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This book is part of a nuanced two-volume examination of the ways in which violence in comics is presented in different texts, genres, cultures and contexts. Representing Acts of Violence in Comics raises questions about depiction and the act of showing violence, and discusses the ways in which individual moments of violence develop, and are both represented and embodied in comics and graphic novels. Contributors consider the impact of gendered and sexual violence, and examine the ways in which violent acts can be rendered palatable (for example through humour) but also how comics can represent trauma and long lasting repercussions for both perpetrators and victims. This will be a key text and essential reference for scholars and students at all levels in Comics Studies, and Cultural and Media Studies more generally.
This interdisciplinary volume seeks to trace the diverse ways in which stories of biblical women have been reimagined in and as comic books. Feminist biblical scholarship has previously addressed the tradition that relegates female biblical characters to secondary roles, merely enabling the male characters to attain their own goals. Using examples from both secular and religious comic Bibles, and comic Bibles aimed at children and older audiences, Zanne Domoney-Lyttle now fully considers contemporary remediations of biblical narratives to the same degree. Remediating ancient, biblical text into modern, graphical comic books affects the reception of the text in several ways. This book aims to investigate how the production, format, and function of comic Bibles encourages the depiction of biblical characters from a contemporary perspective, while also showing some fidelity to the text. By presenting a focused analysis on women in the Bible, wider issues concerning popular-cultural retellings of the Bible in general begin to surface, including matters concerning reception history, the space between art and literature inhabited by biblical comics, and issues of translation and interpretations within contemporary remediations.
Why are so many contemporary comics and graphic narratives written as memoirs or documentaries of traumatic events? Is there a specific relationship between the comics form and the documentation and reportage of trauma? How do the interpretive demands made on comics readers shape their relationships with traumatic events? And how does comics’ documentation of traumatic pasts operate across national borders and in different cultural, political, and politicised contexts? The sixteen chapters and three comics included in Documenting Trauma in Comics set out to answer exactly these questions. Drawing on a range of historically and geographically expansive examples, the contributors bring their different perspectives to bear on the tangled and often fraught intersections between trauma studies, comics studies, and theories of documentary practices and processes. The result is a collection that shows how comics is not simply related to trauma, but a generative force that has become central to its remembrance, documentation, and study.
This book explores what the methodologies of Art History might offer Comics Studies, in terms of addressing overlooked aspects of aesthetics, form, materiality, perception and visual style. As well as considering what Art History proposes of comic scholarship, including the questioning of some of its deep-rooted categories and procedures, it also appraises what comics and Comics Studies afford and ask of Art History. This book draws together the work of international scholars applying art-historical methodologies to the study of a range of comic strips, books, cartoons, graphic novels and manga, who, as well as being researchers, are also educators, artists, designers, curators, producers, librarians, editors, and writers, with some undertaking practice-based research. Many are trained art historians, but others come from, have migrated into, or straddle other disciplines, such as Comparative Literature, American Literature, Cultural Studies, Visual Studies, and a range of subjects within Art & Design practice.
This book explores the so-called "British Invasion" of DC Comics’ Vertigo imprint, which played an important role in redefining the mainstream comics industry in the US during the early 1990s. Focusing on British creators within Vertigo, this study traces the evolution of the line from its creation in 1993 to its demise in 2019. Through an approach grounded in cultural history, the book disentangles the imprint’s complex roots, showing how editors channelled the potential of its British writers at a time of deep-seated economic and cultural change within the comics industry, and promoted a sense of cohesion across titles that defied categories. The author also delves into lesser-known aspects of the Invasion, exploring less-canonical periods and creators that are often eclipsed by Vertigo’s early star writers. An innovative contribution on a key element of comic book history, this volume will appeal both to researchers of Vertigo scholarship and to fans of the imprint. It will also be an essential read for those interested in transatlantic collaborations and exchanges in the entertainment industry, processes of cultural legitimation and cultural hierarchies, and to anyone working on the representation of national and social identities.
This book looks at comics through the lens of Art History, examining the past influence of art-historical methodologies on comics scholarship to scope how they can be applied to Comics Studies in the present and future. It unearths how early comics scholars deployed art-historical approaches, including stylistic analysis, iconography, Cultural History and the social history of art, and proposes how such methodologies, updated in light of disciplinary developments within Art History, could be usefully adopted in the study of comics today. Through a series of indicative case studies of British and American comics like Eagle, The Mighty Thor, 2000AD, Escape and Heartbreak Hotel, it argues that art-historical methods better address overlooked aspects of visual and material form. Bringing Art History back into the interdisciplinary nexus of comics scholarship raises some fundamental questions about the categories, frameworks and values underlying contemporary Comics Studies.
Immigrants and Comics is an interdisciplinary, themed anthology that focuses on how comics have played a crucial role in representing, constructing, and reifying the immigrant subject and the immigrant experience in popular global culture of the twentieth and twenty-first centuries. Nhora Lucía Serrano and a diverse group of contributors examine immigrant experience as they navigate new socio-political milieux in cartoons, comics, and graphic novels across cultures and time periods. They interrogate how immigration is portrayed in comics and how the ‘immigrant’ was an indispensable and vital trope to the development of the comics medium in the twentieth century. At the heart of the book‘s interdisciplinary nexus is a critical framework steeped in the ideas of remembrance and commemoration, what Pierre Nora calls lieux de mémoire. This book will be of interest to students and scholars in Visual Studies, Comparative Literature, English, Ethnic Studies, Francophone Studies, American Studies, Hispanic Studies, art history, and museum studies.
This book explores the important role of the graphic novel in reflecting American society and in the shaping of the American imagination. It guides readers through the theoretical text-image scholarship to explain the meaning of the complex borderlines between graphic novels, comics, newspaper strips, caricature, literature, and art.
This volume explores how horror comic books have negotiated with the social and cultural anxieties framing a specific era and geographical space. Paying attention to academic gaps in comics’ scholarship, these chapters engage with the study of comics from varying interdisciplinary perspectives, such as Marxism; posthumanism; and theories of adaptation, sociology, existentialism, and psychology. Without neglecting the classical era, the book presents case studies ranging from the mainstream comics to the independents, simultaneously offering new critical insights on zones of vacancy within the study of horror comic books while examining a global selection of horror comics from countries such as India (City of Sorrows), France (Zombillénium), Spain (Creepy), Italy (Dylan Dog), and Japan (Tanabe Gou’s Manga Adaptations of H.P. Lovecraft), as well as the United States. One of the first books centered exclusively on close readings of an under-studied field, this collection will have an appeal to scholars and students of horror comics studies, visual rhetoric, philosophy, sociology, media studies, pop culture, and film studies. It will also appeal to anyone interested in comic books in general and to those interested in investigating intricacies of the horror genre.
Super-Girls of the Future: Girlhood and Agency in Contemporary Superhero Comics investigates girl superheroes published by DC and Marvel Comics in the first two decades of the twenty-first century, asking who the new-and-improved super-girls are and what potentials they hold for imagining girls as agents of change, in the genre as well as its socio-cultural context. As super-girls have grown increasingly numerous and diverse since the turn of the millennium, they provide an opportunity for reconsidering representations of gender and power in the superhero genre. This book offers the term agentic embodiment as an analytical tool for critiquing the body politics of superhero comics, particularly concerning youth, femininity, whiteness, and violence. Grounded in comics studies and informed by feminist cultural studies, the book contributes a critical and hopeful perspective on the diversification of a genre often written off as irredeemably conservative and patriarchal. Super-Girls of the Future is a key title for students and scholars of comics studies, visual culture, US popular culture, and feminist criticism.