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"The authors of Strips, Toons, and Bluesies address such key issues as the intertwined origins of comics and animation; the sex, violence, and taboo breaking of 200 years of underground comics, from Jack T. Chick to Chris Ware; the popular "Locas" stories of Jaime Hernandez's Love and Rockets; and the political and racial portrayals of African Americans in 1960s comics, including works by Stan Lee and R. Crumb. The book also includes a 25-page history of comics from 1380 to today, a thorough and novel approach to the genre."--BOOK JACKET.
Contributions by José Alaniz, Ian Blechschmidt, Paul Fisher Davies, Zanne Domoney-Lyttle, David Huxley, Lynn Marie Kutch, Julian Lawrence, Liliana Milkova, Stiliana Milkova, Kim A. Munson, Jason S. Polley, Paul Sheehan, Clarence Burton Sheffield Jr., and Daniel Worden From his work on underground comix like Zap and Weirdo, to his cultural prominence, R. Crumb is one of the most renowned comics artists in the medium’s history. His work, beginning in the 1960s, ranges provocatively and controversially over major moments, tensions, and ideas in the late twentieth and early twenty-first centuries, from the counterculture and the emergence of the modern environmentalist movement, to racial politics and sexual liberation. While Crumb’s early work refined the parodic, over-the-top, and sexually explicit styles we associate with underground comix, he also pioneered the comics memoir, through his own autobiographical and confessional comics, as well as in his collaborations. More recently, Crumb has turned to long-form, book-length works, such as his acclaimed Book of Genesis and Kafka. Over the long arc of his career, Crumb has shaped the conventions of underground and alternative comics, autobiographical comics, and the “graphic novel.” And, through his involvement in music, animation, and documentary film projects, Crumb is a widely recognized persona, an artist who has defined the vocation of the cartoonist in a widely influential way. The Comics of R. Crumb: Underground in the Art Museum is a groundbreaking collection on the work of a pioneer of underground comix and a fixture of comics culture. Ranging from art history and literary studies, to environmental studies and religious history, the essays included in this volume cast Crumb's work as formally sophisticated and complex in its representations of gender, sexuality, race, politics, and history, while also charting Crumb’s role in underground comix and the ways in which his work has circulated in the art museum.
Written in straightforward, jargon-free language, A Concise Dictionary of Comics guides students, researchers, readers, and educators of all ages and at all levels of comics expertise. It provides them with a dictionary that doubles as a compendium of comics scholarship. A Concise Dictionary of Comics provides clear and informative definitions for each term. It includes twenty-five witty illustrations and pairs most defined terms with references to books, articles, book chapters, and other relevant critical sources. All references are dated and listed in an extensive, up-to-date bibliography of comics scholarship. Each term is also categorized according to type in an index of thematic groupings. This organization serves as a pedagogical aid for teachers and students learning about a specific facet of comics studies and as a research tool for scholars who are unfamiliar with a particular term but know what category it falls into. These features make A Concise Dictionary of Comics especially useful for critics, students, teachers, and researchers, and a vital reference to anyone else who wants to learn more about comics.
Offers undergraduate students with an understanding of the comics medium and its communication potential. This book deals with comic books and graphic novels. It focuses on comic books because in their longer form they have the potential for complexity of expression.
Across generations and genres, comics have imagined different views of the future, from unattainable utopias to worrisome dystopias. These presaging narratives can be read as reflections of their authors' (and readers') hopes, fears and beliefs about the present. This collection of new essays explores the creative processes in comics production that bring plausible futures to the page. The contributors investigate portrayals in different stylistic traditions--manga, bande desinees--from a variety of theoretical perspectives. The picture that emerges documents the elaborate storylines and complex universes comics creators have been crafting for decades.
With contributions by David M. Ball, Georgiana Banita, Margaret Fink Berman, Jacob Brogan, Isaac Cates, Joanna Davis-McElligatt, Shawn Gilmore, Matt Godbey, Jeet Heer, Martha B. Kuhlman, Katherine Roeder, Peter R. Sattler, Marc Singer, Benjamin Widiss, and Daniel Worden The Comics of Chris Ware: Drawing Is a Way of Thinking brings together contributions from established and emerging scholars about the comics of Chicago-based cartoonist Chris Ware (b. 1967). Both inside and outside academic circles, Ware's work is rapidly being distinguished as essential to the developing canon of the graphic novel. Winner of the 2001 Guardian First Book Prize for the genre-defining Jimmy Corrigan: The Smartest Kid on Earth, Ware has received numerous accolades from both the literary and comics establishment. This collection addresses the range of Ware's work from his earliest drawings in the 1990s in The ACME Novelty Library and his acclaimed Jimmy Corrigan, to his most recent works-in-progress, “Building Stories” and “Rusty Brown.”
This book explores Alan Moore’s career as a cartoonist, as shaped by his transdisciplinary practice as a poet, illustrator, musician and playwright as well as his involvement in the Northampton Arts Lab and the hippie counterculture in which it took place. It traces Moore’s trajectory out from the underground comix scene of the 1970s and into a commercial music press rocked by the arrival of punk. In doing so it uncovers how performance has shaped Moore’s approach to comics and their political potential. Drawing on the work of Bertolt Brecht, who similarly fused political dissent with experimental popular art, this book considers what looking strangely at Alan Moore as cartoonist tells us about comics, their visual and material form, and the performance and politics of their reading and making.
Movie magazines are crucial but widely underused sources for writing the history of films and cinema. This volume brings together for the first time a wide variety of historic research of movie magazines and film trade journals, reflecting on the issue of using these sources for film/cinema historiography and on the impact of digitization processes. Mapping Movie Magazines explores this debate from different disciplinary perspectives, enlightened by case studies from the use of early film trade press to pedagogical uses of digitized periodicals. The volume explores Hollywood’s grip on movie magazines, gender in film journalism, typologies of unknown trade press and movie magazine markets, and subversive Tijuana bibles.
The author identifies sequential image-making as a rich area of original and innovative work, which is leading the resurgence in the art of illustration. Informative case studies, Q & A's and diagrams provide the reader with practical insights and also address professional, cultural, theoretical and historical contexts.