This book brings together an international group of scholars who chart and analyze the ways in which comic book history and new forms of graphic narrative have negotiated the aesthetic, social, ...political, economic, and cultural interactions that reach across national borders in an increasingly interconnected and globalizing world. Exploring the tendencies of graphic narratives - from popular comic book serials and graphic novels to manga - to cross national and cultural boundaries, Transnational Perspectives on Graphic Narratives addresses a previously marginalized area in comics studies. By placing graphic narratives in the global flow of cultural production and reception, the book investigates controversial representations of transnational politics, examines transnational adaptations of superhero characters, and maps many of the translations and transformations that have come to shape contemporary comics culture on a global scale.
Goodbye, My Havana is the gripping story of everyday life, love, and sexual persecution during the early years of the Cuban Revolution as lived and seen through the eyes of a young German-American ...student, the lesbian daughter of American Communists who worked there for the government.
A new generation of European cartoonists
Bringing together the work of an array of North American and European scholars, this collection highlights a previously unexamined area within global comics ...studies. It analyses comics from countries formerly behind the Iron Curtain like East Germany, Poland, Czech Republic, Hungary, Romania, Yugoslavia, and Ukraine, given their shared history of WWII and communism. In addition to situating these graphic narratives in their national and subnational contexts, Comics of the New Europe pays particular attention to transnational connections along the common themes of nostalgia, memoir, and life under communism. The essays offer insights into a new generation of European cartoonists that looks forward, inspired and informed by traditions from Franco-Belgian and American comics, and back, as they use the medium of comics to reexamine and reevaluate not only their national pasts and respective comics traditions but also their own post-1989 identities and experiences.
Contributors: Max Bledstein (University of Winnipeg), Dragana Obradović (University of Toronto), Aleksandra Sekulić (University of Arts in Belgrade), Pavel Kořínek (Institute of Czech Literature, Czech Academy of Sciences in Prague), Martin Foret (Palacký University), Michael Scholz (Uppsala University), Sean Eedy (Carleton University), Elizabeth Nijdam (University of British Columbia), Ewa Stańczyk (University of Amsterdam), Eszter Szép (Eötvös Loránd University)
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
In this video Martha Kuhlman discusses various aspects of the book 'Comics of the New Europe', focusing in particular on Czech authors .
El Eternauta, Daytripper, and Beyond examines the graphic narrative tradition in the two South American countries that have produced the medium’s most significant and copious output. Argentine ...graphic narrative emerged in the 1980s, awakened by Héctor Oesterheld’s groundbreaking 1950s serial El Eternauta. After Oesterheld was “disappeared" under the military dictatorship, El Eternauta became one of the most important cultural texts of turbulent mid-twentieth-century Argentina. Today its story, set in motion by an extraterrestrial invasion of Buenos Aires, is read as a parable foretelling the “invasion" of Argentine society by a murderous tyranny. Because of El Eternauta, graphic narrative became a major platform for the country’s cultural redemocratization. In contrast, Brazil, which returned to democracy in 1985 after decades of dictatorship, produced considerably less analysis of the period of repression in its graphic narratives. In Brazil, serious graphic narratives such as Fábio Moon and Gabriel Bá’s Daytripper, which explores issues of modernity, globalization, and cross-cultural identity, developed only in recent decades, reflecting Brazilian society’s current and ongoing challenges. Besides discussing El Eternauta and Daytripper, David William Foster utilizes case studies of influential works—such as Alberto Breccia and Juan Sasturain’s Perramus series, Angélica Freitas and Odyr Bernardi’s Guadalupe, and others—to compare the role of graphic narratives in the cultures of both countries, highlighting the importance of Argentina and Brazil as anchors of the production of world-class graphic narrative.
By placing comics in a lively dialogue with contemporary narrative theory, The Narratology of Comic Art builds a systematic theory of narrative comics, going beyond the typical focus on the ...Anglophone tradition. This involves not just the exploration of those properties in comics that can be meaningfully investigated with existing narrative theory, but an interpretive study of the potential in narratological concepts and analytical procedures that has hitherto been overlooked. This research monograph is, then, not an application of narratology in the medium and art of comics, but a revision of narratological concepts and approaches through the study of narrative comics. Thus, while narratology is brought to bear on comics, equally comics are brought to bear on narratology.
How do white queer people portray our own whiteness? Can we, in the stories we tell about ourselves, face the uncomfortable fact that, while queer, we might still be racist? If we cannot, what does ...that say about us as potential allies in intersectional struggles? A careful analysis of Dykes To Watch Out For and Stuck Rubber Baby by queer comic icons Alison Bechdel and Howard Cruse traces the intersections of queerness and racism in the neglected medium of queer comics, while a close reading of Jaime Cortez's striking graphic novel Sexile/Sexilio offers glimpses of the complexities and difficult truths that lie beyond the limits of the white queer imaginary.
Comic Shop Gearino, Dan; Spurgeon, Tom
10/2017
eBook
The modern comic book shop was born in the early 1970s. Its rise
was due in large part to Phil Seuling, the entrepreneur whose
direct market model allowed shops to get comics straight from the
...publishers. Stores could then better customize their offerings and
independent publishers could access national distribution. Shops
opened up a space for quirky ideas to gain an audience and helped
transform small-press series, from Teenage Mutant Ninja Turtles to
Bone, into media giants.
Comic Shop is the first book to trace the history of
these cultural icons. Dan Gearino brings us from their origins to
the present-day, when the rise of digital platforms and a changing
retail landscape have the industry at a crossroads. When the book
was first published in 2017, Gearino had spent a year with stores
around the country, following how they navigated the business. For
this updated and expanded paperback edition, he covers the wild
retail landscape of 2017 and 2018, a time that was brutal for
stores and rich for comics as an art form.
Along the way he interviews pioneers of comics retailing and
other important players, including many women; top creators; and
those who continue to push the business in new directions. A
revised guide to dozens of the most interesting shops around the
United States and Canada is a bonus for fans.
The creation of the Fantastic Four effectively launched the Marvel Comics brand in 1961. Within ten years, the introduction (or reintroduction) of characters such as Spider-Man, the Hulk, Iron Man, ...Captain America, and the X-Men catapulted Marvel past its primary rival, DC Comics, for domination of the comic book market. Since the 2000s, the company’s iconic characters have leaped from page to screens with the creation of the Marvel Cinematic Universe, which includes everything from live-action film franchises of Iron Man and the Avengers to television and streaming media, including the critically acclaimed Netflix series Daredevil and Jessica Jones. Marvel, now owned by Disney, has clearly found the key to transmedia success. Make Ours Marvel traces the rise of the Marvel brand and its transformation into a transmedia empire over the past fifty years. A dozen original essays range across topics such as how Marvel expanded the notion of an all-star team book with The Avengers, which provided a roadmap for the later films, to the company’s attempts to create lasting female characters and readerships, to its regular endeavors to reinvigorate its brand while still maintaining the stability that fans crave. Demonstrating that the secret to Marvel’s success comes from adeptly crossing media boundaries while inviting its audience to participate in creating Marvel’s narrative universe, this book shows why the company and its characters will continue to influence storytelling and transmedia empire building for the foreseeable future.
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