Jane Watson]] eventually became Peter's best friend and then his wife.<ref name=saffel124/> Felicia Hardy, the [[Black Cat (comics)|Black Cat]], is a reformed [[cat burglar]] who had been Spider-Man's girlfriend and partner at one point.<ref name=sanderson83/>
The boundary between fiction and non-fiction is significantly reduced in Kiarostami's cinema.<ref name="FuckFact">{{Cite web
| url = http://www.thestranger.com/seattle/Content?oid=1802
| title = Kiarostami's Genius Style
| accessdate=2007-02-23
| year = 1999
| author = Charles Mudede
| publisher =The Stranger
}}</ref> The French philosopher [[Jean-Luc Nancy]], writing about Kiarostami, and in particular ''Life and Nothing More...'', has argued that his films are neither quite fiction nor quite documentary. ''Life and Nothing More...'', he argues, is neither representation nor reportage, but rather ''"evidence"'':
<blockquote>[I]t all looks like reporting, but everything underscores (''indique à l'évidence'') that it is the fiction of a documentary (in fact, Kiarostami shot the film several months after the earthquake), and that it is rather a document about "fiction": not in the sense of imagining the unreal, but in the very specific and precise sense of the technique, of the ''art'' of constructing images. For the image by means of which, each time, each opens a world and precedes himself in it (''s'y précède'') is not pregiven (''donnée toute faite'') (as are those of dreams, phantasms or bad films): it is to be invented, cut and edited. Thus it is ''evidence'', insofar as, if one day I happen to ''look'' at my street on which I walk up and down ten times a day, I construct for an instant a new ''evidence'' of my street.<ref>Jean-Luc Nancy, "On Evidence: ''Life and Nothing More'', by Abbas Kiarostami," ''Discourse'' 21.1 (1999), p.82. Also, cf., Jean Luc Nancy. [http://www.egs.edu/faculty/jean-luc-nancy/articles/is-cinema-renewing-itself/ Is Cinema Renewing Itself?] ''Film-Philosophy''. vol. 6 no. 15, July 2002.</ref></blockquote>


===Enemies===
For Jean-Luc Nancy, this notion of cinema as ''"evidence"'', rather than as documentary or imagination, is tied to the way Kiarostami deals with life-and-death (cf. the remark by Geoff Andrew on ''ABC Africa'', cited above, to the effect that Kiarostami's films are not about death but about life-and-death):
{{Main|List of Spider-Man enemies}}
<blockquote> Existence resists the indifference of life-and-death, it lives beyond mechanical "life," it is always its own mourning, and its own joy. It becomes figure, image. It does not become alienated in images, but it is presented there: the images are the evidence of its existence, the objectivity of its assertion. This thought—which, for me, is the very thought of this film [''Life and Nothing More...'']—is a difficult thought, perhaps the most difficult. It's a slow thought, always under way, fraying a path so that the path itself becomes thought. It is that which frays images so that images become this thought, so that they become the evidence of this thought—and not in order to "represent" it.<ref>Jean-Luc Nancy, "On Evidence: ''Life and Nothing More'', by Abbas Kiarostami," ''Discourse'' 21.1 (1999), p.85–6.</ref></blockquote>
Writers and artists over many years have managed to establish a notable fictional [[rogues gallery]] of classic villains to face Spider-Man. As with Spider-Man, the majority of these villains' powers originate with scientific accidents or the misuse of scientific technology, trends include a few animal-themed costumes or powers and a few of them having green costume as well.<ref group="note">{{Cite journal|last=Mondello |first=Salvatore |year=2004 |month=Mar |title=Spider-Man: Superhero in the Liberal Tradition |journal=The Journal of Popular Culture |volume=X |issue=1 |pages=232–238 |doi=10.1111/j.0022-3840.1976.1001_232.x |url= |quote=a teenage superhero and middle-aged supervillains—an impressive rogues' gallery which includes such memorable knaves and grotesques as the Vulture,}}</ref> Early on Spider-Man faced [[supervillain]]s and foes such as the [[Chameleon (comics)|Chameleon]] (introduced in ''[[The Amazing Spider-Man]]'' #1, March 1963), the [[Vulture (comics)|Vulture]] (#2, May 1963), [[Doctor Octopus]] (#3, July 1963), the [[Sandman (Marvel Comics)|Sandman]] (#4, Sept. 1963), the [[Lizard (comics)|Lizard]] (#6, Nov. 1963), [[Electro (Marvel Comics)|Electro]] (#9, Feb. 1964), [[Mysterio]] (#13, June 1964), the [[Green Goblin]] (#14, July 1964), [[Kraven the Hunter]] (#15, Aug. 1964),the [[Mac Gargan|Scorpion]] (#20, Jan. 1965), the [[Rhino (comics)|Rhino]] (#41, Oct. 1966)—the first original Lee/Romita Spider-Man villain<ref>Saunders, et al, ''Marvel Chronicle'', p. 119</ref>—the [[Shocker (comics)|Shocker]] (#46, March 1967), and the physically powerful and well-connected criminal capo Wilson Fisk, also known as the [[Kingpin (comics)|Kingpin]].<ref name="gcd"/> The [[Clone Saga]] reveals a supporting character called Miles Warren turn into the villain called the [[Jackal (Marvel Comics)|Jackal]], the [[antagonist]] of the storyline.<ref name="mnyc">{{Cite book| last = Sanderson | first = Peter | authorlink = | coauthors = | title = The Marvel Comics Guide to New York City | publisher = [[Pocket Books]] | year = 2007 | location = New York City | pages = 30–33 | url = | doi = | id = | isbn = 1-14653-141-6}}</ref> After Norman Osborn was killed off, a new more mysterious villain called the [[Hobgoblin (comics)|Hobgoblin]] was developed to replace him in #238 until Norman was revised later on.<ref name="Goblin">{{cite book |title=Comics Creators on Spider-Man |last=DeFalco |first=Tom |year=2004 |publisher=Titan Books |isbn=1840234229 }}</ref> After Spider-Man turned away his dark costume, there revealed a new popular antagonist with [[Eddie Brock]] as [[Venom (Marvel Comics)|Venom]] in issue #298 (May 1988),<ref name=gcd /> although he was an ally to Spider-Man with a much darker version of him called [[Carnage (comics)|Carnage]] in issue #344.<ref>{{Cite comic
| cartoonist =
| story = 2004
| title = [[Maximum Carnage]]
| volume =
| issue =
| date = May - August [[1963 in comics|1963]]
| publisher = [[Marvel Comics]]
| location =
| page =
| panel =
| id =ISBN 0-7851-0987-0
}}</ref> At times these enemies of Spider-Man have formed groups such as the [[Sinister Six]] to oppose Spider-Man.<ref name="broadway">{{cite web | url=http://www.kansascity.com/2011/05/21/2892683/robert-trussell-broadways-spider.html | title=Broadway's 'Spider-Man spin's magic'. | publisher=Kansas City Star | accessdate=May 26, 2011}}</ref> The Green Goblin, Doctor Octopus and Venom are generally described or written as one of his [[archenemy|greatest and most ruthless enemies]].<ref>{{cite web| author=Goldstein, Hilary|date=2006-02-01|title = Spider-Man villain poll| work = [[IGN]]| url = http://uk.comics.ign.com/articles/684/684904p5.html| accessdate = 2006-10-01}}</ref><ref>{{cite web|url=http://blogzarro.com/2007/05/20-greatest-spider-man-villains/ |title=The 20 Greatest Spider-Man Villains |publisher=Blogzarro.com |date= |accessdate=2010-03-20}}</ref><ref>{{cite web|url=http://www.spiderfan.org/fans/topten/2003/0901.html |title=Fans : Top Ten : Top Ten Greatest Spider-Man Villains |publisher=SpiderFan.org |date=2003-09-01 |accessdate=2010-03-20}}</ref>


==Cultural influence==
In other words, wanting to accomplish more than just represent life and death as opposing forces, but rather to illustrate the way in which each element of nature is inextricably linked, Kiarostami has devised a cinema that does more than just present the viewer with the documentable "facts," but neither is it simply a matter of artifice. Because ''"existence"'' means more than simply life, it is projective, containing an irreducibly fictive element, but in this "being more than" life, it is therefore contaminated by mortality. Nancy is giving a clue, in other words, toward the interpretation of Kiarostami's statement that lying is the only way to truth.<ref>Jean-Luc Nancy, ''The Evidence of Film – Abbas Kiarostami'', Yves Gevaert, Belgium 2001, ISBN 2-930128-17-8</ref><ref name="Al-Ahram">{{Cite web
[[File:The Amazing Adventures of Spiderman Entrance Islands of Adventure.jpg|thumb|right|Spider-Man sign appearing in front of ''[[The Amazing Adventures of Spider-Man]]'' in [[Universal Studios Florida]]'s [[Islands of Adventure]].]]
| url = http://weekly.ahram.org.eg/2001/556/cu1.htm
Comic book writer-editor and historian Paul Kupperberg, in ''The Creation of Spider-Man'', calls the character's superpowers "nothing too original"; what was original was that outside his secret identity, he was a "nerdy high school student".<ref name="Kupperberg"/>{{rp|5}} Going against typical superhero fare, Spider-Man included "heavy doses of soap-opera and elements of melodrama." Kupperberg feels that Lee and Ditko had created something new in the world of comics: "the flawed superhero with everyday problems." This idea spawned a "comics revolution."<ref name="Kupperberg">{{Cite book|last=Kupperberg|first=Paul|title=The Creation of Spider-Man|publisher=The Rosen Publishing Group|year=2007|isbn=1404207635|url=http://books.google.com/?id=4m1IM8L0hr0C&pg=PP1&dq=spiderman+legacy+ditko+lee}}</ref>{{rp|6}} The insecurity and anxieties in Marvel's early 1960s comic books such as ''The Amazing Spider-Man'', ''The Incredible Hulk'', and ''[[X-Men]]'' ushered in a new type of superhero, very different from the certain and all-powerful superheroes before them, and changed the public's perception of them.<ref>{{Cite journal|last=Fleming|first=James R.|year=2006|title=Review of Superman on the Couch: What Superheroes Really Tell Us about Ourselves and Our Society. By Danny Fingeroth|journal=ImageText|publisher=University of Florida|issn=1549-6732|url=http://www.english.ufl.edu/imagetext/archives/v2_2/reviews/fleming.shtml|accessdate=Fleming}}</ref> Spider-Man has become one of the most recognizable fictional characters in the world, and has been used to sell toys, games, cereal, candy, soap, and many other products.<ref name="Knowles">{{Cite book|last=Knowles |first=Christopher |authorlink=Christopher Knowles (comics) |others=illustrated by [[Joseph Michael Linsner]] |title=[[Our Gods Wear Spandex]] |publisher=Weiser|year=2007|url= |page=[http://books.google.com/books?id=93Mv-1R5yskC&pg=PA139 139]}}</ref>
| title = Strategic lies
| accessdate=2007-02-23
| year = 2001
| author = Injy El-Kashef and Mohamed El-Assyouti
| publisher = Al-Ahram Weekly
}}</ref>


Spider-Man has become Marvel's flagship character, and has often been used as the company mascot. When Marvel became the first comic book company to be listed on the [[New York Stock Exchange]] in 1991, the ''Wall Street Journal'' announced "Spider-Man is coming to [[Wall Street]]"; the event was in turn promoted with an actor in a Spider-Man costume accompanying Stan Lee to the Stock Exchange.<ref name="Wright" />{{rp|254}} Since 1962, hundreds of millions of comics featuring the character have been sold around the world.<ref>{{cite web|url=http://www.screenindia.com/old/20020524/intcov.html|title=Spider-Man Weaving a spell|year=2002|publisher=Screen India|accessdate=2009-02-13}}</ref>
===Themes of life and death===
<!-- Deleted image removed: [[Image:1990Iranearthquake.jpg|thumb|right|The devastation caused by the [[1990 Iran earthquake]]]] -->
The concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works. In the ''Koker trilogy'', these themes play a central role. As illustrated in the aftermath of the 1990 Tehran earthquake disaster, they represent an ongoing opposition between life and death and the power of human resilience to overcome and defy destruction.


Spider-Man joined the [[Macy's Thanksgiving Day Parade]] from 1987 to 1998 as one of the balloon floats,<ref name=APCBS>[http://www.wcbs880.com/pages/5021372.php? "Spider-Man Returning to Macy's Thanksgiving Day Paradede"]{{dead link|date=June 2011}}, [[Associated Press]] via [[WCBS (AM)]], 17 August 2009</ref> designed by [[John Romita Sr.]],<ref name=sketch45>Spurlock, J. David, and John Romita. ''John Romita Sketchbook''.<!--Note: No "The" in copyrighted title or on book cover--> (Vanguard Productions: Lebanon, N.J. 2002) ISBN 1-887591-27-3, p. 45: Romita: "I designed the Spider-Man balloon float. When we went to Macy's to talk about it, Manny Bass was there. He's the genius who creates all these balloon floats. I gave him the sketches and he turned them into reality".</ref> one of the character's signature artists. A new, different Spider-Man balloon float is scheduled to appear from at least 2009 to 2011.<ref name=APCBS />
However, unlike the Koker films, which convey an instinctual thirst for survival, ''[[Taste of Cherry]]'' also explores the fragility of life and rhetorically focuses on the preciousness of life.<ref name="CriterionAK"/>


In 1981, skyscraper-safety activist [[Dan Goodwin]], wearing a Spider-Man suit, scaled the [[Sears Tower]] in [[Chicago]], [[Illinois]], the [[Renaissance Tower (Dallas)|Renaissance Tower]] in [[Dallas]], [[Texas]], and the [[John Hancock Center]] in Chicago, Illinois.<ref name="Skyscraper Defense">{{cite web|url=http://skyscraperdefense.com/building_climbs.html |title=Skyscraper Defense|publisher=|accessdate=2011-07-04}}</ref>
In contrast, symbols of [[death]] abound in ''The Wind Will Carry Us'' with the scenery of [[graveyard]], the imminence of the old woman’s passing, and the ancestors that the character Farzad mentions early in the film. Such devices prompt the viewer to consider the [[parameter]]s of the afterlife and immaterial existence. The viewer is asked to consider what constitutes the soul, and what happens to it after death. In discussing the film, Kiarostami has stated that he is the person who raises questions, rather than the person who answers them.<ref name="Beyond">{{Cite web
| url = http://www.reverseshot.com/legacy/spring04/wind.html
| title = Beyond Borders
| accessdate=2007-02-23
| year = 2004
| author = Michael J. Anderson
| publisher = reverse shot
}}</ref>


When Marvel wanted to issue a story dealing with the immediate aftermath of the [[September 11 attacks]], the company chose the December 2001 issue of ''The Amazing Spider-Man''.<ref>{{cite web| author=Yarbrough, Beau | date=2001-09-24 | title=Marvel to Take on World Trade Center Attack in "Amazing Spider-Man"| work=[[Comic Book Resources]] | url=http://www.comicbookresources.com/?page=article&id=418 | accessdate=2008-04-28}}</ref> In 2006, Spider-Man garnered major media coverage with the revelation of the character's secret identity,<ref>{{Cite news| author= Staff|date=2006-06-15| title=Spider-Man Removes Mask at Last | work=[[BBC]] | url=http://news.bbc.co.uk/1/hi/entertainment/5084326.stm | accessdate=2006-09-29}}</ref> an event detailed in a full page story in the ''[[New York Post]]'' before the issue containing the story was even released.<ref>{{cite web| author= Brady, Matt| date=2006-06-14| title=New York Post Spoils Civil War #2 | work=[[Newsarama]] | url=http://www.newsarama.com/marvelnew/CivilWar/CivilWar2_End.html | accessdate=2008-04-02 |archiveurl = http://web.archive.org/web/20071011110225/http://newsarama.com/marvelnew/CivilWar/CivilWar2_End.html |archivedate = October 11, 2007}}</ref>
Some film critics believe that the assemblage of light versus dark scenes in Kiarostami's film grammar, such as in ''Taste of Cherry'' and ''Wind Will Carry Us'', suggests the mutual existence of life with its endless possibilities and death as a factual moment of anyone’s life in his films.<ref name="Khatereh">{{Cite web
|url=http://www.informaworld.com/smpp/1658991057-83315461/title~content=t713427941~db=all
| title =Kiarostami and the Aesthetics of Modern Persian Poetry
| accessdate=2007-02-23
| year = 2006
| author = Khatereh Sheibani
| publisher =Taylor & Francis Group
}}</ref>
{{Clear}}


In 2008, Marvel announced plans to release a series of educational comics the following year in partnership with the United Nations, depicting Spider-Man alongside [[UN Peacekeeping Forces]] to highlight UN peacekeeping missions.<ref>{{Cite news|author=Lane, Thomas|date=2008-01-04|url=http://news.bbc.co.uk/1/hi/world/7172016.stm|title=Can Spider-Man help UN beat evil?|work=[[BBC]]|accessdate=2008-04-29}}</ref> A ''[[BusinessWeek]]'' article listed Spider-Man as one of the top ten most intelligent fictional characters in American comics.<ref>{{cite web| last = Pisani | first = Joseph | authorlink = Joseph Pisani | title = The Smartest Superheroes | publisher = Business Week Online | date = June 1, 2006 | url = http://images.businessweek.com/ss/06/05/smart_heroes/index_01.htm | accessdate = 2007-11-25}}</ref>
===Visual and audio techniques===


==In other media==
Kiarostami's style is notable for the use of panoramic long shots, such as in the closing sequences of ''Life and Nothing More'' and''Through the Olive Trees'', where the audience is intentionally distanced physically from the characters in order to stimulate reflection on their fate. ''Taste of Cherry'' is punctuated throughout by shots of this kind, including distant overhead shots of the suicidal Badii's car moving across the hills, usually while he is conversing with a passenger. However, the visual distancing techniques stand in juxtaposition to the sound of the dialog, which always remains in the foreground. Like the coexistence of a private and public space, or the frequent framing of landscapes through car windows, this fusion of distance with proximity can be seen as a way of generating suspense in the most mundane of moments.<ref name="ChicagoReaderAK"/>
{{Multiple image|direction=vertical|align=right|image1=Tobey Maguire 2007 Shankbone.jpg|caption1=|image2=Flickr - csztova - Andrew Garfield - TIFF 09' (1) cropped.jpg|width=115|caption2=[[Tobey Maguire]] (top) and [[Andrew Garfield]] (bottom) have both portrayed [[Spider-Man in film]].}}
{{Main|Spider-Man in other media}}
Spider-Man has appeared in comics, cartoons, movies, coloring books, novels, records, and children's books.<ref name="Knowles"/> On television, he appeared as the main character in the animated series ''[[Spider-Man (1967 TV series)|Spider-Man]],'' which aired from 1967–1970 on [[American Broadcasting Company|ABC]],<ref>{{cite web|url=http://www.ugo.com/comic-con/?cur=spiderman-1967|archiveurl=http://web.archive.org/web/20080424153033/http://www.ugo.com/comic-con/?cur=spiderman-1967|archivedate=2008-04-24|title=Spider-Man (1967)|publisher=[[UGO Networks]]|accessdate=2009-02-13}}</ref> the live-action series ''[[The Amazing Spider-Man (TV series)|The Amazing Spider-Man]]'' (1978–1979) starring [[Nicholas Hammond]], the [[Broadcast syndication|syndicated]] cartoon ''[[Spider-Man (1981 TV series)|Spider-Man]]'' (1981–1982), ''[[Spider-Man and His Amazing Friends]]'' (1981–1983), ''[[Spider-Man (1994 TV series)|Spider-Man: The Animated Series]]'' (1994–1998), ''[[Spider-Man Unlimited]]'' (1999–2000), ''[[Spider-Man: The New Animated Series]]'' (2003), and ''[[The Spectacular Spider-Man (TV series)|The Spectacular Spider-Man]]'' (2008–2009). A new animated series titled ''[[Ultimate Spider-Man (TV series)|Ultimate Spider-Man]]'', based on the [[Parallel universe (fiction)|alternate-universe]] comic-book series [[Ultimate Spider-Man|of the same name]], is scheduled to air on [[Disney XD]] in 2012.<ref>{{cite web|title=Ultimate Spider-Man|url=http://www.superherohype.com/features/articles/100587-animated-ultimate-spider-man-coming-to-disney-xd|accessdate=18 November 2010}}</ref>


A [[tokusatsu]] show featuring Spider-Man was produced by [[Toei Company|Toei]] and aired in Japan. It is commonly referred to by its Japanese pronunciation "[[Supaidā-Man]]".<ref>{{cite web|title=Japanese Spider-Man|url=http://marvel.com/movies/spider-man.japanese_spiderman|accessdate=18 November 2010}}</ref> Spider-Man also appeared in other print forms besides the comics, including novels, [[children's literature|children's books]], and the daily newspaper [[comic strip]] ''[[The Amazing Spider-Man (comic strip)|The Amazing Spider-Man]]'', which debuted in January 1977, with the earliest installments written by Stan Lee and drawn by [[John Romita, Sr.]]<ref>{{cite web|url=http://www.keefestudios.com/studio/romita/interview.htm |title=John Romita Interview |publisher=www.keefestudios.com |accessdate=2009-02-08}}</ref> Spider-Man has been adapted to other media including games, toys, collectibles, and miscellaneous memorabilia, and has appeared as the main character in numerous [[Spider-Man video games|computer and video games]] on over 15 gaming platforms.
This relationship between distance and intimacy, between imagery and sound, is also present in the opening sequence to ''The Wind Will Carry Us''. Michael J. Anderson has argued that such a [[Theme (arts)|thematic]] application of this central concept of ''presence without presence'', through using such techniques, and by often referring to characters which the viewer does not see and sometimes not hear directly affects the nature and concept of space in the [[Geography|geographical]] framework in which the world is portrayed. Kiarostami's use of sound and [[image]]ry conveys a world beyond what is directly visible and/or audible, which Anderson believes emphasizes the interconnectedness and shrinking of time and space in the modern world of [[telecommunications]].<ref name="Beyond"/>


Spider-Man was also featured in a [[Spider-Man in film|trilogy of live-action films]] directed by [[Sam Raimi]] and starring [[Tobey Maguire]] as the title superhero. The first ''[[Spider-Man (film)|Spider-Man]]'' film was released on May 3, 2002; its first sequel, ''[[Spider-Man 2]]'', was released on June 30, 2004 and the next sequel, ''[[Spider-Man 3]]'', was released on May 4, 2007. A third sequel was originally scheduled to be released in 2011, however [[Sony]] later decided the franchise would be rebooted and a new director and cast would be introduced. The reboot, titled ''[[The Amazing Spider-Man (2012 film)|The Amazing Spider-Man]]'', is scheduled to be released on July 3, 2012, directed by [[Marc Webb]] and starring [[Andrew Garfield]] as the new Spider-Man.<ref>{{Cite news| url=http://www.deadline.com/2010/01/urgent-spider-man-4-scrapped-as-is-raimi-and-cast-out-franchise-reboot-planned/| title=EXCLUSIVE: 'Spider-Man 4' Scrapped; Sam Rami & Tobey Maguire & Cast Out; Franchise Reboot for 2012 | publisher=Deadline.com | date=January 11, 2010 |accessdate=January 11, 2010}}</ref><ref>{{cite web|url=http://blog.zap2it.com/frominsidethebox/2010/01/spider-man-film-gets-reboot-sam-raimi-tobey-maguire-out.html |title="Spider-Man" Film Gets Reboot; Sam Raimi, Tobey Maguire Out |publisher= Zap2It.com |date=January 11, 2010|accessdate=January 11, 2010}}</ref><ref>{{cite news| url=http://www.wate.com/Global/story.asp?S=11804771 | title=Maguire, Raimi out of 'Spider-Man' franchise | publisher=[[Yahoo! Movies]] |agency=Associated Press | date=January 11, 2010 | accessdate=January 11, 2010}}{{dead link|date=October 2010}}</ref><ref>{{cite web|first=Carl |last=DiOrio |url=http://www.hollywoodreporter.com/hr/content_display/news/e3i0040e099982664b684cff507e86c3a14 |title='Spider-Man' reboot will be in 3D |publisher=Hollywoodreporter.com |date=2010-02-10 |accessdate=2010-03-20}} {{Dead link|date=October 2010|bot=H3llBot}}</ref><ref>{{cite web|first=Jeff |last=Leins |url=http://www.newsinfilm.com/2010/07/01/andrew-garfield-is-the-new-spider-man/ |title=Andrew Garfield is the New Spider-Man |publisher=NewsinFilm.com |date=2010-07-01 |accessdate=2010-07-01}}</ref>
Other commentators such as [[Film criticism|film critic]] Ben Zipper believe that Kiarostami’s work as a landscape artist is evident in his compositional distant shots of the dry hills throughout a number of his films directly impacting on his construction on the rural landscapes within his films.<ref name="Khatereh"/>


A [[Broadway musical]], ''[[Spider-Man: Turn Off the Dark]]'', began previews on November 14, 2010 at the [[Foxwoods Theatre]] on [[Broadway theatre|Broadway]], with the official opening night on June 14, 2011.<ref name=Lustig>Lustig, Jay. [http://www.nj.com/entertainment/music/index.ssf/2011/01/spider-man_turn_off_the_dark_-.html "''Spider-Man: Turn off the Dark''"]. [[New Jersey On-Line]]. January 18, 2011. Retrieved January 25, 2011.</ref><ref name=playaug>Gans, Andrew. [http://www.playbill.com/news/article/141945-Reeve-Carney-Jennifer-Damiano-Patrick-Page-to-Star-in-Spider-Man-Performances-Begin-in-November "Reeve Carney, Jennifer Damiano, Patrick Page to Star in Spider-Man; Performances Begin in November"]. Playbill.com, August 10, 2010</ref> The music and lyrics were written by [[Bono]] and [[The Edge]] of the [[Rock music|rock]] group [[U2]], with a book by [[Julie Taymor]], [[Glen Berger]], [[Roberto Aguirre-Sacasa]].<ref>{{cite web|url=http://spidermanonbroadway.marvel.com/ |title=SpidermanBroadway.Marvel.com |publisher=Spidermanonbroadway.marvel.com |date= |accessdate=2010-04-10}}</ref> ''Turn Off the Dark'' is currently the most expensive musical in Broadway history, costing an estimated $70 million.<ref name="March">Hetrick, Adam. [http://www.playbill.com/news/article/146654-Troubled-Spider-Man-Turn-Off-the-Dark-Delays-Broadway-Opening-Again "Troubled ''Spider-Man Turn Off the Dark'' Delays Broadway Opening Again"]. Playbill.com. January 13, 2011. Retrieved January 15, 2011.</ref> In addition, the show's unusually high running costs are reported to be about $1.2 million per week.<ref>[http://theweek.com/article/index/206033/spider-man-the-musical-an-instant-guide "Could Spider-Man the Musical be the 'biggest disaster in Broadway history'?"]. ''[[The Week]]''. August 13, 2010 (updated November 4, 2010).</ref>
===Poetry and imagery===
[[Ahmad Karimi-Hakkak]], of the [[University of Maryland, College Park|University of Maryland]], argues that one aspect of Kiarostami's cinematic style is that he is able to capture the essence of [[Persian literature|Persian poetry]] and create poetic imagery within the landscape of his films. In several of his movies such as ''Where is the Friend's Home'' and ''The Wind Will Carry Us'', classical Persian poetry is directly quoted in the film, highlighting the artistic link and intimate connection between them. This in turn reflects on the connection between the past and present, between continuity and change.<ref name="Hakkak-poetry">Karimi-Hakkak, Ahmad. "From Kinetic Poetics to a Poetic Cinema: Abbas Kiarostami and the Esthetics of Persian Poetry." University of Maryland (2005)</ref>
[[Image:Khayam.jpg|thumb|right|Tomb of [[Khayyam]], Persian poet and philosopher in [[Nishapur]]]]
The characters recite poems mainly from classical Persian poet [[Omar Khayyám]] or modern Persian poets such as [[Sohrab Sepehri]] and [[Forough Farrokhzad]]. One scene in ''The Wind Will Carry Us'' has a long shot of a wheat field with rippling golden crops through which the doctor, accompanied by the filmmaker, is riding his scooter in a twisting road. In response to the comment that the other world is a better place than this one, the doctor recites this poem of Khayyam:<ref name="Khatereh"/>


==Awards and honors==
{{cquote|They promise of houries in heaven<br />
From the character's inception, Spider-Man stories have won numerous awards, including:
But I would say wine is better<br />
* [[Alley Award#1962|1962]] [[Alley Award]]: Best Short Story—"Origin of Spider-Man" by Stan Lee and Steve Ditko, ''Amazing Fantasy'' #15
Take the present to the promises<br />
* [[Alley Award#1963|1963]] Alley Award: Best Comic: Adventure Hero title—''The Amazing Spider-Man''
A drum sounds melodious from distance}}<!-- Whose translation of the poem is this? If it's Fitzgerald, maybe we should add another one that is more faithful to the original?-->
* 1963 Alley Award: Top Hero—Spider-Man

* [[Alley Award#1964|1964]] Alley Award: Best Adventure Hero Comic Book—''The Amazing Spider-Man''
However, the aesthetic element involved with the poetry goes much farther back in time and is used more subtly than these examples suggest. Beyond issues of adaptation of text to film, Kiarostami often begins with an insistent will to give visual embodiment to certain specific image-making techniques in Persian poetry, both classical and modern. This prominently results in enunciating a larger [[Philosophy|philosophical]] position, namely the ontological oneness of poetry and film.<ref name="Hakkak-poetry"/>
* 1964 Alley Award: Best Giant Comic - ''The Amazing Spider-Man Annual'' #1

* 1964 Alley Award: Best Hero—Spider-Man
It has been argued that the creative merit of Kiarostami's adaptation of Sohrab Sepehri and Forough Farrokhzad's poems extends the domain of textual transformation. Adaptation is defined as the transformation of a prior to a new text. Sima Daad of the [[University of Washington]] contends that Kiarostami's adaptation arrives at the theoretical realm of adaptation by expanding its limit from inter-textual potential to trans-generic potential.<ref name="SimaDaad">{{Cite web
* [[Alley Award#1965|1965]] Alley Award: Best Adventure Hero Comic Book—''The Amazing Spider-Man''
| url =http://www.iranheritage.com/kiarostamiconference/abstracts_full.htm
* 1965 Alley Award: Best Hero—Spider-Man
| title =Adaption, Fidelity, and Transformation: Kiarostami and the Modernist Poetry of Iran
* [[Alley Award#1966|1966]] Alley Award: Best Comic Magazine: Adventure Book with the Main Character in the Title—''The Amazing Spider-Man''
| accessdate=2007-02-23
* 1966 Alley Award: Best Full-Length Story - "How Green was My Goblin", by Stan Lee & John Romita, Sr., ''The Amazing Spider-Man'' #39
| year = 2005
* [[Alley Award#1967|1967]] Alley Award: Best Comic Magazine: Adventure Book with the Main Character in the Title—''The Amazing Spider-Man''
| author = Sima Daad
* 1967 Alley Award Popularity Poll: Best Costumed or Powered Hero—Spider-Man
| publisher =Iran Heritage Foundation
* 1967 Alley Award Popularity Poll: Best Male Normal Supporting Character—[[J. Jonah Jameson]], ''The Amazing Spider-Man''
}}</ref>
* 1967 Alley Award Popularity Poll: Best Female Normal Supporting Character—[[Mary Jane Watson]], ''The Amazing Spider-Man''

* [[Alley Award#1968|1968]] Alley Award Popularity Poll: Best Adventure Hero Strip—''The Amazing Spider-Man''
===Spirituality===
* 1968 Alley Award Popularity Poll: Best Supporting Character - J. Jonah Jameson, ''The Amazing Spider-Man''
Kiarostami's films often reflect upon immaterial concepts such as soul and afterlife. At times, however, the very concept of the spiritual seems to be contradicted by the medium itself, given that it has no inherent means to confer the metaphysical. Some film theorists have argued that ''The Wind Will Carry Us'' provides a template by which a filmmaker can communicate [[metaphysics|metaphysical]] reality. The limits of the frame, the material representation of a space in dialog with another that is not represented, physically become metaphors for the relationship between this world and those which may exist apart from it. By limiting the space of the [[mise en scène]], Kiarostami expands the space of the art.<ref name="Beyond"/>
* [[Alley Award#1969|1969]] Alley Award Popularity Poll: Best Adventure Hero Strip—''The Amazing Spider-Man''

* 1997 [[Eisner Award]]: Best Artist/Penciller/Inker or Penciller/Inker Team—1997 Al Williamson, Best Inker: ''[[Untold Tales of Spider-Man]]'' #17-18
Kiarostami's "complex" sound-images and philosophical approach have caused frequent comparisons with "mystical" filmmakers such as [[Andrei Tarkovsky]] and [[Robert Bresson]]. Irrespective of substantial cultural differences, much of western writing about Kiarostami positions him as the Iranian equivalent of such directors, by virtue of universal austere, "spiritual" poetics and moral commitment.<ref name="Hamish">{{Cite web
* 2002 Eisner Award: Best Serialized Story—''The Amazing Spider-Man'' vol. 2, #30–35: "Coming Home", by [[J. Michael Straczynski]], [[John Romita, Jr.]], and Scott Hanna
| url =http://esvc001106.wic016u.server-web.com/contents/books/06/38/cinema_kiarostami.html
* No date: ''[[Empire (magazine)|Empire]]'' magazine's fifth-greatest comic book character.<ref>{{cite web|url=http://www.empireonline.com/50greatestcomiccharacters/default.asp?c=5 | title=The 50 Greatest Comic Book Characters|publisher=Empire Online|accessdate=2009-02-08}}</ref>
| title =The Cinema of Abbas Kiarostami by Alberto Elena
* No date: Spider-Man was the #1 [[superhero]] on [[Bravo (US TV channel)|Bravo]]'s Ultimate Super Heroes, Vixens, and Villains show.<ref>{{cite web|url=http://www.tvguide.com/detail/tv-show.aspx?tvobjectid=191868&more=ucepisodelist&episodeid=4615590 |title=Ultimate Super Heroes, Vixens, and Villains Episode Guide 2005 - Ultimate Super Villains |publisher=TVGuide.com |date= |accessdate=2010-10-09}}</ref>
| accessdate=2007-02-23
* No date: Fandomania.com rated him as #7 on their ''100 Greatest Fictional Characters'' list.<ref>{{cite web | url=http://fandomania.com/100-greatest-fictional-characters-10-6/ | title=The 100 Greatest Fictional Characters | work=Fandomania | accessdate=September 23, 2010}}</ref>
| year = 2005
| author = Hamish Ford
| publisher =Sense of Cinema
}}</ref> Some draw parallels between certain imagery in Kiarostami's films with that of [[Sufi]] concepts.<ref name="Pak">{{Cite web
| url = http://www.iranheritage.org/kiarostamiconference/abstracts_full.htm#j
| title = Religion and Spirituality in Kiarostami's Works
| accessdate=2007-02-23
| year = 2005
| author = Nacim Pak
| publisher = Iran Heritage Foundation
}}</ref>

However, differing viewpoints have arisen about this issue. While a vast majority of English-language writers, such as David Sterritt and Spanish film professor Alberto Elena, interpret Kiarostami's films as spiritual films, other critics including [[David Walsh (writer)|David Walsh]] and Hamish Ford have diminished its influence in his films.<ref name="CriterionAK"/><ref name="Hamish"/><ref name="Pak"/> <!-- What do they think instead? -->

==Filmography==
{{Main|Abbas Kiarostami filmography}}

==Poetry and photography==

Kiarostami, along with [[Jean Cocteau]], [[Derek Jarman]], and [[Gulzar (lyricist)|Gulzar]], is part of a tradition of filmmakers whose artistic expressions are not restricted to one medium, but who show the ability to use other forms such as [[poetry]], [[set design]]s, [[painting]], or [[photography]] to relate their interpretation of the world we live in and to illustrate their understanding of our preoccupations and identities.<ref name="Farzad">{{Cite web
| url = http://www.iranheritage.com/kiarostamiconference/abstracts_full.htm
| title = Simplicity and Bliss: Poems of Abbas Kiarostami
| accessdate=2007-02-23
| year = 2005
| author = Narguess Farzad
| publisher =Iran Heritage Foundation
}}</ref>

Kiarostami is also a noted [[photographer]] and poet. A bilingual collection of more than 200 of his poems, ''Walking with the Wind'', was published by [[Harvard University Press]]. His photographic work includes ''Untitled Photographs'', a collection of over thirty photographs, essentially of snow landscapes, taken in his hometown Tehran, between 1978 and 2003. In 1999, He also published a collection of his poems.<ref name="AKzeitgeit"/><ref>[http://www.jornaldeleiria.pt/index.php?article=1026&visual=1 ''Kiarostami mostra fotos de neve'' (Kiarostami shows snow photographs)] (Portuguese) – a newspaper article on the display of ''Untitled Photographs'' in [[Lisbon]].</ref>

Riccardo Zipoli, from the [[University of Venice|Università Ca' Foscari Venezia]] in [[Venice]], has examined some aspects of the relations and interconnections between Kiarostami's poems and his films. The results of the analysis reveal how Kiarostami's treatment of this theme is similar in his poems and films.<ref name="RiccardoZipoli">{{Cite web
| url = http://www.iranheritage.org/kiarostamiconference/abstracts_full.htm#n
| title = Uncertain Reality: A Topos in Kiarostami's Poems and Films
| accessdate=2007-02-23
| year = 2005
| author = Riccardo Zipoli
| publisher =Iran Heritage Foundation
}}</ref>
<!--Copyeditor's Note: The following sentence seems too lengthy & complex-->
Kiarostami's poetry is reminiscent of the later nature poems of the Persian painter-poet, [[Sohrab Sepehri]]. On the other hand, the succinct allusion to [[Philosophy|philosophical]] truths without the need for deliberation, the non-judgmental tone of the poetic voice, and the structure of the poem—absence of personal pronouns, adverbs or over reliance on adjectives—as well as the lines containing a ''kigo'' (a season word) gives much of this poetry a [[Haiku]]esque characteristic.<ref name="Farzad"/>

==Reception and criticism==

Kiarostami has received worldwide acclaim for his work from both audiences and critics, and, in 1999, he was unequivocally voted the most important film director of the 1990s by two international critics' polls.<ref name="Dorna">{{Cite web
| url = http://www.brightlightsfilm.com/35/iraniancinema.html
| title = Close Up: Iranian Cinema Past Present and Future, by Hamid Dabashi.
| accessdate=2007-02-23
| year = 2002
| author = Dorna Khazeni
| publisher =Brightlightsfilms
}}</ref> Four of his films were placed in the top six of Cinematheque Ontario's Best of the '90s poll.<ref name="Eye">{{Cite web
| url = http://www.eyeweekly.com/eye/issue/issue_05.02.02/film/kiarostami.php
| title = Carried by the wind: Films by Abbas Kiarostami
| accessdate=2007-02-23
| year = 2002
| author = Jason Anderson
| publisher =Eye Weekly
}}</ref> He has gained recognition from film theorists, critics, as well as peers such as [[Jean-Luc Godard]], [[Nanni Moretti]] (who made a short film about opening one of Kiarostami's films in his theater in Rome), [[Chris Marker]], [[Ray Carney]], and [[Akira Kurosawa]], who said of Kiarostami's films: "Words cannot describe my feelings about them ... When [[Satyajit Ray]] passed on, I was very depressed. But after seeing Kiarostami’s films, I thanked God for giving us just the right person to take his place."<ref name="AKzeitgeit">{{Cite web
| url = http://www.zeitgeistfilms.com/director.php?director_id=33
| title = Abbas Kiarostami: Biography
| accessdate=2007-02-23
| publisher = Zeitgeist, the spirit of the time
}}</ref><ref name="AKNEFilm">{{Cite web
| url = http://www.newenglandfilm.com/news/archives/01november/carney.htm
| title = Carney on Cassavetes: Film critic Ray Carney sheds light on the work of legendary indie filmmaker, John Cassavetes.
| accessdate=2007-02-23
| year = 2001
| author = Cynthia Rockwell
| publisher = NEFilm
}}</ref>
Critically acclaimed directors such as [[Martin Scorsese]] have commented that "Kiarostami represents the highest level of artistry in the cinema."<ref name="Martyr">{{Cite web
| url = http://www.countercurrents.org/arts-jeffries250405.htm
| title = Abbas Kiarostami – Not A Martyr
| accessdate=2007-02-23
| year = 2005
| author = Stuart Jeffries
| publisher =''[[The Guardian]]''
}}</ref> In 2006, ''[[The Guardian]]'''s panel of critics ranked Kiarostami as the best contemporary non-American film director.<ref name="PanelofCritics">{{Cite news
| url = http://film.guardian.co.uk/features/page/0,11456,1082823,00.html
| title = The world's 40 best directors
| accessdate=2007-02-23
| year = 2006
| author = Panel of critics
| publisher =''The Guardian''
| location=London}}</ref>

Nevertheless, critics such as [[Jonathan Rosenbaum]] have argued that "there's no getting around the fact that the movies of Abbas Kiarostami divide audiences—in this country, in his native Iran, and everywhere else they're shown."<ref name="ChicagoReaderAK"/> Rosenbaum argues that disagreements and controversy over Kiarostami's movies have arisen from his style of filmmaking because what in Hollywood would count as essential narrative information is frequently missing from Kiarostami's films. Camera placement, likewise, often defies standard audience expectations. In the closing sequences of ''Life and Nothing More'' and ''Through the Olive Trees'', the audience is forced to imagine missing scenes. In ''Homework'' and ''Close-Up'', parts of the sound track have been masked, or drop in and out. It has also been argued that the subtlety of Kiarostami's form of cinematic expression is resistant to critical analysis.<ref>[[Daniel Ross (Australian philosopher and filmmaker)|Daniel Ross]], [http://www.latrobe.edu.au/screeningthepast/20/10.html Review of Geoff Andrew, ''Ten''.]</ref>

While Kiarostami has won significant acclaim in Europe for several of his films, the [[Iranian government]] has refused to permit the screening of his films in his native Iran. Kiarostami has responded, "The government has decided not to show any of my films for the past 10 years... I think they don't understand my films and so prevent them being shown just in case there is a message they don't want to get out".<ref name="Martyr"/>
Kiarostami has faced opposition in the United States as well. In 2002, he was refused a [[Visa (document)|visa]] to attend the [[New York Film Festival]] in the wake of the [[September 11, 2001 attacks|September 11, 2001 attacks on the World Trade Center]].<ref name="Salon">{{Cite web
| url = http://dir.salon.com/story/ent/movies/2002/09/27/kiarostami/index.html
| title = Iran's leading filmmaker denied U.S. visa
| accessdate=2007-02-23
| year = 2002
| author = Andrew O'Hehir
| publisher =Salon.com
}}</ref><ref name="BBCvisa">{{Cite news
| url = http://news.bbc.co.uk/2/hi/entertainment/film/2321051.stm
| title = Iranian director hands back award
| accessdate=2007-02-23
| author =
| publisher =BBC
| date=2002-10-17}}</ref> Festival director [[Richard Peña]], who had invited him said, "It's a terrible sign of what's happening in my country today that no one seems to realize or care about the kind of negative signal this sends out to the entire [[Muslim]] world".<ref name="Martyr"/> [[Finland|Finnish]] film director [[Aki Kaurismäki]] boycotted the festival in protest.<ref name="HRW">{{Cite web
| url = http://www.hrw.org/iff/2002/kiarostami.html
| title =Abbas Kiarostami Controversy at the 40th NYFF
| accessdate=2007-02-23
| year = 2002
| author = Celestine Bohlen
| publisher =Human Rights Watch
}}</ref> Kiarostami had been invited by the [[New York Film Festival|New York International Film Festival]], as well as [[Ohio University]] and [[Harvard University]].<ref name="Entry">{{Cite web
| url =http://www.iranian.com/Arts/2002/September/Kia/index.html
| title =No entry for Kiarostami
| accessdate=2007-02-23
| year = 2002
| author = Jacques Mandelbaum
| publisher =Le Monde
}}</ref>

In 2005, [[London Film School]] organized a workshop as well as festival of Kiarostami’s work, titled "Abbas Kiarostami: Visions of the Artist". Ben Gibson, Director of the London Film School, said, "Very few people have the creative and intellectual clarity to invent cinema from its most basic elements, from the ground up. We are very lucky to have the chance to see a master like Kiarostami thinking on his feet."<ref name="Pars">{{Cite web
| url =http://www.parstimes.com/film/kiarostami_workshop.html
| title =Abbas Kiarostami workshop 2–10 May 2005
| accessdate=2007-02-23
| year = 2005
| author =
| publisher = Pars times
}}</ref>

In 2007, [[The Museum of Modern Art]] and [[P.S.1 Contemporary Art Center]] co-organized a festival of the Kiarostami's work, titled "Abbas Kiarostami: Image Maker".<ref name="MoMfestival">{{Cite web
| url =http://www.moma.org/exhibitions/exhibitions.php?id=3955
| title =Abbas Kiarostami: Image Maker
| accessdate=2007-02-28
| year = 2007
| author =
| publisher =Museum of Modern Art
|archiveurl = http://web.archive.org/web/20070503103415/http://www.moma.org/exhibitions/exhibitions.php?id=3955 |archivedate = May 3, 2007}}</ref> Kiarostami and his cinematic style have been the subject of several books and two films, ''[[Opening Day of Close-Up|Il Giorno della prima di Close Up]]'' (1996), directed by [[Nanni Moretti]] and ''Abbas Kiarostami: The Art of Living'' (2003), directed by Fergus Daly. Abbas Kiarostami is also a member of the advisory board of [[World Cinema Foundation]]. The project was founded by Martin Scorsese and aimed at finding and reconstructing world cinema films that have been long neglected.<ref name="KiarostamiWCF1">{{Cite news
| url =http://www.usatoday.com/life/movies/news/2007-05-22-scorsese_N.htm
| title =Martin Scorsese goes global
| accessdate=2007-05-29
| author =
| publisher =US today
| date=2007-05-22}}</ref><ref name="KiarostamiWCF2">{{Cite web
| url =http://www.presstv.ir/detail.aspx?id=10752&sectionid=351020105
| title =Kiarostami joins Scorsese project
| accessdate=2007-05-29
| year = 2007
| author =
| publisher =PRESS TV
}}</ref> Austrian director [[Michael Haneke]] has admired the work of Abbas Kiarostami as one of the best.<ref>{{Cite news |url=http://www.nytimes.com/2007/09/23/magazine/23haneke-t.html?pagewanted=5&8br |title=Minister of Fear |publisher=New York Times |first=John |last=Wray |date=2007-09-23 |accessdate=2008-10-24}}</ref>

==Honors and awards==
{{Main|List of awards won by Abbas Kiarostami}}

Kiarostami has won the admiration of audiences and critics worldwide and received at least seventy awards up to the year 2000.<ref name="KiarostamiAwards">{{Cite web
| url =http://www.sensesofcinema.com/2002/great-directors/kiarostami/
| title = Abbas Kiarostami
| accessdate=2007-02-27
| year = 2002
| author = Mehrnaz Saeed-Vafa
| publisher = Sense of Cinema
| archiveurl = http://web.archive.org/web/20070217223813/http://www.sensesofcinema.com/contents/directors/02/kiarostami.html | archivedate = February 17, 2007}}</ref> Here are some representatives:

* [[Roberto Rossellini|Prix Roberto Rossellini]] (1992)
* Prix Cine Decouvertes (1992)
* [[François Truffaut]] Award (1993)
* [[Pier Paolo Pasolini]] Award (1995)
* [[Federico Fellini]] Gold Medal, [[UNESCO]] (1997)
* [[Palme d'Or]], [[Cannes Film Festival|Cannes Festival]] (1997)
* Honorary Golden Alexander Prize, [[International Thessaloniki Film Festival|Thessaloniki Film Festival]] (1999)
* [[Silver Lion]], [[Venice Film Festival]] (1999)
* [[Akira Kurosawa]] Award (2000)
* [[Honorary doctorate]], [[École Normale Supérieure]] (2003)
* [[Konrad Wolf]] Prize (2003)
* President of the Jury for [[Caméra d'Or|Caméra d'Or Award]], Cannes Festival (2005)
* [[Fellow]]ship of the [[British Film Institute]] (2005)
* [[Leopard of Honour|Gold Leopard of Honor]], [[Locarno International Film Festival|Locarno film festival]] (2005)
* [[Henri Langlois|Prix Henri-Langlois]] Prize (2006)
* Honorary doctorate, [[University of Toulouse]] (2007)
* World's great masters, [[Kolkata Film Festival]] (2007)
* Glory to the Filmmaker Award, Venice Film Festival (2008)
* Honorary doctorate, [[University of Paris]] (2010)

==Film festival work==

Kiarostami was a jury member at numerous film festivals, most notably the [[Cannes Film Festival]] in [[1993 Cannes Film Festival|1993]], [[2002 Cannes Film Festival|2002]] and [[2005 Cannes Film Festival|2005]]. He was also the president of the [[Caméra d'Or]] Jury in Cannes Film Festival 2005.

Some representatives:<ref name="IndiePix">{{Cite web
| url =http://www2.indiepix.net/creator/creator.pl?id=1503
| title = Abbas Kiarostami
| accessdate=2007-02-23
| year = 2004
| author =
| publisher = IndiePix
}}</ref><ref name="CannesAK">{{Cite web
| url =http://www.festival-cannes.com/en/archives/artist/id/1114.html
| title = Abbas Kiarostami
| accessdate=2007-02-23
| date =
| author =
| publisher = Cannes Film Festival
}}</ref><ref name="ShortfilmAK">{{Cite news
| url =http://www.variety.com/article/VR1117966653.html?categoryId=19&cs=1
| title = Kiarostami to head Capalbio jury
| accessdate=2007-06-16
| author = Nick Vivarelli
| publisher = Variety.com
| date=2007-06-11
}}</ref>
*[[Venice Film Festival|Venice]] in 1985
*[[Locarno International Film Festival|Locarno]] in 1990
*[[1993 Cannes Film Festival|Cannes]] in 1993
*[[San Sebastian International Film Festival|San Sebastian]] in 1996.
*[[2002 Cannes Film Festival|Cannes]] in 2002
*[[São Paulo International Film Festival]] (2004)
*[[2005 Cannes Film Festival|Cannes]] in 2005 (president)
*Capalbio Cinema Festival in 2007 (president)
*[[Küstendorf Film and Music Festival]] (2011): Retrospecitve of greatness

==Books by Kiarostami==
*Abbas Kiarostami, ''[http://www.editions-eres.com/resultat.php?Id=2520 Havres]'' : French translation by Tayebeh Hashemi and Jean-Restom Nasser, ÉRÈS (PO&PSY); Bilingual edition (3 June 2010) ISBN 978-2-7492-1223-4.
*Abbas Kiarostami, ''Abbas Kiarostami'': Cahiers du Cinema Livres (24 October 1997) ISBN 2-86642-196-5.
*Abbas Kiarostami, ''Walking with the Wind (Voices and Visions in Film)'': English translation by [[Ahmad Karimi-Hakkak]] and Michael C. Beard, Harvard Film Archive; Bilingual edition (28 February 2002) ISBN 0-674-00844-8.
*Abbas Kiarostami, ''10 (ten)'': [[Cahiers du Cinema]] Livres (5 September 2002) ISBN 2-86642-346-1.
*Abbas Kiarostami, [[Nahal Tajadod]] and [[Jean-Claude Carrière]] ''Avec le vent'': P.O.L. (5 May 2002) ISBN 2-86744-889-1.
*Abbas Kiarostami, ''Le vent nous emportera'': Cahiers du Cinema Livres (5 September 2002) ISBN 2-86642-347-X.
*Abbas Kiarostami, ''La Lettre du Cinema'': P.O.L. (12 December 1997) ISBN 2-86744-589-2.


==See also==
==See also==
{{Portalbox|United States|Comics|Speculative fiction|Superhero fiction}}
{{portal|Poetry}}
* [[List of Spider-Man titles]]
;Kiarostami's assistants:
*[[Jafar Panahi]]
*[[Hassan Yektapanah]]
*[[Bahman Ghobadi]]
*[[Bahman Kiarostami]] (son)
* Elaine Tyler-Hall


===Selected story arcs===
;General:
* "[[Maximum Carnage]]"
*[[Intellectual movements in Iran]]
* "[[Identity Crisis (Marvel Comics)|Identity Crisis]]"
*[[Iranian New Wave (cinema)]]
* "[[The Final Chapter (comics)|The Final Chapter]]"
*[[Cinema of Iran]]
* "[[Spider-Man: One More Day|One More Day]]"
*[[List of Iranian intellectuals]]
* "[[Spider-Man: Brand New Day|Brand New Day]]"
* "[[New Ways to Die]]"
* "[[American Son (comics)|American Son]]"
* "[[The Gauntlet and Grim Hunt]]"
* "[[One Moment in Time (comics)|One Moment in Time]]"
{{-}}


==Bibliography==
==Notes==
{{Reflist|colwidth=30em|group=note}}
*Geoff Andrew, ''Ten'' (London: BFI Publishing, 2005).
*Erice-Kiarostami. ''Correspondences'', 2006, ISBN 84-96540-24-3, catalogue of an exhibition together with the Spanish filmmaker [[Víctor Erice]]
*Alberto Elena, ''The Cinema of Abbas Kiarostami'', [[Saqi Books]] 2005, ISBN 0-86356-594-8
*Mehrnaz Saeed-Vafa, Jonathan Rosenbaum, ''Abbas Kiarostami'' (Contemporary Film Directors), University of Illinois Press 2003 (paperback), ISBN 0-252-07111-5
*[[Jean-Luc Nancy]], ''The Evidence of Film – Abbas Kiarostami'', Yves Gevaert, Belgium 2001, ISBN 2-930128-17-8
*Jean-Claude Bernardet, ''Caminhos de Kiarostami'', Melhoramentos; 1 edition (2004), ISBN 978-85-359-0571-7
*Marco Dalla Gassa, ''Abbas Kiarostami'', Publisher: Mani (2000) ISBN 978-88-8012-147-3
*Youssef Ishaghpour, ''Le réel, face et pile: Le cinéma d'Abbas Kiarostami '', Farrago (2000) ISBN 978-2-84490-063-0
*Alberto Barbera and Elisa Resegotti (editors), ''Kiarostami'', Electa (30 April 2004) ISBN 978-88-370-2390-4
*Laurent Kretzschmar, "Is Cinema Renewing Itself?", ''Film-Philosophy''. vol. 6 no 15, July 2002.
*[[Jonathan Rosenbaum]], "Lessons from a Master," ''Chicago Reader'', 14 June 1996


==References==
==References==
{{Reflist|2}}
{{Reflist|colwidth=30em}}


==External links==
==External links==
{{Commons|Abbas Kiarostami}}
{{Commons category}}
* {{Official website|http://www.marvel.com/comics/Spider-Man}}
* {{IMDb name|0452102|Abbas Kiarostami}}
{{Marvelwiki}}
* [http://www.zeitgeistfilms.com/director.php?director_id=33 Biography of Abbas Kiarostami] at [[Zeitgeist Films]]
* {{Comicbookdb|type=character|id=389|title=Spider-Man}}
*[http://bigother.com/2011/03/29/kiarostami-certified-copy-kiarostamimania/ Overview of Kiarostami's career, with emphasis on ''Ten'' and ''Certified Copy'']
* [http://marvel.com/news/comicstories.687 "Venom: The Sordid History of Spider-Man's Black Costume"] at Marvel.com
* [http://www.toonopedia.com/spidey.htm Spider-Man] at [[Don Markstein's Toonopedia]]
* [http://www.spiderfan.org/ SpiderFan]
* {{Dmoz|/Arts/Comics/Titles/S/Spider-Man|Spider-Man}}
{{Spider-Man}}
{{Spider-Man publications}}
{{Spider-Man in popular media}}
{{Spider-Man films}}
{{New Avengers}}
{{Symbiote Family and Hosts}}
{{Daredevil}}
{{Fantastic Four}}
{{Spider-Woman}}


[[Category:Spider-Man| ]]
{{CinemaofIran}}
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{{Abbas Kiarostami}}
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[[Category:Child superheroes]]<!-- The legal definition of "child" refers to a minor. The United Nations Convention on the Rights of the Child defines a child as "a human being below the age of 18 years." -->
{{Featured article}}
[[Category:Comics by Stan Lee]]
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[[Category:Comics by Steve Ditko]]
{{Persondata
[[Category:Comics adapted into films]]
|NAME=Kiarostami, Abbas
[[Category:Fictional adoptees]]
|ALTERNATIVE NAMES=
[[Category:Fictional characters from New York City]]
|SHORT DESCRIPTION=[[Film director]], [[photographer]] and poet
[[Category:Fictional characters who have made pacts with devils]]
|DATE OF BIRTH=22 June 1940
[[Category:Fictional characters with precognition]]
|PLACE OF BIRTH=[[Tehran]], [[Iran]]
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[[Category:Iranian Légion d'honneur recipients]]
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[[Category:Iranian people]]
[[Category:Iranian photographers]]
[[Category:Iranian poets]]
[[Category:Iranian screenwriters]]
[[Category:Living people]]
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[[Category:People from Tehran]]
[[Category:Persian people]]
[[Category:Persian-language film directors]]
[[Category:Roberto Rossellini Prize recipients]]
[[Category:University of Tehran alumni]]


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Revision as of 02:45, 17 February 2012

"Peter Parker" redirects here. For other uses, see Peter Parker (disambiguation).
This article is about the superhero. For other uses, see Abbas Kiarostami (disambiguation).

Abbas Kiarostami
From The Amazing Spider-Man #547 (March 2008)
Art by Steve McNiven and Dexter Vines
Publication information
PublisherMarvel Comics
First appearanceAmazing Fantasy #15 (Aug. 1962)
Created byStan Lee, Steve Ditko
In-story information
Alter egoPeter Benjamin Parker
SpeciesHuman Mutate
Team affiliationsDaily Bugle
Front Line
New Fantastic Four
Avengers
New Avengers
Future Foundation
Heroes for Hire
PartnershipsVenom
Scarlet Spider
Wolverine
Human Torch
Daredevil
Black Cat
Punisher
Toxin
Iron Man
Ms. Marvel
Notable aliasesRicochet, Dusk, Prodigy, Hornet, Ben Reilly/Scarlet Spider
Abilities

Spider-Man (Peter Parker) is a fictional character, a Marvel Comics superhero created by writer-editor Stan Lee and writer-artist Steve Ditko. He first appeared in Amazing Fantasy #15 (August 1962). Lee and Ditko conceived of the character as an orphan being raised by his Aunt May and Uncle Ben, and as a teenager, having to deal with the normal struggles of adolescence in addition to those of a costumed crime fighter. Spider-Man's creators gave him super strength and agility, the ability to cling to most surfaces, shoot spider-webs using devices of his own invention which he called "web-shooters", and react to danger quickly with his "spider-sense", enabling him to combat his foes.

When Spider-Man first appeared in the early 1960s, teenagers in superhero comic books were usually relegated to the role of sidekick to the protagonist. The Spider-Man series broke ground by featuring Peter Parker, a teenage high school student and person behind Spider-Man's secret identity to whose "self-obsessions with rejection, inadequacy, and loneliness" young readers could relate.[1] Unlike previous teen heroes such as Bucky and Robin, Spider-Man did not benefit from being the protégé of any adult superhero mentors like Captain America and Batman, and thus had to learn for himself that "with great power there must also come great responsibility"—a line included in a text box in the final panel of the first Spider-Man story, but later retroactively attributed to his guardian, the late Uncle Ben.

Marvel has featured Spider-Man in several comic book series, the first and longest-lasting of which is titled The Amazing Spider-Man. Over the years, the Peter Parker character has developed from shy, nerdy high school student to troubled but outgoing college student, to married high school teacher to, in the late 2000s, a single freelance photographer, his most typical adult role. As of 2011, he is additionally a member of the Avengers and the Fantastic Four, Marvel's flagship superhero teams. In the comics, Spider-Man is often referred to as "Spidey", "web-slinger", "wall-crawler", or "web-head".

Spider-Man is one of the most popular and commercially successful superheroes.[2] As Marvel's flagship character and company mascot, he has appeared in many forms of media, including several animated and live-action television shows, syndicated newspaper comic strips, and a series of films starring Tobey Maguire as the "friendly neighborhood" hero in the first three movies. Andrew Garfield will take over the role of Spider-Man in a planned reboot of the films.[3] Reeve Carney stars as Spider-Man in the 2010 Broadway musical Spider-Man: Turn Off the Dark.[4] Spider-Man placed 3rd on IGN's Top 100 Comic Book Heroes of All Time in 2011.[5]

Publication history

Creation and development

Richard Wentworth a.k.a. the Spider in the pulp magazine The Spider. Stan Lee stated that it was the name of this character that inspired him to create a character that would become Spider-Man.[6]

In 1962, with the success of the Fantastic Four, Marvel Comics editor and head writer Stan Lee was casting about for a new superhero idea. He said the idea for Spider-Man arose from a surge in teenage demand for comic books, and the desire to create a character with whom teens could identify.[7]: 1  In his autobiography, Lee cites the non-superhuman pulp magazine crime fighter the Spider (see also The Spider's Web and The Spider Returns) as a great influence,[6]: 130  and in a multitude of print and video interviews, Lee stated he was further inspired by seeing a spider climb up a wall—adding in his autobiography that he has told that story so often he has become unsure of whether or not this is true.[note 1] Looking back on the creation of Spider-Man, 1990s Marvel editor-in-chief Tom DeFalco stated he did not believe that Spider-Man would have been given a chance in today's comics world, where new characters are vetted with test audiences and marketers.[7]: 9  At that time, however, Lee had to get only the consent of Marvel publisher Martin Goodman for the character's approval.[7]: 9  In a 1986 interview, Lee described in detail his arguments to overcome Goodman's objections.[note 2] Goodman eventually agreed to let Lee try out Spider-Man in the upcoming final issue of the canceled science-fiction and supernatural anthology series Amazing Adult Fantasy, which was renamed Amazing Fantasy for that single issue, #15 (Aug. 1962).[8]: 95 

Comics historian Greg Theakston says that Lee, after receiving Goodman's approval for the name Spider-Man and the "ordinary teen" concept, approached artist Jack Kirby. Kirby told Lee about an unpublished character on which he collaborated with Joe Simon in the 1950s, in which an orphaned boy living with an old couple finds a magic ring that granted him superhuman powers. Lee and Kirby "immediately sat down for a story conference" and Lee afterward directed Kirby to flesh out the character and draw some pages. Steve Ditko would be the inker.[note 3] When Kirby showed Lee the first six pages, Lee recalled, "I hated the way he was doing it! Not that he did it badly—it just wasn't the character I wanted; it was too heroic".[9]: 12  Lee turned to Ditko, who developed a visual style Lee found satisfactory. Ditko recalled:

One of the first things I did was to work up a costume. A vital, visual part of the character. I had to know how he looked ... before I did any breakdowns. For example: A clinging power so he wouldn't have hard shoes or boots, a hidden wrist-shooter versus a web gun and holster, etc. ... I wasn't sure Stan would like the idea of covering the character's face but I did it because it hid an obviously boyish face. It would also add mystery to the character....[10]

Although the interior artwork was by Ditko alone, Lee rejected Ditko's cover art and commissioned Kirby to pencil a cover that Ditko inked.[11] As Lee explained in 2010, "I think I had Jack sketch out a cover for it because I always had a lot of confidence in Jack's covers."[12]

In an early recollection of the character's creation, Ditko described his and Lee's contributions in a mail interview with Gary Martin published in Comic Fan #2 (Summer 1965): "Stan Lee thought the name up. I did costume, web gimmick on wrist & spider signal."[13] At the time, Ditko shared a Manhattan studio with noted fetish artist Eric Stanton, an art-school classmate who, in a 1988 interview with Theakston, recalled that although his contribution to Spider-Man was "almost nil", he and Ditko had "worked on storyboards together and I added a few ideas. But the whole thing was created by Steve on his own... I think I added the business about the webs coming out of his hands".[9]: 14 

Kirby disputed Lee's version of the story, and claimed Lee had minimal involvement in the character's creation. According to Kirby, the idea for Spider-Man had originated with Kirby and Joe Simon, who in the 1950s had developed a character called The Silver Spider for the Crestwood comic Black Magic, who was subsequently not used.[note 4] Simon, in his 1990 autobiography, disputed Kirby's account, asserting that Black Magic was not a factor, and that he (Simon) devised the name "Spider-Man" (later changed to "The Silver Spider"), while Kirby outlined the character's story and powers. Simon later elaborated that his and Kirby's character conception became the basis for Simon's Archie Comics superhero the Fly. Artist Steve Ditko stated that Lee liked the name Hawkman from DC Comics, and that "Spider-Man" was an outgrowth of that interest.[10] The hyphen was included in the character's name to avoid confusion with DC Comics' Superman.[14]

Simon concurred that Kirby had shown the original Spider-Man version to Lee, who liked the idea and assigned Kirby to draw sample pages of the new character but disliked the results—in Simon's description, "Captain America with cobwebs".[note 5] Writer Mark Evanier notes that Lee's reasoning that Kirby's character was too heroic seems unlikely—Kirby still drew the covers for Amazing Fantasy #15 and the first issue of The Amazing Spider-Man. Evanier also disputes Kirby's given reason that he was "too busy" to also draw Spider-Man in addition to his other duties since Kirby was, said Evanier, "always busy".[15]: 127  Neither Lee's nor Kirby's explanation explains why key story elements like the magic ring were dropped; Evanier states that the most plausible explanation for the sudden change was that Goodman, or one of his assistants, decided that Spider-Man as drawn and envisioned by Kirby was too similar to the Fly.[15]: 127 

Author and Ditko scholar Blake Bell writes that it was Ditko who noted the similarities to the Fly. Ditko recalled that, "Stan called Jack about the Fly", adding that "[d]ays later, Stan told me I would be penciling the story panel breakdowns from Stan's synopsis". It was at this point that the nature of the strip changed. "Out went the magic ring, adult Spider-Man and whatever legend ideas that Spider-Man story would have contained". Lee gave Ditko the premise of a teenager bitten by a spider and developing powers, a premise Ditko would expand upon to the point he became what Bell describes as "the first work for hire artist of his generation to create and control the narrative arc of his series". On the issue of the initial creation, Ditko states, "I still don't know whose idea was Spider-Man".[16] Kirby noted in a 1971 interview that it was Ditko who "got Spider-Man to roll, and the thing caught on because of what he did".[17] Lee, while claiming credit for the initial idea, has acknowledged Ditko's role, stating, "If Steve wants to be called co-creator, I think he deserves [it]".[18] Writer Al Nickerson believes "that Stan Lee and Steve Ditko created the Spider-Man that we are familiar with today [but that] ultimately, Spider-Man came into existence, and prospered, through the efforts of not just one or two, but many, comic book creators".[19]

In 2008, an anonymous donor bequeathed the Library of Congress the original 24 pages of Ditko art of Amazing Fantasy #15, including Spider-Man's debut and the stories "The Bell-Ringer", "Man in the Mummy Case", and "There Are Martians Among Us".[20]

Commercial success

Amazing Fantasy #15 (Aug. 1962). The issue that first introduced the fictional character. It was a gateway to the commercial success to the superhero and inspired the launch of The Amazing Spider-Man comics. Cover art by Jack Kirby (penciller) & Steve Ditko (inker).[8]

A few months after Spider-Man's introduction in Amazing Fantasy #15 (Aug. 1962), publisher Martin Goodman reviewed the sales figures for that issue and was shocked to find it to have been one of the nascent Marvel's highest-selling comics.[8]: 97  A solo ongoing series followed, beginning with The Amazing Spider-Man #1 (March 1963). The title eventually became Marvel's top-selling series[1]: 211  with the character swiftly becoming a cultural icon; a 1965 Esquire poll of college campuses found that college students ranked Spider-Man and fellow Marvel hero the Hulk alongside Bob Dylan and Che Guevara as their favorite revolutionary icons. One interviewee selected Spider-Man because he was "beset by woes, money problems, and the question of existence. In short, he is one of us."[1]: 223  Following Ditko's departure after issue #38 (July 1966), John Romita, Sr. replaced him as penciler and would draw the series for the next several years. In 1968, Romita would also draw the character's extra-length stories in the comics magazine The Spectacular Spider-Man, a proto-graphic novel designed to appeal to older readers but which lasted only two issues.[21] Nonetheless, it represented the first Spider-Man spin-off publication, aside from the original series' summer annuals that began in 1964.

An early 1970s Spider-Man story led to the revision of the Comics Code. Previously, the Code forbade the depiction of the use of illegal drugs, even negatively. However, in 1970, the Nixon administration's Department of Health, Education, and Welfare asked Stan Lee to publish an anti-drug message in one of Marvel's top-selling titles.[1]: 239  Lee chose the top-selling The Amazing Spider-Man; issues #96–98 (May–July 1971) feature a story arc depicting the negative effects of drug use. In the story, Peter Parker's friend Harry Osborn becomes addicted to pills. When Spider-Man fights the Green Goblin (Norman Osborn, Harry's father), Spider-Man defeats the Green Goblin, by revealing Harry's drug addiction. While the story had a clear anti-drug message, the Comics Code Authority refused to issue its seal of approval. Marvel nevertheless published the three issues without the Comics Code Authority's approval or seal. The issues sold so well that the industry's self-censorship was undercut and the Code was subsequently revised.[1]: 239 

In 1972, a second monthly ongoing series starring Spider-Man began: Marvel Team-Up, in which Spider-Man was paired with other superheroes and villains. In 1976, his second solo series, The Spectacular Spider-Man began running parallel to the main series. A third series featuring Spider-Man, Web of Spider-Man, launched in 1985, replacing Marvel Team-Up. The launch of a fourth monthly title in 1990, the "adjectiveless" Spider-Man (with the storyline "Torment"), written and drawn by popular artist Todd McFarlane, debuted with several different covers, all with the same interior content. The various versions combined sold over 3 million copies, an industry record at the time. There have generally been at least two ongoing Spider-Man series at any time. Several limited series, one-shots, and loosely related comics have also been published, and Spider-Man makes frequent cameos and guest appearances in other comic series.[1]: 279 

The original Amazing Spider-Man ran through issue #441 (Nov. 1998). Writer-artist John Byrne then revamped the origin of Spider-Man in the 13-issue limited series Spider-Man: Chapter One (Dec. 1998 - Oct. 1999, with an issue #0 midway through and some months containing two issues), similar to Byrne's adding details and some revisions to Superman's origin in DC Comics' The Man of Steel.[22] Running concurrently, The Amazing Spider-Man was restarted with vol. 2, #1 (Jan. 1999). With what would have been vol. 2, #59, Marvel reintroduced the original numbering, starting with #500 (Dec. 2003).

By the end of 2007, Spider-Man regularly appeared in The Amazing Spider-Man, New Avengers, Spider-Man Family, and various limited series in mainstream Marvel Comics continuity, as well as in the alternate-universe series The Amazing Spider-Girl, the Ultimate Universe title Ultimate Spider-Man, the alternate-universe tween series Spider-Man Loves Mary Jane, the alternate-universe children's series Marvel Adventures Spider-Man, and Marvel Adventures: The Avengers.

When primary series The Amazing Spider-Man reached issue #545 (Dec. 2007), Marvel dropped its spin-off ongoing series and instead began publishing The Amazing Spider-Man three times monthly, beginning with #546-549 (each Jan. 2008). The three times monthly scheduling of The Amazing Spider-Man lasted until November 2010 when the comic book was increased from 22 pages to 30 pages each issue and published only twice a month, beginning with #648-649 (each Nov. 2010). The following year (Nov. 2011) Marvel started publishing Avenging Spider-Man as the first spin-off ongoing series in addition to the still twice monthly The Amazing Spider-Man since the previous ones were cancelled at the end of 2007.

Comic book character

File:Spider-Man spider-bite.jpg
The spider bite that gave Peter Parker his powers. Amazing Fantasy #15, art by Steve Ditko.

In Forest Hills, Queens, New York City,[23] high school student Peter Parker is a science- whiz orphan living with his Uncle Ben and Aunt May. As depicted in Amazing Fantasy #15 (Aug. 1962), he is bitten by a radioactive spider (erroneously classified as an insect in the panel) at a science exhibit and "acquires the agility and proportionate strength of an arachnid."[24] Along with super strength, he gains the ability to adhere to walls and ceilings. Through his native knack for science, he develops a gadget that lets him fire adhesive webbing of his own design through small, wrist-mounted barrels. Initially seeking to capitalize on his new abilities, he dons a costume and, as "Spider-Man", becomes a novelty television star. However, "He blithely ignores the chance to stop a fleeing thief, [and] his indifference ironically catches up with him when the same criminal later robs and kills his Uncle Ben."[25] Spider-Man tracks and subdues the killer and learns, in the story's next-to-last caption, "With great power there must also come—great responsibility!"[25]

Despite his superpowers, Parker struggles to help his widowed aunt pay rent, is taunted by his peers—particularly football star Flash Thompson—and, as Spider-Man, engenders the editorial wrath of newspaper publisher J. Jonah Jameson.[26][27] As he battles his enemies for the first time,[28] Parker finds juggling his personal life and costumed adventures difficult. In time, Peter graduates from high school,[29] and enrolls at Empire State University (a fictional institution evoking the real-life Columbia University and New York University).,[30] where he meets roommate and best friend Harry Osborn and first girlfriend Gwen Stacy,[31] and Aunt May introduces him to Mary Jane Watson.[28][32][33] As Peter deals with Harry's drug problems, and Harry's father is revealed to be Spider-Man's nemesis the Green Goblin, Peter even attempts to give up his costumed identity for a while.[34][35] Gwen's Stacy's father, New York City Police detective captain George Stacy is accidentally killed during a battle between Spider-Man and Doctor Octopus (#90, Nov. 1970).[36] In the course of his adventures Spider-Man has made a wide variety of friends and contacts within the superhero community, who often come to his aid when he faces problems that he cannot solve on his own.

In issue #121 (June 1973),[28] the Green Goblin throws Gwen Stacy from a tower of either the Brooklyn Bridge (as depicted in the art) or the George Washington Bridge (as given in the text).[37][38] She dies during Spider-Man's rescue attempt; a note on the letters page of issue #125 states: "It saddens us to say that the whiplash effect she underwent when Spidey's webbing stopped her so suddenly was, in fact, what killed her."[39] The following issue, the Goblin appears to accidentally kill himself in the ensuing battle with Spider-Man.[40]

Working through his grief, Parker eventually develops tentative feelings toward Watson, and the two "become confidants rather than lovers."[41] Parker graduates from college in issue #185,[28] and becomes involved with the shy Debra Whitman and the extroverted, flirtatious costumed thief Felicia Hardy, the Black Cat,[42] whom he meets in issue #194 (July 1979).[28]

From 1984 to 1988, Spider-Man wore a different costume than his original. Black with a white spider design, this new costume originated in the Secret Wars limited series, on an alien planet where Spider-Man participates in a battle between Earth's major superheroes and villains.[43] Not unexpectedly, the change to a longstanding character's iconic design met with controversy, "with many hardcore comics fans decrying it as tantamount to sacrilege. Spider-Man's traditional red and blue costume was iconic, they argued, on par with those of his D.C. rivals Superman and Batman."[44] The creators then revealed the costume was an alien symbiote which Spider-Man is able to reject after a difficult struggle,[45] though the symbiote returns several times as Venom for revenge.[28]

Parker proposes to Watson in The Amazing Spider-Man #290 (July 1987), and she accepts two issues later, with the wedding taking place in The Amazing Spider-Man Annual #21 (1987)—promoted with a real-life mock wedding using actors at Shea Stadium, with Stan Lee officiating, on June 5, 1987.[46][47] However, David Michelinie, who scripted based on a plot by editor-in-chief Jim Shooter, said in 2007, "I didn't think they actually should [have gotten] married. ... I had actually planned another version, one that wasn't used."[46] In a controversial storyline, Peter becomes convinced that Ben Reilly, the Scarlet Spider (a clone of Peter created by his college professor Miles Warren) is the real Peter Parker, and that he, Peter, is the clone. Peter gives up the Spider-Man identity to Reilly for a time, until Reilly is killed by the returning Green Goblin and revealed to be the clone after all.[48] In stories published in 2005 and 2006 (such as "The Other"), he develops additional spider-like abilities including biological web-shooters, toxic stingers that extend from his forearms, the ability to stick individuals to his back, enhanced Spider-sense and night vision, and increased strength and speed. Peter later becomes a member of the New Avengers, and reveals his civilian identity to the world,[49] furthering his already numerous problems. His marriage to Mary Jane and public unmasking are later erased in the controversial[50] storyline "One More Day", in a Faustian bargain with the demon Mephisto, resulting in several adjustments to the timeline, such as the resurrection of Harry Osborn, the erasure of Parker's marriage, and the return of his traditional tools and powers.[51]

That storyline came at the behest of editor-in-chief Joe Quesada, who said, "Peter being single is an intrinsic part of the very foundation of the world of Spider-Man".[50] It caused unusual public friction between Quesada and writer J. Michael Straczynski, who "told Joe that I was going to take my name off the last two issues of the [story] arc" but was talked out of doing so.[52] At issue with Straczynski's climax to the arc, Quesada said, was

...that we didn't receive the story and methodology to the resolution that we were all expecting. What made that very problematic is that we had four writers and artists well underway on [the sequel arc] "Brand New Day" that were expecting and needed "One More Day" to end in the way that we had all agreed it would. ... The fact that we had to ask for the story to move back to its original intent understandably made Joe upset and caused some major delays and page increases in the series. Also, the science that Joe was going to apply to the retcon of the marriage would have made over 30 years of Spider-Man books worthless, because they never would have had happened. ...[I]t would have reset way too many things outside of the Spider-Man titles. We just couldn't go there....[52]

Personality

"People often say glibly that Marvel succeeded by blending super hero adventure stories with soap opera. What Lee and Ditko actually did in The Amazing Spider-Man was to make the series an ongoing novelistic chronicle of the lead character's life. Most super heroes had problems no more complex or relevant to their readers' lives than thwarting this month's bad guys.... Parker had far more serious concern in his life: coming to terms with the death of a loved one, falling in love for the first time, struggling to make a living, and undergoing crises of conscience."

Comics historian Peter Sanderson[53]

As one contemporaneous journalist observed, "Spider-Man has a terrible identity problem, a marked inferiority complex, and a fear of women. He is anti-social, [sic] castration-ridden, racked with Oedipal guilt, and accident-prone ... [a] functioning neurotic".[23] Agonizing over his choices, always attempting to do right, he is nonetheless viewed with suspicion by the authorities, who seem unsure as to whether he is a helpful vigilante or a clever criminal.[54]

Notes cultural historian Bradford W. Wright,

Spider-Man's plight was to be misunderstood and persecuted by the very public that he swore to protect. In the first issue of The Amazing Spider-Man, J. Jonah Jameson, publisher of the Daily Bugle, launches an editorial campaign against the "Spider-Man menace." The resulting negative publicity exacerbates popular suspicions about the mysterious Spider-Man and makes it impossible for him to earn any more money by performing. Eventually, the bad press leads the authorities to brand him an outlaw. Ironically, Peter finally lands a job as a photographer for Jameson's Daily Bugle.[1]: 212 

The mid-1960s stories reflected the political tensions of the time, as early 1960s Marvel stories had often dealt with the Cold War and Communism.[1]: 220–223  As Wright observes,

From his high-school beginnings to his entry into college life, Spider-Man remained the superhero most relevant to the world of young people. Fittingly, then, his comic book also contained some of the earliest references to the politics of young people. In 1968, in the wake of actual militant student demonstrations at Columbia University, Peter Parker finds himself in the midst of similar unrest at his Empire State University. ... Peter has to reconcile his natural sympathy for the students with his assumed obligation to combat lawlessness as Spider-Man. As a law-upholding liberal, he finds himself caught between militant leftism and angry conservatives.[1]: 234–235 

Other versions

Main article: Alternative versions of Spider-Man

Due to Spider-Man's popularity in the mainstream Marvel Universe, publishers have been able to introduce different variations of Spider-Man outside of mainstream comics as well as reimagined stories in many other multiversed spinoffs such as Ultimate Spider-Man, Spider-Man 2099, and Spider-Man: India. Marvel has also made its own parodies of Spider-Man in comics such as Not Brand Echh, which was published in the late 1960s and featured such characters as Peter Pooper alias Spidey-Man,[55] and Peter Porker, the Spectacular Spider-Ham, who appeared in the 1980s. The fictional character has also inspired a number of deratives such as a manga version of Spider-Man drawn by Japanese artist Ryoichi Ikegami as well as Hideshi Hino's The Bug Boy, which has been cited as inspired by Spider-Man.[56] Also the French comic Télé-Junior published strips based on popular TV series. In the late 1970s, the publisher also produced original Spider-Man adventures. Artists included Gérald Forton, who later moved to America and worked for Marvel.[57]

Powers and equipment

Main article: Spider-Man's powers and equipment

A bite from a radioactive spider on a school field trip causes a variety of changes in the body of Peter Parker and gives him superpowers.[58] In the original Lee-Ditko stories, Spider-Man has the ability to cling to walls, superhuman strength, a sixth sense ("spider-sense") that alerts him to danger, perfect balance and equilibrium, as well as superhuman speed and agility. Some of his comic series have him shooting webs from his wrists.[58] Brilliant, Parker excels in applied science, chemistry, and physics. The character was originally conceived by Stan Lee and Steve Ditko as intellectually gifted, but not a genius. However, later writers have depicted the character as a genius.[59] With his talents, he sews his own costume to conceal his identity, and constructs many devices that complement his powers, most notably mechanical web-shooters.[58] This mechanism ejects an advanced adhesive, releasing web-fluid in a variety of configurations, including a single rope-like strand to swing from, a net to bind enemies, a single strand for yanking opponents into objects, strands for whipping foreign objects at enemies, and a simple glob to foul machinery or blind an opponent. He can also weave the web material into simple forms like a shield, a spherical protection or hemispherical barrier, a club, or a hang-glider wing. Other equipment include spider-tracers (spider-shaped adhesive homing beacons keyed to his own spider-sense), a light beacon which can either be used as a flashlight or project a "Spider-Signal" design, and a specially modified camera that can take pictures automatically.

Supporting characters

Main article: List of Spider-Man supporting characters

Spider-Man has had a large range of supporting characters introduced in the comics that are essential in the issues and storylines that star him. After his parents died, Peter Parker was raised by his loving aunt, May Parker, and his uncle and father figure, Ben Parker. After Uncle Ben is murdered by a burglar, Aunt May is virtually Peter's only family, and she and Peter are very close.[24]

J. Jonah Jameson is depicted as the publisher of the Daily Bugle and is Peter Parker's boss and as a harsh critic of Spider-Man, always saying negative things about the superhero in the newspaper. Although his publishing editor and confidant Robbie Robertson is alway depicted as a supporter of both Peter Parker and Spider-Man.[26]

Eugene "Flash" Thompson is commonly depicted as Parker's high school tormentor and bully but in some comic issues as a friend as well.[26] Meanwhile Harry Osborn, son of Norman Osborn, is most commonly recognized as Peter's best friend but has also been depicted sometimes as his rival in the comics.[28]

Peter Parker's romantic interests range between his first crush, the fellow high-school student Liz Allan,[26] to having his first date with Jameson's secretary, Betty Brant,[60] the secretary to Daily Bugle newspaper publisher J. Jonah Jameson. After his breakup with Betty Brant, Parker eventually falls in love with his college girlfriend Gwen Stacy,[28][31] daughter of New York City Police Department detective captain George Stacy, both of whom are later killed by supervillain enemies of Spider-Man.[36][36] Mary Jane Watson eventually became Peter's best friend and then his wife.[46] Felicia Hardy, the Black Cat, is a reformed cat burglar who had been Spider-Man's girlfriend and partner at one point.[42]

Enemies

Main article: List of Spider-Man enemies

Writers and artists over many years have managed to establish a notable fictional rogues gallery of classic villains to face Spider-Man. As with Spider-Man, the majority of these villains' powers originate with scientific accidents or the misuse of scientific technology, trends include a few animal-themed costumes or powers and a few of them having green costume as well.[note 6] Early on Spider-Man faced supervillains and foes such as the Chameleon (introduced in The Amazing Spider-Man #1, March 1963), the Vulture (#2, May 1963), Doctor Octopus (#3, July 1963), the Sandman (#4, Sept. 1963), the Lizard (#6, Nov. 1963), Electro (#9, Feb. 1964), Mysterio (#13, June 1964), the Green Goblin (#14, July 1964), Kraven the Hunter (#15, Aug. 1964),the Scorpion (#20, Jan. 1965), the Rhino (#41, Oct. 1966)—the first original Lee/Romita Spider-Man villain[61]—the Shocker (#46, March 1967), and the physically powerful and well-connected criminal capo Wilson Fisk, also known as the Kingpin.[28] The Clone Saga reveals a supporting character called Miles Warren turn into the villain called the Jackal, the antagonist of the storyline.[31] After Norman Osborn was killed off, a new more mysterious villain called the Hobgoblin was developed to replace him in #238 until Norman was revised later on.[62] After Spider-Man turned away his dark costume, there revealed a new popular antagonist with Eddie Brock as Venom in issue #298 (May 1988),[28] although he was an ally to Spider-Man with a much darker version of him called Carnage in issue #344.[63] At times these enemies of Spider-Man have formed groups such as the Sinister Six to oppose Spider-Man.[64] The Green Goblin, Doctor Octopus and Venom are generally described or written as one of his greatest and most ruthless enemies.[65][66][67]

Cultural influence

File:The Amazing Adventures of Spiderman Entrance Islands of Adventure.jpg
Spider-Man sign appearing in front of The Amazing Adventures of Spider-Man in Universal Studios Florida's Islands of Adventure.

Comic book writer-editor and historian Paul Kupperberg, in The Creation of Spider-Man, calls the character's superpowers "nothing too original"; what was original was that outside his secret identity, he was a "nerdy high school student".[68]: 5  Going against typical superhero fare, Spider-Man included "heavy doses of soap-opera and elements of melodrama." Kupperberg feels that Lee and Ditko had created something new in the world of comics: "the flawed superhero with everyday problems." This idea spawned a "comics revolution."[68]: 6  The insecurity and anxieties in Marvel's early 1960s comic books such as The Amazing Spider-Man, The Incredible Hulk, and X-Men ushered in a new type of superhero, very different from the certain and all-powerful superheroes before them, and changed the public's perception of them.[69] Spider-Man has become one of the most recognizable fictional characters in the world, and has been used to sell toys, games, cereal, candy, soap, and many other products.[70]

Spider-Man has become Marvel's flagship character, and has often been used as the company mascot. When Marvel became the first comic book company to be listed on the New York Stock Exchange in 1991, the Wall Street Journal announced "Spider-Man is coming to Wall Street"; the event was in turn promoted with an actor in a Spider-Man costume accompanying Stan Lee to the Stock Exchange.[1]: 254  Since 1962, hundreds of millions of comics featuring the character have been sold around the world.[71]

Spider-Man joined the Macy's Thanksgiving Day Parade from 1987 to 1998 as one of the balloon floats,[72] designed by John Romita Sr.,[73] one of the character's signature artists. A new, different Spider-Man balloon float is scheduled to appear from at least 2009 to 2011.[72]

In 1981, skyscraper-safety activist Dan Goodwin, wearing a Spider-Man suit, scaled the Sears Tower in Chicago, Illinois, the Renaissance Tower in Dallas, Texas, and the John Hancock Center in Chicago, Illinois.[74]

When Marvel wanted to issue a story dealing with the immediate aftermath of the September 11 attacks, the company chose the December 2001 issue of The Amazing Spider-Man.[75] In 2006, Spider-Man garnered major media coverage with the revelation of the character's secret identity,[76] an event detailed in a full page story in the New York Post before the issue containing the story was even released.[77]

In 2008, Marvel announced plans to release a series of educational comics the following year in partnership with the United Nations, depicting Spider-Man alongside UN Peacekeeping Forces to highlight UN peacekeeping missions.[78] A BusinessWeek article listed Spider-Man as one of the top ten most intelligent fictional characters in American comics.[79]

In other media

Tobey Maguire (top) and Andrew Garfield (bottom) have both portrayed Spider-Man in film.
Main article: Spider-Man in other media

Spider-Man has appeared in comics, cartoons, movies, coloring books, novels, records, and children's books.[70] On television, he appeared as the main character in the animated series Spider-Man, which aired from 1967–1970 on ABC,[80] the live-action series The Amazing Spider-Man (1978–1979) starring Nicholas Hammond, the syndicated cartoon Spider-Man (1981–1982), Spider-Man and His Amazing Friends (1981–1983), Spider-Man: The Animated Series (1994–1998), Spider-Man Unlimited (1999–2000), Spider-Man: The New Animated Series (2003), and The Spectacular Spider-Man (2008–2009). A new animated series titled Ultimate Spider-Man, based on the alternate-universe comic-book series of the same name, is scheduled to air on Disney XD in 2012.[81]

A tokusatsu show featuring Spider-Man was produced by Toei and aired in Japan. It is commonly referred to by its Japanese pronunciation "Supaidā-Man".[82] Spider-Man also appeared in other print forms besides the comics, including novels, children's books, and the daily newspaper comic strip The Amazing Spider-Man, which debuted in January 1977, with the earliest installments written by Stan Lee and drawn by John Romita, Sr.[83] Spider-Man has been adapted to other media including games, toys, collectibles, and miscellaneous memorabilia, and has appeared as the main character in numerous computer and video games on over 15 gaming platforms.

Spider-Man was also featured in a trilogy of live-action films directed by Sam Raimi and starring Tobey Maguire as the title superhero. The first Spider-Man film was released on May 3, 2002; its first sequel, Spider-Man 2, was released on June 30, 2004 and the next sequel, Spider-Man 3, was released on May 4, 2007. A third sequel was originally scheduled to be released in 2011, however Sony later decided the franchise would be rebooted and a new director and cast would be introduced. The reboot, titled The Amazing Spider-Man, is scheduled to be released on July 3, 2012, directed by Marc Webb and starring Andrew Garfield as the new Spider-Man.[84][85][86][87][88]

A Broadway musical, Spider-Man: Turn Off the Dark, began previews on November 14, 2010 at the Foxwoods Theatre on Broadway, with the official opening night on June 14, 2011.[89][90] The music and lyrics were written by Bono and The Edge of the rock group U2, with a book by Julie Taymor, Glen Berger, Roberto Aguirre-Sacasa.[91] Turn Off the Dark is currently the most expensive musical in Broadway history, costing an estimated $70 million.[92] In addition, the show's unusually high running costs are reported to be about $1.2 million per week.[93]

Awards and honors

From the character's inception, Spider-Man stories have won numerous awards, including:

  • 1962 Alley Award: Best Short Story—"Origin of Spider-Man" by Stan Lee and Steve Ditko, Amazing Fantasy #15
  • 1963 Alley Award: Best Comic: Adventure Hero title—The Amazing Spider-Man
  • 1963 Alley Award: Top Hero—Spider-Man
  • 1964 Alley Award: Best Adventure Hero Comic Book—The Amazing Spider-Man
  • 1964 Alley Award: Best Giant Comic - The Amazing Spider-Man Annual #1
  • 1964 Alley Award: Best Hero—Spider-Man
  • 1965 Alley Award: Best Adventure Hero Comic Book—The Amazing Spider-Man
  • 1965 Alley Award: Best Hero—Spider-Man
  • 1966 Alley Award: Best Comic Magazine: Adventure Book with the Main Character in the Title—The Amazing Spider-Man
  • 1966 Alley Award: Best Full-Length Story - "How Green was My Goblin", by Stan Lee & John Romita, Sr., The Amazing Spider-Man #39
  • 1967 Alley Award: Best Comic Magazine: Adventure Book with the Main Character in the Title—The Amazing Spider-Man
  • 1967 Alley Award Popularity Poll: Best Costumed or Powered Hero—Spider-Man
  • 1967 Alley Award Popularity Poll: Best Male Normal Supporting Character—J. Jonah Jameson, The Amazing Spider-Man
  • 1967 Alley Award Popularity Poll: Best Female Normal Supporting Character—Mary Jane Watson, The Amazing Spider-Man
  • 1968 Alley Award Popularity Poll: Best Adventure Hero Strip—The Amazing Spider-Man
  • 1968 Alley Award Popularity Poll: Best Supporting Character - J. Jonah Jameson, The Amazing Spider-Man
  • 1969 Alley Award Popularity Poll: Best Adventure Hero Strip—The Amazing Spider-Man
  • 1997 Eisner Award: Best Artist/Penciller/Inker or Penciller/Inker Team—1997 Al Williamson, Best Inker: Untold Tales of Spider-Man #17-18
  • 2002 Eisner Award: Best Serialized Story—The Amazing Spider-Man vol. 2, #30–35: "Coming Home", by J. Michael Straczynski, John Romita, Jr., and Scott Hanna
  • No date: Empire magazine's fifth-greatest comic book character.[94]
  • No date: Spider-Man was the #1 superhero on Bravo's Ultimate Super Heroes, Vixens, and Villains show.[95]
  • No date: Fandomania.com rated him as #7 on their 100 Greatest Fictional Characters list.[96]

See also

{{{inline}}}

Selected story arcs

Notes

  1. ^ Lee, Stan; Mair, George (2002). Excelsior!: The Amazing Life of Stan Lee. Fireside. ISBN 0-684-87305-2. He goes further in his biography, claiming that even while pitching the concept to publisher Martin Goodman, "I can't remember if that was literally true or not, but I thought it would lend a big color to my pitch."{{cite book}}: CS1 maint: multiple names: authors list (link)
  2. ^ Detroit Free Press interview with Stan Lee, quoted in The Steve Ditko Reader by Greg Theakston (Pure Imagination, Brooklyn, NY; ISBN 1-56685-011-8), p. 12 (unnumbered). "He gave me 1,000 reasons why Spider-Man would never work. Nobody likes spiders; it sounds too much like Superman; and how could a teenager be a superhero? Then I told him I wanted the character to be a very human guy, someone who makes mistakes, who worries, who gets acne, has trouble with his girlfriend, things like that. [Goodman replied,] 'He's a hero! He's not an average man!' I said, 'No, we make him an average man who happens to have super powers, that's what will make him good.' He told me I was crazy".
  3. ^ Ditko, Steve (2000). Roy Thomas (ed.). Alter Ego: The Comic Book Artist Collection. TwoMorrows Publishing. ISBN 1893905063. "'Stan said a new Marvel hero would be introduced in #15 [of what became titled Amazing Fantasy]. He would be called Spider-Man. Jack would do the penciling and I was to ink the character.' At this point still, 'Stan said Spider-Man would be a teenager with a magic ring which could transform him into an adult hero—Spider-Man. I said it sounded like the Fly, which Joe Simon had done for Archie Comics. Stan called Jack about it but I don't know what was discussed. I never talked to Jack about Spider-Man... Later, at some point, I was given the job of drawing Spider-Man'".
  4. ^ Jack Kirby in "Shop Talk: Jack Kirby", Will Eisner's Spirit Magazine #39 (February 1982): "Spider-Man was discussed between Joe Simon and myself. It was the last thing Joe and I had discussed. We had a strip called 'The Silver Spider.' The Silver Spider was going into a magazine called Black Magic. Black Magic folded with Crestwood (Simon & Kirby's 1950s comics company) and we were left with the script. I believe I said this could become a thing called Spider-Man, see, a superhero character. I had a lot of faith in the superhero character that they could be brought back... and I said Spider-Man would be a fine character to start with. But Joe had already moved on. So the idea was already there when I talked to Stan".
  5. ^ Simon, Joe, with Jim Simon. The Comic Book Makers (Crestwood/II, 1990) ISBN 1-887591-35-4. "There were a few holes in Jack's never-dependable memory. For instance, there was no Black Magic involved at all. ... Jack brought in the Spider-Man logo that I had loaned to him before we changed the name to The Silver Spider. Kirby laid out the story to Lee about the kid who finds a ring in a spiderweb, gets his powers from the ring, and goes forth to fight crime armed with The Silver Spider's old web-spinning pistol. Stan Lee said, 'Perfect, just what I want.' After obtaining permission from publisher Martin Goodman, Lee told Kirby to pencil-up an origin story. Kirby... using parts of an old rejected superhero named Night Fighter... revamped the old Silver Spider script, including revisions suggested by Lee. But when Kirby showed Lee the sample pages, it was Lee's turn to gripe. He had been expecting a skinny young kid who is transformed into a skinny young kid with spider powers. Kirby had him turn into... Captain America with cobwebs. He turned Spider-Man over to Steve Ditko, who... ignored Kirby's pages, tossed the character's magic ring, web-pistol and goggles... and completely redesigned Spider-Man's costume and equipment. In this life, he became high-school student Peter Parker, who gets his spider powers after being bitten by a radioactive spider. ... Lastly, the Spider-Man logo was redone and a dashing hyphen added".
  6. ^ Mondello, Salvatore (2004). "Spider-Man: Superhero in the Liberal Tradition". The Journal of Popular Culture. X (1): 232–238. doi:10.1111/j.0022-3840.1976.1001_232.x. a teenage superhero and middle-aged supervillains—an impressive rogues' gallery which includes such memorable knaves and grotesques as the Vulture, {{cite journal}}: Unknown parameter |month= ignored (help)

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  30. ^ Saffel, p. 51
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  32. ^ Lee, Stan (w), Romita, John (a). "The Birth of a Super-Hero!" The Amazing Spider-Man, vol. 1, no. 42 (November 1966). New York, NY: Marvel Comics.
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  37. ^ Saffel, p. 65, states, "In the battle that followed atop the Brooklyn Bridge (or was it the George Washington Bridge?)...." On page 66, Saffel reprints the panel of The Amazing Spider-Man #121, page 18, in which Spider-Man exclaims, "The George Washington Bridge! It figures Osborn would pick something named after his favorite president. He's got the same sort of hangup for dollar bills!" Saffel states, "The span portrayed...is the GW's more famous cousin, the Brooklyn Bridge. ... To address the contradiction in future reprints of the tale, though, Spider-Man's dialogue was altered so that he's referring to the Brooklyn Bridge. But the original snafu remains as one of the more visible errors in the history of comics."
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