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In The Art of Tony Calzetta: A Retrospective, Tom Smart explores the prints, drawings, paintings and bookworks of Tony Calzetta. Smart chronicles Calzetta's early influences in order to document the evolution of the artist's unique and complex visual aesthetic. The article further explains how Calzetta's artistic background led him to create a collaborative visual narrative with poet Leon Rooke and printmaker Dieter Grund, entitled How God Talks in His Sleep and Other Fabulous Fictions.
Vols. 2 and 5 include appendices.
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The book you’re reading about right now was created with Adobe InDesign CC. And that’s the case no matter which reading format you prefer—whether it’s the physical book made of plant fiber and ink, or the digital version made of electrons in an e-reader. In fact, most of the books, magazines, posters, and brochures you see were likely made with InDesign as well. It’s all around you.

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Increasingly over the past decade, fan credentials on the part of writers, directors, and producers have come to be seen as a guarantee of quality media making—the “fanboy auteur.” Figures like Joss Whedon are both one of “us” and one of “them.” This is a strategy of marketing and branding—it is a claim from the auteur himself or industry PR machines that the presence of an auteur who is also a fan means the product is worth consuming. Such claims that fan credentials guarantee quality are often contested, with fans and critics alike rejecting various auteur figures as the true leader of their respective franchises. That split, between assertions of fan and auteur status and acceptance (or not) of that status, is key to unravelling the fan auteur. In A Portrait of the Auteur as Fanboy: The Construction of Authorship in Transmedia Franchises, authors Anastasia Salter and Mel Stanfill examine this phenomenon through a series of case studies featuring fanboys. The volume discusses both popular fanboys, such as J. J. Abrams, Kevin Smith, and Joss Whedon, as well as fangirls like J. K. Rowling, E L James, and Patty Jenkins, and dissects how the fanboy-fangirl auteur dichotomy is constructed and defended by popular media and fans in online spaces, and how this discourse has played in maintaining the exclusionary status quo of geek culture. This book is particularly timely given current discourse, including such incidents as the controversy surrounding Joss Whedon’s so-called feminism, the publication of Harry Potter and the Cursed Child, and contestation over authorial voices in the DC cinematic universe, as well as broader conversations about toxic masculinity and sexual harassment in Hollywood.