List of Illustrations

Total Page:16

File Type:pdf, Size:1020Kb

List of Illustrations ILLUSTRATIONS Figure 1. R. Crumb. Back cover, Zap #0 (October 1967). Rpt. in The Complete Crumb 4.102. Figure 2. R. Crumb. “All Meat Comics”. (Big Ass #1, June 1969). Rpt. in The Complete Crumb 6.29. Figure 3. R. Crumb. “Head Comix”. (Yarrowstalks #2, Summer 1967), Rpt. in The Complete Crumb 4.60. Figure 4. R. Crumb. “You’re Gonna Get There Anyway". (EVO, December 1-16 1967). Rpt. in The Complete Crumb 5.2. Figure 5. R. Crumb. “Cat Life” (September 1959 – February 1960), Rpt. in The Complete Crumb 1.47; “Robin Hood” (March 1960), in The Complete Crumb 1.66. Figure 6. Carl Barks, “Uncle Scrooge in Land Beneath the Ground”, (Uncle Scrooge 13, March 1956), Rpt. in Carl Barks’ Greatest Duck Tales Stories Volume 1. N. pag. Figure 7. R. Crumb. Hytone Comix (back cover) (1971), Rpt. in The Complete Crumb 7.69. Figure 8. R. Crumb. “Advertisement for “Weirdo” magazine” (High Times #94, June 1983), Rpt. in The Complete Crumb 14.52. Figure 9. R. Crumb. “Schuman the Human’s Night of Terror” (Motor City #2, February 1970); “Whiteman” (Zap #1, November 1967); “Mr. Natural in Death Valley” (Zap #0, October 1967); “Old Pooperoo” (June 1967). All in The Complete Crumb 4.105; 6.144; 4.88; 4.31. Figure 10a-b. R. Crumb Fritz the No-Good (Cavalier, Sept-Oct 1968), Rpt. in The Complete Crumb 5.45-6. Figure 11. Roy Thomas and Barry Windsor Smith, “Red Nails”. Rpt The Tower of the Elephant and other stories (The Chronicles of Conan Vol. 1) (2003). 104. Figure 12. Dave Sim. Front cover, Cerebus #3 (April 1978). Figure13a-o. Dave Sim, Guys (Cerebus Book 11) (1997) 54-68. Figure 14. Lynda Barry, “Breaking Up: Your Guide to Painful Separation” (1981), Rpt. in Big Ideas (1983) 69. Figure 15. Lynda Barry, “Girls and Boys” (1980), Rpt. in Girls and Boys, 46. Figure 16. Lynda Barry, “How Things Turn Out” (1986). Rpt. in The Fun House, N. pag. 6 Figure 17. Lynda Barry, “Perfect” (1990). Rpt. in My Perfect Life, 24-5. Figure 18. Lynda Barry, The Freddie Stories (1999) 79. Figure 19. Lynda Barry, One Hundred Demons (2002) 62. Figure 20. Lynda Barry, One Hundred Demons (2002) 168. Figure 21. Lynda Barry, “Branded” (1986). Rpt. in The Fun House, N. pag. Figure 22. Lynda Barry, “You Are Leaving” (1991). Rpt. in It’s So Magic , 106-7. Figure 23. Julie Doucet, Dirty Plotte #7 (1993), back cover. Figure 24. Julie Doucet, My Most Secret Desire (1995), back cover. Figure 25. Julie Doucet, “Heavy Flow”. rpt. in Leve Ta Jambe Mon Poisson Est Mort! (1993). N. pag. Figure 26. Julie Doucet, Dirty Plotte vs. Super Clean Plotte (1991). Rpt. in Leve Ta Jambe Mon Poisson Est Mort! N. pag. Figure 27a-c. Julie Doucet, My Conscience is Bugging Me. (1989). Rpt. in Leve Ta Jambe Mon Poisson Est Mort! N. pag. Figure 28. Julie Doucet, Dirty Plotte #4. (Sept 1991). N. pag. Figure 29. Julie Doucet, Long Time Relationship (2001). N. pag. Figure 30. Julie Doucet, Long Time Relationship (2001). N. pag. Figure 31. Julie Doucet, Elle Humour (2006). N. pag. Figure 32a-c. Julie Doucet, The First Time (June 1993). Rpt. in My New York Diary. N. pag. Figure 33. Julie Doucet, 365 Days (2007). 26/01/03. Figure 34. Julie Doucet, My Most Secret Desire (1995). N. pag. Figure 35. Julie Doucet, The Madame Paul Affair (2000). Episode 20. Figure 36. Stephen Bissette and John Totleben (artists), Alan Moore (writer). Swamp Thing (1984) Rpt. in Swamp Thing: The Saga of the Swamp Thing (1987) Figure 37. Eddie Campbell (artist), Alan Moore (writer). From Hell (1999). Ch. 4, 24. Figure 38. Eddie Campbell (artist), Alan Moore (writer). From Hell (1999). Ch. 4, 27. 7 Figure 39. Eddie Campbell (artist), Alan Moore (writer). The Birth Caul (1999). N. pag. Figure 40. Eddie Campbell (artist), Alan Moore (writer). The Birth Caul (1999). N. pag. Figure 41. Melinda Gebbie (artist), Alan Moore (writer). Lost Girls: Book 1 (2006). Ch. 9, 7. Figure 42. Melinda Gebbie (artist), Alan Moore (writer). Lost Girls: Book 1 (2006). Ch. 3, 8. Figure 43. Dave McKean (artist), Neil Gaiman (writer). Violent Cases (1987). N. pag. Figure 44. Dave McKean (artist), Neil Gaiman (writer). Violent Cases (1987). N. pag. Figure 45a-c. Dave McKean (artist), Neil Gaiman (writer). Mr Punch (1994). N. pag. Figure 46. Dave McKean (artist), Neil Gaiman (writer). Mr Punch (1994). N. pag. Figure 47. Dave McKean (artist), Neil Gaiman (writer). Signal to Noise (1992). N. pag. Figure 48. Chris Ware, “Quimbies the Mouse”. Rpt. in Quimby the Mouse (2003). 10. Figure 49a-d. Chris Ware, Jimmy Corrigan, The Smartest Kid on Earth (2000). N. pag. Figure 50. Chris Ware, Jimmy Corrigan, The Smartest Kid on Earth (2000). N. pag. Figure 51. Chris Ware, Jimmy Corrigan, The Smartest Kid on Earth (2000). N. pag. Figure 52. Chris Ware, “Rusty Brown”, in Acme Novelty Library: Our Annual Report to Shareholders and Rainy Day Saturday Afternoon Fun Book (2005). 95. Figure 53. Chris Ware, Jimmy Corrigan, The Smartest Kid on Earth (2000) (Paperback edition, 2001. Back cover. Figure 54. Chris Ware, “Tales of Tomorrow”, in Acme Novelty Library: Our Annual Report to Shareholders and Rainy Day Saturday Afternoon Fun Book (2005). 94. 8.
Recommended publications
  • 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.
    [Show full text]
  • Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium
    Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium Dissertation Presented in partial fulfillment of the requirement for the Degree Doctor of Philosophy in the Graduate School of Ohio State University Alexandra Mary Jenkins, M.A. Graduate Program in English The Ohio State University 2014 Dissertation Committee: Jared Gardner, Advisor Sean O’Sullivan Robyn Warhol Copyright by Alexandra Mary Jenkins 2014 Abstract Feminist activism in the United States and Europe during the 1960s and 1970s harnessed radical social thought and used innovative expressive forms in order to disrupt the “grand perspective” espoused by men in every field (Adorno 206). Feminist student activists often put their own female bodies on display to disrupt the disembodied “objective” thinking that still seemed to dominate the academy. The philosopher Theodor Adorno responded to one such action, the “bared breasts incident,” carried out by his radical students in Germany in 1969, in an essay, “Marginalia to Theory and Praxis.” In that essay, he defends himself against the students’ claim that he proved his lack of relevance to contemporary students when he failed to respond to the spectacle of their liberated bodies. He acknowledged that the protest movements seemed to offer thoughtful people a way “out of their self-isolation,” but ultimately, to replace philosophy with bodily spectacle would mean to miss the “infinitely progressive aspect of the separation of theory and praxis” (259, 266). Lisa Yun Lee argues that this separation continues to animate contemporary feminist debates, and that it is worth returning to Adorno’s reasoning, if we wish to understand women’s particular modes of theoretical ii insight in conversation with “grand perspectives” on cultural theory in the twenty-first century.
    [Show full text]
  • Girls in Graphic Novels
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2017 Girls in Graphic Novels: A Content Analysis of Selected Texts from YALSA's 2016 Great Graphic Novels for Teens List Tiffany Mumm Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Mumm, Tiffany, "Girls in Graphic Novels: A Content Analysis of Selected Texts from YALSA's 2016 Great Graphic Novels for Teens List" (2017). Masters Theses. 2860. https://thekeep.eiu.edu/theses/2860 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Graduate School� EASTERNILLINOIS UNIVERSlTY­ Thesis Maintenance and Reproduction Certificate FOR: Graduate Candidates Completing Theses in Partial Fulfillment of the Degree Graduate Faculty Advisors Directing the Theses RE: Preservation, Reproduction, and Distribution of Thesis Research Preserving, reproducing, and distributing thesis research is an important part of Booth Library's responsibility to provide access to scholarship. In order to further this goal, Booth Library makes all graduate theses completed as part of a degree program at Eastern Illinois University available for personal study, research, and other not-for-profit educational purposes. Under 17 U.S.C. § 108, the library may reproduce and distribute a copy without infringing on copyright; however, professional courtesy dictates that permission be requested from the author before doing so. Your signatures affirm the following: • The graduate candidate is the author of this thesis.
    [Show full text]
  • LOCAS: the MAGGIE and HOPEY STORIES by Jaime Hernandez Study Guide Written by Art Baxter
    NACAE National Association of Comics Art Educators STUDY GUIDE: LOCAS: THE MAGGIE AND HOPEY STORIES by Jaime Hernandez Study guide written by Art Baxter Introduction Comic books were in the midst of change by the early 1980s. The Marvel, DC and Archie lines were going through the same tired motions being produced by second and third generation artists and writers who grew up reading the same books they were now creating. Comic book specialty shops were growing in number and a new "non- returnable" distribution system had been created to supply them. This opened the door for publishers who had small print runs, with color covers and black and white interiors, to emerge with an alternative to corporate mainstream comics. These new comics were often a cross between the familiar genres of the mainstream and the personal artistic freedom of underground comics, but sometimes something altogether different would appear. In 1976, Harvey Pekar began self-publishing his annual autobiographical comics collection, American Splendor, with art by R. Crumb and others, from his home in Cleveland, Ohio. Other cartoonists self-published their mainstream- rejected comics, like Cerebus (Dave Sim, 1977) and Elfquest (Wendy & Richard Pini, 1978) to financial and critical success. With proto-graphic novel publisher, Eclipse, mainstream rebels produced explicit versions of their earlier work, such as Sabre (Don McGreggor & Paul Gulacy, 1978) and Stewart the Rat (Steve Gerber & Gene Colan, 1980). Underground comics evolved away from sex and drugs toward maturity in two anthologies, RAW (Art Spiegleman & Francoise Mouly, eds., 1980) and Weirdo (R. Crumb, ed., 1981). Under the Fantagraphics Books imprint, Gary Groth and Kim Thompson began to publish comics which aspired to an artistic quality that lived up to the high standard set forth in the pages of their critical magazine, The Comics Journal.
    [Show full text]
  • Free Catalog
    Featured New Items DC COLLECTING THE MULTIVERSE On our Cover The Art of Sideshow By Andrew Farago. Recommended. MASTERPIECES OF FANTASY ART Delve into DC Comics figures and Our Highest Recom- sculptures with this deluxe book, mendation. By Dian which features insights from legendary Hanson. Art by Frazetta, artists and eye-popping photography. Boris, Whelan, Jones, Sideshow is world famous for bringing Hildebrandt, Giger, DC Comics characters to life through Whelan, Matthews et remarkably realistic figures and highly al. This monster-sized expressive sculptures. From Batman and Wonder Woman to The tome features original Joker and Harley Quinn...key artists tell the story behind each paintings, contextualized extraordinary piece, revealing the design decisions and expert by preparatory sketches, sculpting required to make the DC multiverse--from comics, film, sculptures, calen- television, video games, and beyond--into a reality. dars, magazines, and Insight Editions, 2020. paperback books for an DCCOLMSH. HC, 10x12, 296pg, FC $75.00 $65.00 immersive dive into this SIDESHOW FINE ART PRINTS Vol 1 dynamic, fanciful genre. Highly Recommened. By Matthew K. Insightful bios go beyond Manning. Afterword by Tom Gilliland. Wikipedia to give a more Working with top artists such as Alex Ross, accurate and eye-opening Olivia, Paolo Rivera, Adi Granov, Stanley look into the life of each “Artgerm” Lau, and four others, Sideshow artist. Complete with fold- has developed a series of beautifully crafted outs and tipped-in chapter prints based on films, comics, TV, and ani- openers, this collection will mation. These officially licensed illustrations reign as the most exquisite are inspired by countless fan-favorite prop- and informative guide to erties, including everything from Marvel and this popular subject for DC heroes and heroines and Star Wars, to iconic classics like years to come.
    [Show full text]
  • Rip Off Press Mail Order • PO Box 4686 • Auburn, CA 95604 • 530 885
    Rip Off Press Mail Order • PO Box 4686 • Auburn, CA 95604 • 530 885-8183 Toll Free inside the U.S.: 888-978-3049 • e-mail: [email protected] •www.ripoffpress.com MINI ORDER FORM AND IN-STOCK PRODUCT LIST - MARK ITEMS WANTED AND MAIL WITH PAYMENT or charge card information SHIP TO: PAYMENT WORKSHEET Name___________________________________________________ MERCHANDISE TOTAL__________ Address_________________________________________________ (This is the amount on which your Shipping Rate is based - see the chart below) City_____________________________________________________ CALIFORNIA SALES TAX__________ State_________ ZIP_____________________________ (For shipment inside CALIF. ONLY: 7.5%--No tax outside Calif.) Day Phone_____________________e-mail___________________ SHIPPING & HANDLING CHARGE__________ Based on the Merchandise Total for each type of items ordered -- See the CHARTS below. I AM OVER 18 (Sign for ordering * titles) ___________________________ SUBTRACT ANY CREDITS__________ For Charge Card orders please fill in the blanks: YOUR COPY OF CREDIT MEMO/GIFT CERT./DISCOUNT CERT. MUST BE ENCLOSED ACCT. No._____________________________________________ Sec. Code_______ ADD ANY BALANCE DUE FROM BEFORE__________ Thank you!! Signature________________________________________________Exp.__________ GRAND TOTAL__________ Cardholder name (print)_________________________________________________ Enclose check or money order made out in U.S. dollars Acct. Addr. (if different from “Ship To”)_________________________________________ Or fill
    [Show full text]
  • Report on Micro Data, Sorted by Title
    English Language Graphic Novels Winners and Nominations of Comics and Graphic Novels Awards up to 2004 (list sorted first by title) Prepared by Olivier Charbonneau [email protected] Concordia University Data current as of May 18, 2004 PS. Please feel free to use and circulate this list – as long as the person using or receiving it does not use it for commercial purposes (selecting books for a library is OK) and agrees to send me a thank you letter at the following address: Olivier Charbonneau, Webster Library, room LB-279 Concordia University 1400 de Maisonneuve Blvd. W. Montreal, Quebec, H3G 1M8 Page 1 of 56 Title Publisher Wins Nominations 100 Unknown 1 Workman, John letterer 100 BulletDC 4 5 Azzarello, Brian writer Johnson, Dave cover 2002-2003 Risso, Eduardo artist 1001 Nights of BacchusDark Horse Comics 1 Schutz, Diana editor 1963 Image 2 Moore, Alan 20 Nude Dancers 20Tundra 1 Martin, Mark 20/20 VisionsDC/Vertigo 1 Alonso, Axel editor Berger, Karen editor 300Dark Horse Comics 2 2 Miller, Frank Varley, Lynn colorist 32 Stories Drawn & Quarterly 1 Tomine, Adrian A Contract with GodDC 2 Eisner, Will A Decade of Dark HorseDark Horse Comics 1 Stradley, Randy editor A History of ViolenceParadox 1 Wagner, John A Jew in Communist PragueNBM 1 4 Giardino, Vittorio Nantier, Terry editor A Small KillingVG Graphics/Dark Horse 1 1 Moore, Alan Zarate, Oscar A1Atomeka 1 2 Elliott, Dave editor Abraham StonePlatinum/Malibu 2 Kubert, Joe Page 2 of 56 Title Publisher Wins Nominations Acid Bath CaseKitchen Sink Press 1 Schreiner, Dave editor
    [Show full text]
  • 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.
    [Show full text]
  • Mason 2015 02Thesis.Pdf (1.969Mb)
    ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created.
    [Show full text]
  • Encrumbed by the Signifying Monkey: Con Men, Cackling Clowns and the Exigencies of Desire in the Comics of Robert Crumb
    © Andrew Perry 2019 Encrumbed by the Signifying Monkey: Con Men, Cackling Clowns and the Exigencies of Desire in the Comics of Robert Crumb “What [do] we learn from reading books with characters and situations that are repugnant[?] We learn how to critique, examine and analyze texts, to see them in their time period with the human limitations of the authors. [They] may make a reader enraged, repulsed and even sickened, but may also present an opportunity to deepen perspectives on one’s own worldviews and values, and perhaps to act on them.” – Trudy Smoke (from “Letters” in The New York Times Book Review, February 3, 2019) “Sex, as society defines it, is constructed, just like everything else, and so it can be deconstructed. Our identities play such a big role in how we move through the world and create connections with others, and we fool ourselves when we ignore them. One person’s fantasy is another’s trigger, and there’s room for all of it to exist next to each other.” Arielle Egozi (“How do you define the ‘best sex ever’?” in Salon.com, March 21, 2019) “Drawing is a way for me to articulate things inside myself that I can’t otherwise grasp.” – Robert Crumb (from the R. Crumb Handbook, 2005: 394) MUDDIED WATERS Do you have strong opinions on the topic of public masturbation? Multi-generational incest? The unconsenting degradation of inebriated young women? The depiction of African- Americans as monkey-like “pickaninnies,” “coons,” and “spades?” Right from the outset it is uncomfortably clear that confronting the provocative, inflammatory role of offensive images at the throbbing core of Robert Crumb’s artistic vision is morbidly tricky.
    [Show full text]
  • Jewish Comics; Or, Visualizing Current Jewish Narrative
    I Jewish Comics + Jewish Comics; Or, Visualizing Current Jewish Narrative Derek Parker Royal Executive Editor, Philip Roth Studies Over the past several years, there has been rapidly growing interest in Jews and comics-not comics of the Groucho Marx, Woody Allen, and Jerry Seinfeld variety, but those as presented on the paneled pages of the newspaper funnies, comic books, and graphic novels.1 In the past four years alone, there have been no less than seven tides devoted exclusively to the history and analysis ofJews and comic art, and these books do not even include the many recent com­ ics-related texts with substantive portions devoted to specific Jewish authors.2 1"Graphic novel" is a term that is not without its problems, but I am using it here not only because of its widespread common use, but also to distinguish it from comic books as a publication format or delivery system. In this sense, "comics" applies to the medium as a whole, regardless of the form it takes (e.g., the editorial cartoon, the single-panel gag, the newspaper comic strip, the comic book, and the graphic novel). Furthermore, I use "graphic novel" to refer to long-form comics-as opposed to the typical American comic book which runs 32-36 pages-regardless of genre. This could include long works of fictional comics that are "novelistic" in scope, collected issues of previously published comic books or strips, comic memoirs, comics-based journalism, and even expository comics. 2Recenr books devoted solely to Jews and comics include Simcha Weinstein, Up, Up, and Oy
    [Show full text]
  • Storylines Jared Gardner
    Jared Gardner Storylines Jared Gardner While many of the most influential models in narrative theory emerged out of the study of literary narrative, it has from the start been motivated by what James Phelan calls an “expansionist impulse” to direct its gaze to across media (Phelan 206). Such expansion is never without its tensions, of course. Given the profound differences between cinematic narrative and literary narrative, for example, one could have imagined narrative theory beating a hasty retreat. After all, as Metz reminds us, film is not a language system; it has no easy equivalent to punctuation or the sentence. And yet the history of the encounter between film studies and narrative theory has on the whole proved remarkably productive despite these differences, and the exchange of ideas has by no means been a one- way street. Indeed, we can see how conversations across media have helped bring new precision to concepts in narrative theory: interventions in the muddied concept of point-of-view were certainly informed by con- versations along the borders between narrative theory and film theory, and Genette’s concept of focalization and Chatman’s proposed refinements of slant and filter (Chatman 144) draw in part upon the mechanics and theory of narrative film. At almost exactly the same time that film began to form its funda- mental grammar and mechanics as a new narrative medium, sequential comics emerged as the other new storytelling medium of the early twentieth century. A century later, especially since the publication of Art Spiegelman’s Maus directed academic attention to the form in the U.S., the conversation between narrative theory and comics studies is finally under way, and there is every reason to be confident that it will be chal- lenging and mutually beneficial.
    [Show full text]