Comics As Literature
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LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
Copyright 2013 Shawn Patrick Gilmore
Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way. -
The Graphic Novel, a Special Type of Comics
Cambridge University Press 978-1-107-02523-3 - The Graphic Novel: An Introduction Jan Baetens and Hugo Frey Excerpt More information Introduction: The Graphic Novel, 1 a Special Type of Comics Is there really something like the graphic novel? For good or ill, there are famous quotations that are frequently repeated when discussing the graphic novel. They are valued because they come from two of the key protagonists whose works from the mid-1980s were so infl uential in the concept gaining in popularity: Art Spiegelman, the creator of Maus , and Alan Moore, the scriptwriter of Watchmen . Both are negative about the neologism that was being employed to describe the longer-length and adult-themed comics with which they were increas- ingly associated, although their roots were with underground comix in the United States and United Kingdom, respectively. Spiegelman’s remarks were fi rst published in Print magazine in 1988, and it was here that he suggested that “graphic novel” was an unhelpful term: The latest wrinkle in the comic book’s evolution has been the so-called “graphic novel.” In 1986, Frank Miller’s Batman: The Dark Knight Returns , a full-length trade paperback detailing the adventures of the superhero as a violent, aging vigilante, and my own MAUS, A Survivor’s Tale both met with com- mercial success in bookstores. They were dubbed graphic novels in a bid for social acceptability (Personally, I always thought Nathaniel West’s The 1 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02523-3 - The Graphic Novel: An Introduction Jan Baetens and Hugo Frey Excerpt More information 2 The Graphic Novel: An Introduction Day of the Locust was an extraordinarily graphic novel, and that what I did was . -
Writing About Comics
NACAE National Association of Comics Art Educators English 100-v: Writing about Comics From the wild assertions of Unbreakable and the sudden popularity of films adapted from comics (not just Spider-Man or Daredevil, but Ghost World and From Hell), to the abrupt appearance of Dan Clowes and Art Spiegelman all over The New Yorker, interesting claims are now being made about the value of comics and comic books. Are they the visible articulation of some unconscious knowledge or desire -- No, probably not. Are they the new literature of the twenty-first century -- Possibly, possibly... This course offers a reading survey of the best comics of the past twenty years (sometimes called “graphic novels”), and supplies the skills for reading comics critically in terms not only of what they say (which is easy) but of how they say it (which takes some thinking). More importantly than the fact that comics will be touching off all of our conversations, however, this is a course in writing critically: in building an argument, in gathering and organizing literary evidence, and in capturing and retaining the reader's interest (and your own). Don't assume this will be easy, just because we're reading comics. We'll be working hard this semester, doing a lot of reading and plenty of writing. The good news is that it should all be interesting. The texts are all really good books, though you may find you don't like them all equally well. The essays, too, will be guided by your own interest in the texts, and by the end of the course you'll be exploring the unmapped territory of literary comics on your own, following your own nose. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
Cohn, Neil. "Un-Defining 'Comics.'" International Journal of Comic Art, Vol
Cohn, Neil. "Un-Defining 'Comics.'" International Journal of Comic Art, Vol. 7 (2). October 2005. Un-Defining “Comics”: Separating the cultural from the structural in “comics” By Neil Cohn Perhaps the most befuddling and widely debated point in comics scholarship lies at its very core, namely, the definition of “comics” itself. Most arguments on this issue focus on the roles of a few distinct features: images, text, sequentiality, and the ways in which they interact. However, there are many other aspects of this discussion that receive only passing notice, such as the industry that produces comics, the community that embraces them, the content which they represent, and the avenues in which they appear. The complex web of categorization that these issues create makes it no wonder that defining the very term “comics” becomes difficult and is persistently wrought with debate. This piece offers a dissection of the defining features that “comics” encompass, with aims to understand both what those features and the term “comics” really mean across both cultural and structural bounds. Un-defining Comics The most prominent positions of debate in this issue focus on the “form” or “medium” of comics. Simply, comics consist of images and text, most often with the images in sequence. However, comics utilize these forms in a variety of different ways. In most, a sequence of images clearly exists to define a narrative, integrating text throughout, though this is not the only interplay between these elements. Single panel comics such as The Family Circus and The Far Side have been fully recognized as comics for decades. -
Graphic History
Graphic History Graphic History: Essays on Graphic Novels And/As History Edited by Richard Iadonisi Graphic History: Essays on Graphic Novels And/As History, Edited by Richard Iadonisi This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Richard Iadonisi and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4075-0, ISBN (13): 978-1-4438-4075-0 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Introduction ................................................................................................. 1 Chapter One................................................................................................. 6 Of Mice and Men: Collaboration, Post-Memory, and Working through in Art Spiegelman’s Maus: A Survivor’s Tale Janice Morris, Simon Fraser University Chapter Two.............................................................................................. 37 Twin Turns: Art Spiegelman’s In the Shadow of No Towers and History Laura Beadling, University of Wisconsin, Platteville Chapter Three........................................................................................... -
Unterhelios 2 Siclari 1972
UNTERHELIOS UnterHelios Unterhelios unterhelios unterHelios # 2 Table OR Contents THE EDITORIAL EVE.....................................................................................................................................2 INSIDE THE HAR 0n THE WORLDS by ''ike Scott.............................................................................. 4 DO’TN UNDER (Underground Conix) by Rich Small........................................................................10 NOREASCON THE SLICK COM by Linda Bushyaper................. 25 AMERICAN HORROR (Prosnectus on Films, 1931-36) by ’’ichael Order.............................28 ’fEDIATUS (reviews by ”ike Scott, Joseph Daniels 4 ye ed)............................................. 31 .. .AND DROOGS TOO by Paul Grieman................................................ 38 THE PRINCE OP PEASANT;’AN IA (Interview, part 2) by Narren ’’illiams......................... 40 OUT OP YOUR MINDS by You................................................................................................................... 48 ’UTTER,MUTTER, the small ed speaks............................................................................................. 57 THE FRA’^GS IS CONIN’" by Brad Linaweaver and ’’arren ’’’illiams.......................................59 HHY I FORCED THIS OH YOU..................................................................... 60 APT CREDITS: " , .. unterHelios may be obtained thru trades, contributions, Art cover bjz Stephen Fabian printed or substantial LoCs, Front cover bv Stu Smith -
An Aesthetic History of Comics Instructor: Dan Nadel
NACAE National Association of Comics Art Educators An Aesthetic History of Comics Instructor: Dan Nadel This is a class about comics as a medium for expression. It focuses on the aesthetics of comics on and beyond the page. Comics are usually taught in terms of its dominant genres (superhero) and characters (Superman, etc.). This class will cover that history minimally, in favor of a strong focus on comics as a mode of expression (discussing drawing/mark making, storytelling mechanics) and as a graphic/commercial culture that defined many pop cultural icons/idioms and in turn influenced fine artists. This course will attempt to place comics firmly within the context of visual culture in general while continually arguing for the relevance and power of the printed image. Semester-long readings: Tom De Haven: Derby Dugan’s Depression Funnies, Dugan Goes Underground Kim Deitch: Boulevard of Broken Dreams McSweeney’s 13 Steven Milhauser: Little Kingdoms Patrick McDonnell, et al, Krazy Kat: The Comic Art of George Herriman Dan Raeburn: The Imp 4 This document is free for non-commercial educational use. See http://www.teachingcomics.org/copy.php for complete copyright information. NACAE National Association of Comics Art Educators UNIT 1: INTRODUCTION Week 1: Overview Historical and thematic overview of the course. Initial discussion: Reasons, interests, favorites, requests. Reading: Art Spiegelman, “Comix: An Idiosyncratic Historical and Aesthetic Overview,” 1988, in Comix, Essays, Graphics and Scraps. Chris Ware, Introduction to McSweeney’s 13. Handout with comics and odds and ends from DN Viewing: The University of Brighton’s Comics resource: http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComics.html UNIT 2: HISTORIES I Week 2: Artful beginnings Modern comics begin in the mid 19th century with the Swiss fine artist Rudolf Topffer, who created nonfiction and satiric graphic novels, and continues with Wilhelm Busch and numerous German artists who expanded the comics vocabulary. -
“We're Not Rated X for Nothin', Baby!”
CORSO DI DOTTORATO IN “LE FORME DEL TESTO” Curriculum: Linguistica, Filologia e Critica Ciclo XXXI Coordinatore: prof. Luca Crescenzi “We’re not rated X for nothin’, baby!” Satire and Censorship in the Translation of Underground Comix Dottoranda: Chiara Polli Settore scientifico-disciplinare L-LIN/12 Relatore: Prof. Andrea Binelli Anno accademico 2017/2018 CONTENTS CONTENTS ........................................................................................................................................................................ 1 INTRODUCTION ............................................................................................................................................................. 3 SECTION 1: FROM X-MEN TO X-RATED ............................................................................................................ 11 Chapter 1. “DEPRAVITY FOR CHILDREN – TEN CENTS A COPY!” ......................................................... 12 1.1. A Nation of Stars and Comic Strips ................................................................................................................... 12 1.2. Comic Books: Shades of a Golden Age ............................................................................................................ 24 1.3. Comics Scare: (Self-)Censorship and Hysteria ................................................................................................. 41 Chapter 2. “HAVE YOU EVER SEEN THE RAIN?”: RISE AND FALL OF A COUNTERCULTURAL REVOLUTION ................................................................................................................................................................ -
The Grammar and Vocabulary of Comics, Supported by Examples from a Range of Existing Comics
D’source 1 Digital Learning Environment for Design - www.dsource.in Design Resource The Grammar and Vocabu- lary of Comics The linguistics of comics by Mr. Saurabh Singanapalli IDC, IIT Bombay Source: http://www.dsource.in/resource/gramar-and-vo- cabulary-comics 1. Introduction 2. Comics and Storytelling 3. Transitions 4. The Vocabulary of Comics 5. Conclusion 6. References 7. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Resource Introduction The Grammar and Vocabu- • How do you read comics? lary of Comics • How do you understand comics? The linguistics of comics by As a visual medium, comics are unique in the sense that they form flowing narratives through the use of a Mr. Saurabh Singanapalli sequence of static images, often supported by text. But then, how does the reader understand the narrative in IDC, IIT Bombay comic books? According to Scott McCloud in Understanding Comics (1993), the real message in comics lies in the space between panels, what he calls the “gutter”. It is the way in which the writer/creator handles these transi- tions that eventually allows the reader greater or lesser control over the interpretation of the narrative. In other words, he calls transitions between panels the grammar of comic books. Source: McCloud defines six transitions from one panel to the next: http://www.dsource.in/resource/gramar-and-vo- cabulary-comics/introduction •Moment-to-moment •Action-to-action •Subject to subject 1. Introduction •Scene-to-scene •Aspect-to-aspect 2. Comics and Storytelling •Non-sequitur 3. Transitions 4. The Vocabulary of Comics Similarly, McCloud identifies words, pictures and icons as the vocabulary of comic books. -
Cartooning & Comic Book Illustration
UW-Green Bay Summer Art Studio June 16-21, 2019 Cartooning & Comic Book Illustration Prof. Thomas J. Wallestad, Instructor Welcome Cartooning & Comic Book Illustration Students! ART SUPPLIES Necessary Supplies: *Note: I have listed many optional items below. Prices will vary on art supplies, as does quality. Choices should be based on your wants and needs, as beginners or dabblers need not get the most expensive items. Historically, professionals have used all grades of supplies. It doesn’t matter whether the supplies are expensive or more affordable; it is the results you desire and your ideas that matter. Paper Supplies • Sketchbook- approx. 14” x 17” white sulfite drawing pad suggested (e.g. Strathmore) – for planning the design, before working on good paper for finished art • Choose ONE paper type for finished inked art (2 to 3 sheets): 1. 11” x 17” or bigger- Bristol board (2-ply, hot-pressed smooth) {Best} -OR- 2. 11” x 17” or bigger- non-photo/ non-reproductive blue lined comic art boards (e.g. Blue Line Art) http://www.bluelinepro.com/ Manga size is also available. -OR- 3. 11” x 17” or bigger- any quality smooth and firm drawing paper • Tracing paper (pad or roll) – Vellum (parchment) and Onionskin paper also acceptable Drawing Tools & Drafting Instruments* • An art supply box (e.g. fishing tackle box, tool box, Tupperware, cardboard box, etc) • Several (2H or #4) pencils – Optional other grades of lead hardness (e.g. HB / #2, 3B) • 1 Staedtler or Prismacolor Col-Erase non-photo blue pencil (non-repro) – sketching • Metal pencil