In this writing I investigate three mechanisms of comics that can support expanded possibilities for students in art classes: the combination of words and images, gaps (or spaces between images where ...meaning is formed in comics), and the technique of masking (or representing reality through fantasy). Respectively, these qualities may facilitate possibility by offering unique modes of communication with self and others; providing agency through choices of emphasis and omissions; and escaping the confines of rationality into a boundary-pushing narrative flow. These possibilities are particularly supportive of outsider students, defined as being unrecognized by normative culture, pressured to change their usual behaviour, and dissuaded from perceiving their own value. This writing is supported by personal stories, excerpts of my own comics art, and scholarship in the fields of art education, critical disabilities, and comics studies.
Girls, gender and identity in comicsSugar, Spice, and the Not So Nice offers an innovative, wide-ranging and geographically diverse book-length treatment of girlhood in comics. The various ...contributing authors and artists provide novel insights into established themes within comics studies, children’s comics, graphic medicine and comics by and about refugees and marginalised ethnic or cultural groups. The book enriches traditional historical, narratological and aesthetic approaches to studying girlhood in comics with practice-based research, discussion and conversation. This re-examination of girls, gender and identity in comics connects with contemporary discourse on gender identity politics. Through examples from both within Europe, the anglophone world and beyond, and including visual essays alongside critical theory, the volume furthermore engages with new developments in contemporary comics scholarship. It will therefore appeal to students and scholars of childhood studies, comics scholars and creators, and those interested in addressing gender identity through the prism of comics. Contributors: Mel Gibson (Northumbria University), Martha Newbigging (Seneca College), María Porras Sánchez (Complutense University of Madrid), JoAnn Purcell (York University and Seneca College), Benoît Glaude (Ghent University/University of Louvain), Sylvain Lesage (University of Lille), Joan Ormrod (Manchester Metropolitan University), Aswathy Senan (The Research Collective Delhi), Michel De Dobbeleer (Ghent University), Sébastien Conard (KASK Ghent School of Arts and LUCA Brussels), Marthine Bertiot (University of Edinburgh), Julia Round (Bournemouth University) Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
This unique comic anthology takes its readers on a journey through different art styles and queer perspectives, from first Prides to multi-generational friendships to finding community among chosen ...families. The comics in Queer Compassion offer kaleidoscopic insight into the colorful, heartbreaking, empowering, funny, and diverse lives of queer people around the world by centering compassion as a way to inhabit and build community. These comics are created by queer artists for queer audiences and with the intent for queer self-expression and representation. Social science researchers spoke to diverse members of LGBTQ+ communities to explore their beliefs about and experiences of compassion. Fifteen queer comics were commissioned to illustrate those stories, making the process of creating each comic a unique collaboration between researchers and artists, blending data exploring the meanings of compassion for queer folks with the creativity, passion, and understanding of a queer comic artist. These stories reflect not only the harsh realities that many queer people face but they also uplift queer voices, illustrate strength, and capture queer resolve to make life more compassionate. Queer people, living in a cis-heteronormative world, often face experiences of marginalization, discrimination, stigma, trauma, and invisibility in everyday life. Queer Compassion shows that its titular emotion can be the bridge that brings understanding and creates community connections — a bridge that is particularly needed at this time.
Boys Love Manga and Beyondlooks at a range of literary, artistic and other cultural products that celebrate the beauty of adolescent boys and young men. In Japan, depiction of the "beautiful boy" has ...long been a romantic and sexualized trope for both sexes and commands a high degree of cultural visibility today across a range of genres from pop music to animation.
In recent decades, "Boys Love" (or simply BL) has emerged as a mainstream genre in manga, anime, and games for girls and young women. This genre was first developed in Japan in the early 1970s by a group of female artists who went on to establish themselves as major figures in Japan's manga industry. By the late 1970s many amateur women fans were getting involved in the BL phenomenon by creating and self-publishing homoerotic parodies of established male manga characters and popular media figures. The popularity of these fan-made products, sold and circulated at huge conventions, has led to an increase in the number of commercial titles available. Today, a wide range of products produced both by professionals and amateurs are brought together under the general rubric of "boys love," and are rapidly gaining an audience throughout Asia and globally.
This collection provides the first comprehensive overview in English of the BL phenomenon in Japan, its history and various subgenres and introduces translations of some key Japanese scholarship not otherwise available. Some chapters detail the historical and cultural contexts that helped BL emerge as a significant part of girls' culture in Japan. Others offer important case studies of BL production, consumption, and circulation and explain why BL has become a controversial topic in contemporary Japan.
i Queer women of color have historically been underrepresented or excluded completely in fiction and comics. When present, they are depicted as "less than" the white, Eurocentric norm. Drawing on ...semiotics, queer theory, and gender studies, this book addresses the imbalanced representation of queer women of color in graphic narratives and fiction and explores ways of rewriting queer women of color back into the frame. The author interrogates what it means to be "Other" and how "Othering" can be more creatively resisted.
Movie Comics Davis, Blair
2017, 20170103, 2017-01-03
eBook
As Christopher Nolan'sBatmanfilms and releases from the Marvel Cinematic Universe have regularly topped the box office charts, fans and critics alike might assume that the "comic book movie" is a ...distinctly twenty-first-century form. Yet adaptations of comics have been an integral part of American cinema from its very inception, with comics characters regularly leaping from the page to the screen and cinematic icons spawning comics of their own.
Movie Comicsis the first book to study the long history of both comics-to-film and film-to-comics adaptations, covering everything from silent films starring Happy Hooligan to sound films and serials featuring Dick Tracy and Superman to comic books starring John Wayne, Gene Autry, Bob Hope, Abbott & Costello, Alan Ladd, and Dean Martin and Jerry Lewis. With a special focus on the Classical Hollywood era, Blair Davis investigates the factors that spurred this media convergence, as the film and comics industries joined forces to expand the reach of their various brands. While analyzing this production history, he also tracks the artistic coevolution of films and comics, considering the many formal elements that each medium adopted and adapted from the other.
As it explores our abiding desire to experience the same characters and stories in multiple forms,Movie Comicsgives readers a new appreciation for the unique qualities of the illustrated page and the cinematic moving image.
This article will attempt to answer the question 'Why aren't we talking about the Beano?' by first of all explaining what The Beano is, who 'we' are, and why there is a popular perception, in the UK ...at least, that the latter should be discussing the former. It will then provide empirical evidence that we are not talking about The Beano and offer a number of explanations for why this might be before finally demonstrating why any of it matters.
Printing terror Goodrum, Michael
2021, 20210112, 2021-01-12
eBook
Printing Terror places horror comics of the Cold War in
dialogue with the anxieties of their age. It rejects the narrative
of horror comics as inherently, and necessarily, subversive and
explores, ...instead, the ways in which these texts manifest white
male fears over America's changing sociological landscape. It
examines two eras: the pre-CCA period of the 1940s up to 1954, and
the post-CCA era to 1975. The book examines each of these periods
through the lenses of war, gender, and race, demonstrating that
horror comics at this time were centered on white male victimhood
and the monstrosity of the gendered and/or racialised other. It is
of interest to scholars of horror, comics studies, and American
history.
