Styles of Comics
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EM Phantoms Flyer
Experimental Human Phantoms EM-Phantoms Precision Phantoms for OTA, SAR, MRI Evaluations and RF Transceiver Optimization What are EM-Phantoms? SPEAG’s EM phantoms are high-quality body-body transmitters in any plausible anthropomorphically shaped phantoms usage situation. Head and hand phan- designed for evaluation of OTA, SAR, toms compatible with current standard and MRI performance and on-body and specifications provide accurate and re- implant transceiver optimization. The producible OTA testing of wireless de- flexible whole-body phantom POPEYE vices. Customized phantoms are also with its posable arms, legs, hands and available on request, e.g., ears, hands feet enables testing of handheld and with custom grips, etc. MADE SWISS EM-Phantoms Optimized for OTA, SAR, MRI Evaluations Posable Whole-Body Phantom POPEYE V5.x · Simulates realistic human postures for OTA, SAR, and MRI evaluations · Dimensions meet requirements for conservative testing · Stand for support and transportation available · Consists of torso with head, left/right arms with hands and left/right legs with feet Torso Phantom · Shape: Anthropomorphic (glass-fi ber-reinforced epoxy) · Shell thickness: 2 ± 0.2 mm in the ear-mouth region & 3 ± 1 mm in other regions · Head: SAM according to the IEEE SCC 34, 3 GPP, and CTIA standards MRI-safety evaluation suite: Torso phantom and EASY4MRI · Filling volume: 28 liters · TORSO OTA V5.1: fi lled with gel material (CTIA compliant) · TORSO SAR V5.1: empty torso for SAR measurements; custom- defi ned cuts available on request · -
Comics, Graphic Novels, Manga, & Anime
SAN DIEGO PUBLIC LIBRARY PATHFINDER Comics, Graphic Novels, Manga, & Anime The Central Library has a large collection of comics, the Usual Extra Rarities, 1935–36 (2005) by George graphic novels, manga, anime, and related movies. The Herriman. 741.5973/HERRIMAN materials listed below are just a small selection of these items, many of which are also available at one or more Lions and Tigers and Crocs, Oh My!: A Pearls before of the 35 branch libraries. Swine Treasury (2006) by Stephan Pastis. GN 741.5973/PASTIS Catalog You can locate books and other items by searching the The War Within: One Step at a Time: A Doonesbury library catalog (www.sandiegolibrary.org) on your Book (2006) by G. B. Trudeau. 741.5973/TRUDEAU home computer or a library computer. Here are a few subject headings that you can search for to find Graphic Novels: additional relevant materials: Alan Moore: Wild Worlds (2007) by Alan Moore. cartoons and comics GN FIC/MOORE comic books, strips, etc. graphic novels Alice in Sunderland (2007) by Bryan Talbot. graphic novels—Japan GN FIC/TALBOT To locate materials by a specific author, use the last The Black Diamond Detective Agency: Containing name followed by the first name (for example, Eisner, Mayhem, Mystery, Romance, Mine Shafts, Bullets, Will) and select “author” from the drop-down list. To Framed as a Graphic Narrative (2007) by Eddie limit your search to a specific type of item, such as DVD, Campbell. GN FIC/CAMPBELL click on the Advanced Catalog Search link and then select from the Type drop-down list. -
British Library Conference Centre
The Fifth International Graphic Novel and Comics Conference 18 – 20 July 2014 British Library Conference Centre In partnership with Studies in Comics and the Journal of Graphic Novels and Comics Production and Institution (Friday 18 July 2014) Opening address from British Library exhibition curator Paul Gravett (Escape, Comica) Keynote talk from Pascal Lefèvre (LUCA School of Arts, Belgium): The Gatekeeping at Two Main Belgian Comics Publishers, Dupuis and Lombard, at a Time of Transition Evening event with Posy Simmonds (Tamara Drewe, Gemma Bovary) and Steve Bell (Maggie’s Farm, Lord God Almighty) Sedition and Anarchy (Saturday 19 July 2014) Keynote talk from Scott Bukatman (Stanford University, USA): The Problem of Appearance in Goya’s Los Capichos, and Mignola’s Hellboy Guest speakers Mike Carey (Lucifer, The Unwritten, The Girl With All The Gifts), David Baillie (2000AD, Judge Dredd, Portal666) and Mike Perkins (Captain America, The Stand) Comics, Culture and Education (Sunday 20 July 2014) Talk from Ariel Kahn (Roehampton University, London): Sex, Death and Surrealism: A Lacanian Reading of the Short Fiction of Koren Shadmi and Rutu Modan Roundtable discussion on the future of comics scholarship and institutional support 2 SCHEDULE 3 FRIDAY 18 JULY 2014 PRODUCTION AND INSTITUTION 09.00-09.30 Registration 09.30-10.00 Welcome (Auditorium) Kristian Jensen and Adrian Edwards, British Library 10.00-10.30 Opening Speech (Auditorium) Paul Gravett, Comica 10.30-11.30 Keynote Address (Auditorium) Pascal Lefèvre – The Gatekeeping at -
Text and Image in Translation
CLEaR, 2016, 3(2), ISSN 2453 - 7128 DOI: 10.1515/clear - 2016 - 0013 Text and Image in T ranslation Milena Yablonsky Pedagogical University of Cracow, Poland [email protected] Abstract The primary objective of the following paper is t he analysis of selected issues related to the translation of comic books. The paper aims at investigating the relationships between the text and the image and their implications in the process of translation. It reflects on the status of the translation of comics/graphic novels - a still largely unexp loited area within Translation Studies and briefly presents a definition and specificity of the genre. Moreover, it discusses Jakobson’s (1971) tripartite distinction into interlinguistic, intralinguistic and intersemiotic translation. The paper concludes with the analysis of certain issues associated with the Polish translation of V like Vendetta by Alan Moore, a text that is copious with intertextual and cultural references. Keywords: graphic novel, comics, V like Vendetta , Jakobson, constrained translat ion, intertextuality Introduction The translation of comic books still occupies a rather unexploited area within the discipline of Translation Studies, maybe due to the fact that it “might be perceived as a field of l esser interest” (Zanettin 273) and comics are usually regarded as an artistic form of a lower status. In Dictionary of Translation Studies by Shuttleworth and Cowie there is no t a single entry on comics. They refer to them only when they explain the term “multi - medial texts” ( 109 - 1 10) as: “ . The multi - medial category consists of texts in which the ver bal content is supplemented by elements in other media; however, all such texts will also simultaneously belong to one of the other, main text - type . -
List of American Comics Creators 1 List of American Comics Creators
List of American comics creators 1 List of American comics creators This is a list of American comics creators. Although comics have different formats, this list covers creators of comic books, graphic novels and comic strips, along with early innovators. The list presents authors with the United States as their country of origin, although they may have published or now be resident in other countries. For other countries, see List of comic creators. Comic strip creators • Adams, Scott, creator of Dilbert • Ahern, Gene, creator of Our Boarding House, Room and Board, The Squirrel Cage and The Nut Bros. • Andres, Charles, creator of CPU Wars • Berndt, Walter, creator of Smitty • Bishop, Wally, creator of Muggs and Skeeter • Byrnes, Gene, creator of Reg'lar Fellers • Caniff, Milton, creator of Terry and the Pirates and Steve Canyon • Capp, Al, creator of Li'l Abner • Crane, Roy, creator of Captain Easy and Wash Tubbs • Crespo, Jaime, creator of Life on the Edge of Hell • Davis, Jim, creator of Garfield • Defries, Graham Francis, co-creator of Queens Counsel • Fagan, Kevin, creator of Drabble • Falk, Lee, creator of The Phantom and Mandrake the Magician • Fincher, Charles, creator of The Illustrated Daily Scribble and Thadeus & Weez • Griffith, Bill, creator of Zippy • Groening, Matt, creator of Life in Hell • Guindon, Dick, creator of The Carp Chronicles and Guindon • Guisewite, Cathy, creator of Cathy • Hagy, Jessica, creator of Indexed • Hamlin, V. T., creator of Alley Oop • Herriman, George, creator of Krazy Kat • Hess, Sol, creator with -
The Gender Fluidity of Krazy Kat, Gabrielle
The Gender Fluidity of Krazy Kat By Gabrielle Bellot January 19, 2017 “Krazy Kat,” George Herriman’s exuberant and idiosyncratic newspaper comic, was never broadly popular. From the beginning, though, it found fans among writers and artists. P. G. Wodehouse compared it favorably to Wagner’s “Parsifal”; Jack Kerouac later said it influenced the Beats. The strip ran from 1913 until 1944, the year that Herriman died. It is set in a dreamlike place called Coconino County, where a black cat named Krazy loves a white mouse named Ignatz, who throws bricks at Krazy’s head. Krazy interprets the bricks as “love letters.” Meanwhile, a police-officer dog, Offisa Pup, tries to protect Krazy, with whom he is smitten. The structure of the strip was built on reversals: a cat loves a mouse, a dog protects a feline, and, at a time when anti-miscegenation laws held sway in most of the United States, a black animal yearns for a white one. That last detail took on additional resonance, in 1971, when Arthur Asa Berger published a story about Herriman’s birth certificate. The certificate described Herriman’s race as “colored,” Berger revealed, to the astonishment of many readers (Ralph Ellison among them). Herriman was born in New Orleans, in 1880, to a mixed-race family; his great-grandfather, Stephen Herriman, was a white New Yorker who had children with a “free woman of color,” Justine Olivier, in what was then a common social arrangement in New Orleans called plaçage. George Herriman was one of the class of Louisianans known as blanc fo’cé_:_ Creoles who actively tried to pass as white. -
2019-09-12-Pk-Fbd-Final.Pdf
PRESS KIT Brussels, September 2019 The 2019 Brussels Comic Strip Festival Brussels is holding its 10th annual Comic Strip Festival from 13 to 15 September 2019 From their beginning at the turn of the previous century, Belgian comics have really become famous the world over. Many illustrators and writers from our country and its capital are well- known beyond our borders. That is reason enough to dedicate a weekend to this rich cultural heritage. Since its debut in 2010, the Brussels Comic Strip Festival has become the main event for comics fans. Young and old, novices and experts, all share a passion for the ninth art and come together each year to participate in the variety of activities on offer. More than 100,000 people and some 300 famous authors gather every year. For this 2019 edition, the essential events are definitely on the schedule: autograph sessions, the Balloon's Day Parade and many more. There's a whole range of activities to delight everyone. Besides the Parc de Bruxelles, le Brussels Comic Strip Festival takes over the prestigious setting of Brussels' Palais des Beaux-Arts, BOZAR. Two places that pair phenomenally well together for the Brussels Comic Strip Festival. Festival-goers will be able to stroll along as they please, enjoying countless activities and novelties on offer wherever they go. From hundreds of autograph signings to premiere cartoon screenings and multiple exhibitions and encounters with professionals, ninth art fans will have plenty to keep them entertained. Finally, the Brussels Comic Strip Festival will award comics prizes: The Atomium Prizes, during a gala evening when no less than €90,000 will be awarded for the best new works from the past year. -
How the Spinach, Popeye and Iron Decimal Point Error Myth Was Finally
Published by HealthWatch www.healthwatch-uk.org How the spinach, Popeye and iron decimal point error myth was finally bust CIBeT? (Can It Be True?) was the name coined by past HealthWatch chairman Professor John Garrow for an occasional series in this newsletter, in which an expert scrutinised popular myths. Who better to revive it, than supermythbuster Mike Sutton, who reveals the history of the legend of why spinach made Popeye so strong—and why Popeye was right all along, but not in the way we thought ... NE OF THE MOST complex and convoluted myths in the world of nutrition is the one called, for want of a less complex name, the ‘Spinach, Popeye and Iron Decimal Point Error Myth’. I discovered that the myth was started by the nutrition expert, Professor Arnold Bender (the late father of HealthWatch Secretary David Bender) in his inaugural lecture at the UOniversity of London in 1972. 1 The myth, once begun, was long popularised and eventually was veracious. came to be attributed to Professor Terence Hamblin, after he wrote The truth behind Bender’s and Hamblin’s decimal error knowl - in the British Medical Journal 2 in 1981: edge gap filling myth for why people think spinach is a good source “A statue of Popeye in Crystal City, Texas, commemorates the of iron when it isn’t, is that spinach contains no more iron than fact that singlehandedly he raised the consumption of Spinach by many other vegetables, such as lettuce for example. The fact of the 33%. America was ‘strong to the finish ‘cos they ate their spinach’ matter is that spinach is not a good source of nutritional iron, and duly defeated the Hun. -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
Comics and Controversy: a Brief History of Comic Book Publishing
A supplement to The Pocket Lawyer for Comic Book Creators by Thomas A. Crowell, Esq., (Focal Press, 2014). © 2014 Thomas A. Crowell, Esq. Comics and Controversy: A Brief History of Comic Book Publishing by Thomas A. Crowell, Esq. The great comic book artist, Will Eisner, defined the comic as a form of “sequential art.”1 Indeed, the narrative use of a series of images is as old as art itself: Cave paintings, Egyptian hieroglyphics, and medieval tapestries are all precursors to the comic book. Yet comics and controversy have been linked from the very start: Founder of the Protestant movement, Martin Luther, was an early target of editorial cartoons (well, engravings anyway); his critics created caricatures of him as a tool of the devil2 (so in a sense, Spider-Man can trace his origins, not just from a radioactive spider, but also from the Reformation). With the advent of the printing press and the proliferation of newspapers and broadsheets, satirical political cartoons soon began to appear. By the eighteenth and nineteenth centuries, editorial cartoons were a staple in the newspapers of the day. Benjamin Franklin’s famous “Join, or Die” is acknowledged as the first political cartoon in America, and served to galvanize support for colonial unity. In 1837 the first graphic novel was published by Swiss cartoonist Rudolphe Töpffer and was serialized in the American newspapers as “The Adventures of Mr. Obadiah Oldbuck.”3 Although conspicuously missing our now-familiar word balloons and sound effects, the comic book panel 1 Comics & Sequential Art. Eisner, W. (1990 Poorhouse Press (Expanded Edition)). -
Introduction to Manga for Librarians
PRESENTS AN INTRODUCTION TO MANGA FOR LIBRARIANS In cooperation with Hello, we’re We’re extremely excited to now have our entire digital book list available to libraries through OverDrive. Kodansha is one of the leading publishers in Japan, and one of the largest in the world. While we are a general publisher, we are also one of the major publishers of Japanese comics, or manga, with a long and distinguished history of releasing some the most popular titles in the world, including such classics as Sailor Moon, Akira, and most recently, Attack on Titan. This brief introduction covers manga titles available from our U.S.-based manga imprint, Kodansha Comics, which publishes selected manga from our broader Japanese list into the English-reading world. While the wide variety of genres (for all audiences) and long, complex storylines of manga can be bewildering for the uninitiated, we hope to break down some basic concepts here. In particular, we hope you take away from here a few key points about manga, and in particular digital manga, if you’re not familiar with them already: MANGA ARE THE KIND OF COMICS YOUNG WOMEN LIKE TO READ. Unlike most Western comics, manga is made for all categories, catering to all audiences, from young children to adults, girls and boys. In particular, manga has exposed the stereotype in North America that girls don’t like comics and are often the preferred type of comics young women like to read. MANGA SPEAKS TO TEENS. That said, teenagers are the core demographic of manga in the West. -
Enhanced Webcomics”: an Analysis of the Merging Of
University of Amsterdam Spring Semester 2015 Department of Media Studies New Media and Digital Culture Supervisor: Dr. Erin La Cour Second reader: Dr. Dan Hassler-Forest MA Thesis “Enhanced Webcomics”: An Analysis of the Merging of Comics and New Media Josip Batinić 10848398 Grote Bickersstraat 62 f-1 1013 KS Amsterdam [email protected] 06 264 633 34 26 June 2015 Table of Contents 1. Introduction .......................................................................................................................... 1 2. Defining Comics, Webcomics, and Enhanced comics ....................................................... 6 3. Literary Basis ...................................................................................................................... 11 4. Analysis ................................................................................................................................ 27 4.1 Infinite Canvas ................................................................................................................................. 27 4.2. Moving Image and Sound ............................................................................................................... 37 4.3 Co-Authorship and Reader-Driven Webcomics ............................................................................... 43 4.4 Interactivity ...................................................................................................................................... 49 5. Epilogue: A new frontier for comics ................................................................................