Denis Gifford (26 December 1927 – 18 May 2000)Holland, Steve, Obituaries: Denis Gifford, The Guardian, 26 May 2000. was a British writer, broadcaster, journalist, comic artist and historian of film, comics, television and radio. In his lengthy career, he wrote and drew for British comics; wrote more than fifty books on the creators, performers, characters and history of popular media; devised, compiled and contributed to popular programmes for radio and television; and directed several short films. Gifford was also a major comics collector, owning what was perhaps the largest collection of British comics in the world.
Gifford's work in the history of film and comics, particularly in Britain, provided an account of the work in those media of previously unattempted scope, discovering countless lost films and titles and identifying numerous uncredited creators. He was particularly interested in the early stages in film and comics history, for which records were scarce and unreliable, and his own vast collection was an invaluable source. Gifford produced detailed filmographies of every traceable fiction, non-fiction and animated film ever released in the UK, and of early animated films in the US.
He compiled the first comics catalogue attempting to list every comic ever published in the UK, as well as the first price guide for British comics. His research into the early development of comics and cinema laid the groundwork for their academic study, and his reference works remain key texts in the fields.
Gifford was also a cartoonist and comic artist who worked for numerous titles, mostly for British comics in the 1940s, 50s and 60s. Although these were largely humour strips, he worked in a range of genres including superhero, Western, science fiction and adventure.
Early life: 1927–48 Gifford was born in Forest Hill, London, the only son of William Gifford, a printer, and Amelia née Hutchings. He grew up in the prosperous South London suburb of Sydenham, but was evacuated during the war to Tonbridge, Kent.
Gifford attended the South London private school Dulwich College (1939–44), and while a pupil there was an avid comic collector and cartoonist. He produced a comic, The Junior, using heated gelatine and hectograph ink, which he sold for 1d around the school, but had published comics art by the time he was 14 (1942).
Gifford became friends with Bob Monkhouse, a Dulwich schoolmate, fellow schoolboy cartoonist and later TV comedian and presenter, who studied in the year below and also had cartoons published while at the school. Gifford and Monkhouse collaborated on comics writing and drawing, a partnership that was to continue for many years in various forms, including as radio scriptwriters. The two toured together as a comedy act in the south east of England in the late 1940s with Ernie Lower's West Bees Concert Party, giving charity performances with Monkhouse as the 'straight man'. Gifford continued drawing during National Service in the Royal Air Force (1946-8), in which he served in the clerical position of 'AC1 Clerk/Pay Accounts', and went on to draw the Telestrip cartoon for the London Evening News.
Comic art and comic writing: 1942–82
Gifford's prolific career as a cartoonist included both newspaper strips and comics, almost entirely for British publishers. His first published work was Magical Monty for All-Fun Comics (1942) at the age of 14, with a contribution to The Dandy the same year, and briefly worked as junior cartoonist for the newspaper Reynold's News (1944–45). He collaborated on comics writing and drawing with school friend Bob Monkhouse while they were still pupils at Dulwich College together.
After his National Service, Gifford drew the Telestrip cartoon for the London Evening News, continuing in Rex magazine (1971–72), and on bubblegum and cigarette sweet packets. Other newspaper strips were produced by Gifford for Empire State News and Sunday Dispatch.
Gifford's early work was with D.C. Thomson and the majority of his work was for humour strips, but he went on to cover various genres and styles, including adventure, detective, science fiction, Western and superheroes.
Gifford was most productive as a comics artist in the 1940s, 50s and 60s. By the early 1970s Gifford's writing career, mainly on the subjects of comics and film history, began to take over from his work as a cartoonist in his own right.
Drawing style Gifford had a distinctive, simple drawing style with a light-heartedness evident even in more action-orientated strips. Panels were often bustling and dynamic, with individual characters vying for attention. His humours strips were dense with conspicuously labelled puns and 'sight gags', the "visual conventions" of comic art, informed by an intense awareness of the cultural heritage of the medium.
In the period Gifford drew for them, D.C. Thomson and most British comic publishers had a strict policy that artists could not sign their work but exceptionally, he was allowed to clearly sign his art.
Golden Age superheroes: 1945–49 Gifford created at least three of the earliest British Golden Age superheroes, Mr Muscle for Dynamic Comics (1945), Streamline, whose #1 tagline proclaimed him "The speediest fighter in the world", co-created with Monkhouse for Streamline Comics (1947) and Tiger-Man, debuting in Ray Regan #1 (1949). Gifford himself credits "the first British superhero in the American comic book style" to Derickson Dene by Nat Brand in British anthology comic The Triumph in 1939, but both Mr Muscle and Streamline were early attempts to introduce British characters in a characteristically American genre, prompted by severely limited imports or reprints of US superhero titles due to wartime paper rationing and import restrictions. Gifford and Monkhouse set up their own publishing company, Streamline, in the early 1950s which published reprints of other Golden Age superheroes such as Captain Might and Masterman.
Only Streamline Comics #1 had story and art by Gifford, although he contributed the one-page humour strip Inky the Imp of the Inkpot and the adventure strip Search for the Secret City in #4.
Mr Muscle should not be confused with the later DC character Mister Muscle of Hero Hotline, created by Bob Rozakis, or the Charlton Comics character Mr. Muscles, created by Jerry Siegel. Tiger-Man should not be confused with Tiger Man, the Street & Smith Golden Age hero, Tigerman, the Fiction House Golden Age hero, Tigerman or Trojak the Tiger-Man, the Marvel/Timely Golden Age heroes, or Tiger-Man, the Atlas/Seaboard character.
Gifford projects: Ray Regan, Star Comics, Panto Pranks: 1946–50s
Gifford created, wrote and edited several comics in the 1940s and 1950s. These included detective title Ray Regan (1949), with art by Ron Embleton, the pantomime-themed Panto Pranks (1949), which Gifford wrote and drew, Fizz Comics (1949) and Star Comics (1954), which he drew and edited with Monkhouse, featuring strips of contemporary entertainers Morecambe and Wise, Bob Monkhouse himself, Jill Day and movie character Tobor The Great. These titles created by Gifford often ran for just a single issue, to take advantage of a loophole in postwar paper rationing, but the succession of short projects suited Gifford's diverse interests as it enabled him to flit from genre to genre.
Western strips: Roy Rogers and others: 1946–61 Gifford drew and often wrote a number of Western comics strips in the 1940s, 50s and 60s, including 'Ace High' Rogers versus Redmask (1946), Bill Elliott in Republic's Old Los Angeles in The Sheriff #3 (1948) and strips for Annie Oakley (1957–58) and Gunhawks Western (1960–61).
Gifford provided art for movie adaptation strip Roy Rogers in Western comic The Sheriff Comics (no date, 1950s), signing himself 'Gus Denis Gifford' and offering a drawing style [in which] "[h]is likenesses could approach very close to the American ones produced by Harry Parks", consistent with Gifford's busy, comical style in other genres.
Humour strips: Knockout, Whizzer & Chips and magazine strips: 1946–71
Gifford and Monkhouse contributed cartoon strips to various magazines in the 1940s and 1950s, including Galaxy magazine (1946) (not to be confused with Galaxy Science Fiction).
Gifford drew the cover for Classics Illustrated #146 (British series), Adventures of Baron Munchausen (1962), a more comedic and cartoon-like rendering than was conventional for the title's covers, which tended to be classically heroic and often painted.
Gifford went on to produce several strips for the highly popular humour comic Knockout, including Our Ernie (1950), Stoneage Kit the Ancient Brit and his own creation, the gags and puzzles strip Steadfact McStaunch. He later revived Steadfast McStaunch for a run in IPC's new title Whizzer and Chips (1969), which itself merged with Knockout in 1973.
Anglo Studios: Marvelman, Captain Miracle, Super DC, TV Tornado: 1954–71 After working with Mick Anglo on the ABC science-fiction title Space Comics (1953–54), Gifford began work for Anglo Studios when it was set up in 1954, including a long stint writing and illustrating early Marvelman, the superhero reinvented in the 1980s with a darker vision by Alan Moore. Gifford worked on a number of strips in several titles in the Marvelman stable, and created the light-hearted backup features Flip and Flop and The Friendly Soul. He also wrote an editorial piece, Founding a Family, on the history of Marvelman Family for a 1988 reprint of the strip in Miracleman Family #2.
When Anglo took on US reprint series Annie Oakley, Gifford was one of the staff of British and Spanish artists used to create new strips (1957–58). Gifford went on to provide Western strips for Anglo Features title Gunhawks Western (1960–61) and humour strip Our Lad for Anglo's Captain Miracle (1961) contributed several humour strips for Anglo's anthology of Silver Age DC reprints, Super DC (1969–70), as well as reprints of his humour strip The Friendly Soul from Marvelman in Superman Bumper Book (1970) and Super DC Bumper Book #1 (1971). Later in the 1960s, Gifford also produced the one-off News of the Universe Television Service and regular humour strips Dan Dan the TV Man and the collection of one or two-panel gags, Jester Moment for TV Tornado (1967–68) where Mick Anglo was editor.
Bibliography: comics art and writing
History and criticism of cinema: 1952–98
Reference authorship Although Gifford did not have an academic background, he was an acknowledged authority on film history who is respected by academics in film studies, media studies and social and cultural history. Much of his reference work is recommended reading in these disciplines. Along with several other pioneering film archivists, Gifford's 'encyclopaedic work' was recognised by the Institute of Historical Research as having "provided thoroughgoing maps of British film personnel and production histories".