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Honorable Mention Recipient for the Comics Studies Society Prize for Edited Book Collection Contributions by Joshua T. Anderson, Chad A. Barbour, Susan Bernardin, Mike Borkent, Jeremy M. Carnes, Philip Cass, Jordan Clapper, James J. Donahue, Dennin Ellis, Jessica Fontaine, Jonathan Ford, Lee Francis IV, Enrique García, Javier García Liendo, Brenna Clarke Gray, Brian Montes, Arij Ouweneel, Kevin Patrick, Candida Rifkind, Jessica Rutherford, and Jorge Santos Cultural works by and about Indigenous identities, histories, and experiences circulate far and wide. However, not all films, animation, television shows, and comic books lead to a nuanced understanding of Indigenous realities. Acclaimed comics scholar Frederick Luis Aldama shines light on how mainstream comics have clumsily distilled and reconstructed Indigenous identities and experiences. He and contributors emphasize how Indigenous comic artists are themselves clearing new visual-verbal narrative spaces for articulating more complex histories, cultures, experiences, and narratives of self. To that end, Aldama brings together scholarship that explores both the representation and misrepresentation of Indigenous subjects and experiences as well as research that analyzes and highlights the extraordinary work of Indigenous comic artists. Among others, the book examines Daniel Parada’s Zotz, Puerto Rican comics Turey el Taíno and La Borinqueña, and Moonshot: The Indigenous Comics Collection. This volume’s wide-armed embrace of comics by and about Indigenous peoples of the Americas and Australasia is a first step to understanding how the histories of colonial and imperial domination connect the violent wounds that still haunt across continents. Aldama and contributors resound this message: Indigeneity in comics is an important, powerful force within our visual-verbal narrative arts writ large.
In recent years, studios like Marvel and DC have seen enormous success transforming comics into major motion pictures. At the same time, bookstores such as Barnes & Noble in the US and Indigo in Canada have made more room for comic books and graphic novels on their shelves. Yet despite the sustained popular appeal and the heightened availability of these media, Indigenous artists continue to find their work given little attention by mainstream publishers, booksellers, production houses, and academics. Nevertheless, Indigenous artists are increasingly turning to graphic narratives, with publishers like Native Realities LLC and Highwater Press carving out ever more space for Indigenous creators. In Indigenous Comics and Graphic Novels: Studies in Genre, James J. Donahue aims to interrogate and unravel the disparities of representation in the fields of comics studies and comics publishing. Donahue documents and analyzes the works of several Indigenous artists, including Theo Tso, Todd Houseman, and Arigon Starr. Through topically arranged chapters, the author explores a wide array of content produced by Indigenous creators, from superhero and science fiction comics to graphic novels and experimental narratives. While noting the importance of examining how Indigenous works are analyzed, Donahue emphasizes that the creation of artistic and critical spaces for Indigenous comics and graphic novels should be an essential concern for the comics studies field.
Against the long historical backdrop of 1492, Columbus, and the Conquest, Robert Stam's wide-ranging study traces a trajectory from the representation of indigenous peoples by others to self-representation by indigenous peoples, often as a form of resistance and rebellion to colonialist or neoliberal capitalism, across an eclectic range of forms of media, arts, and social philosophy. Spanning national and transnational media in countries including the US, Brazil, Canada, France, Germany, and Italy, Stam orchestrates a dialogue between the western mediated gaze on the 'Indian' and the indigenous gaze itself, especially as incarnated in the burgeoning movement of “indigenous media,” that is, the use of audio-visual-digital media for the social and cultural purposes of indigenous peoples themselves. Drawing on examples from cinema, literature, music, video, painting and stand-up comedy, Stam shows how indigenous artists, intellectuals and activists are responding to the multiple crises - climatological, economic, political, racial, and cultural - confronting the world. Significant attention is paid to the role of arts-based activism in supporting the struggle of indigenous artistic activism, of the Yanomami people specifically, to save the Amazon forest and the planet.
This companion consists of chapters that focus on and bring forward critical theories and productive methodologies for Indigenous art history in North America. This book makes a major and original contribution to the fields of Indigenous visual arts, professional curatorial practice, graduate-level curriculum development, and academic research. The contributors expand, create, establish and define Indigenous theoretical and methodological approaches for the production, discussion, and writing of Indigenous art histories. Bringing together scholars, curators, and artists from across the intersecting fields of Indigenous art history, critical museology, cultural studies, and curatorial practice, the companion promotes the study and dissemination of Indigenous art and stimulates new conversations on such key areas as visual sovereignty and self-determination; resurgence and resilience; land-based, embodied, and nation-specific knowledges; epistemologies and ontologies; curatorial and museological methodologies; language; decolonization and Indigenization; and collaboration, consultation, and mentorship.
Fray Bernardino de Sahagún-INAH Award in Mexico for Best Research Work in Anthropology Gabriela Zamorano Villarreal examines the political dimension of indigenous media production and distribution as a means by which indigenous organizations articulate new claims on national politics in Bolivia, a country experiencing one of the most notable cases of social mobilization and indigenous-based constitutional transformation in contemporary Latin America. Based on fieldwork in Bolivia from 2005 to 2007, Zamorano Villarreal details how grassroots indigenous media production has been instrumental to indigenous political demands for a Constituent Assembly and for implementing the new constitution within Evo Morales's controversial administration. On a day-to-day basis, Zamorano Villarreal witnessed the myriad processes by which Bolivia’s indigenous peoples craft images of political struggle and enfranchisement to produce films about their role in Bolivian society. Indigenous Media and Political Imaginaries in Contemporary Bolivia contributes a wholly new and original perspective on indigenous media worlds in Bolivia: the collaborative and decolonizing authorship of indigenous media against the neoliberal multicultural state, and its key role in reimagining national politics. Zamorano Villarreal unravels the negotiations among indigenous media makers about how to fairly depict a gender, territorial, or justice conflict in their films to promote grassroots understanding of indigenous peoples in Bolivia’s multicultural society.
Providing an overview of the dynamic field of comics and graphic novels for students and researchers, this Essential Guide contextualises the major research trends, debates and ideas that have emerged in Comics Studies over the past decades. Interdisciplinary and international in its scope, the critical approaches on offer spread across a wide range of strands, from the formal and the ideological to the historical, literary and cultural. Its concise chapters provide accessible introductions to comics methodologies, comics histories and cultures across the world, high-profile creators and titles, insights from audience and fan studies, and important themes and genres, such as autobiography and superheroes. It also surveys the alternative and small press alongside general reference works and textbooks on comics. Each chapter is complemented by list of key reference works.
Ethnic American Literatures and Critical Race Narratology explores the relationship between narrative, race, and ethnicity in the United States. Situated at the intersection of post-classical narratology and context-oriented approaches in race, ethnic, and cultural studies, the contributions to this edited volume interrogate the complex and varied ways in which ethnic American authors use narrative form to engage readers in issues related to race and ethnicity, along with other important identity markers such as class, religion, gender, and sexuality. Importantly, the book also explores how paying attention to the formal features of ethnic American literatures changes our under-standing of narrative theory and how narrative theories can help us to think about author functions and race. The international and diverse group of contributors includes top scholars in narrative theory and in race and ethnic studies, and the texts they analyze concern a wide variety of topics, from the representation of time and space to the narration of trauma and other deeply emotional memories to the importance of literary paratexts, genre structures, and author functions.
This engaging collection of essays discusses the complexities of “being” indigenous in public spaces. Laura R. Graham and H. Glenn Penny bring together a set of highly recognized junior and senior scholars, including indigenous scholars, from a variety of fields to provoke critical thinking about the many ways in which individuals and social groups construct and display unique identities around the world. The case studies in Performing Indigeneity underscore the social, historical, and immediate contextual factors at play when indigenous people make decisions about when, how, why, and who can “be” indigenous in public spaces. Performing Indigeneity invites readers to consider how groups and individuals think about performance and display and focuses attention on the ways that public spheres, both indigenous and nonindigenous ones, have received these performances. The essays demonstrate that performance and display are essential to the creation and persistence of indigeneity, while also presenting the conundrum that in many cases “indigeneity” excludes some of the voices or identities that the category purports to represent.
"As the Western began to flourish in literature, it also began to appear in illustrations and early comic strips of the late 19th and early 20th centuries. William Grady charts the history of the genre in comic strips and books from its origins in this period through its mid-century heyday to its gradual decline in the 60s and 70s, ending with a brief look at the current "afterlife" of Western comics over the last few decades. In doing so, he also argues for the importance of comics in the development of the Western alongside both literature and film/television. He explains how the mythic-historical settings of Western comics allowed the young readers at whom they were aimed to explore different aspects of their contemporary society, wrestle with taboo topics, and envision different futures for the US. Grady begins by exploring the origins of the Western genre in the late 19th century and shows the importance of illustrated narratives and cartoons in helping readers visualize the West, thus establishing much of its iconic imagery of frontier life, including racist stereotypes of Indigenous Peoples. He moves forward in time to show how the West became mythologized and fantastic elements were introduced into the real landscape in comic strips such as Gasoline Alley and Krazy Kat, until the Great Depression, where strips emphasized the escapist adventures of the West in Red Ryder, Lone Ranger, and others. The postwar Western spread into comic books and was used alternately as positive and negative commentaries on the Cold War and America's place in the world, but in the era of Vietnam and Watergate, Western comics portrayed darker reflections of American culture and history and eventually more or less died out. Despite the genre's apparent demise, Grady ends by examining its ongoing influence over the last decades as its tropes are used to interrogate and subvert the idea of the mythic West and explore diverse perspectives on the genre"--
This book adds to the scant academic literature investigating how comics transmit knowledge of the past and how this refraction of the past shapes our understanding of society and politics in sometimes damaging ways. The volume comes at these questions from a specifically archaeological perspective, foregrounding the representation and narrative use of material cultures. It fulfils its objectives through three reception studies in the first part of the volume and three chapters by comic creators in the second part. All six chapters aim to grapple with a set of central questions about the power inherent in drawn images of various kinds.