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Igncc18 Programme
www.internationalgraphicnovelandcomicsconference.com [email protected] #IGNCC18 @TheIGNCC RETRO! TIME, MEMORY, NOSTALGIA THE NINTH INTERNATIONAL GRAPHIC NOVEL AND COMICS CONFERENCE WEDNESDAY 27TH – FRIDAY 29TH JUNE 2018 BOURNEMOUTH UNIVERSITY, UK Retro – a looking to the past – is everywhere in contemporary culture. Cultural critics like Jameson argue that retro and nostalgia are symptoms of postmodernism – that we can pick and choose various items and cultural phenomena from different eras and place them together in a pastiche that means little and decontextualizes their historicity. However, as Bergson argues in Memory and Matter, the senses evoke memories, and popular culture artefacts like comics can bring the past to life in many ways. The smell and feel of old paper can trigger memories just as easily as revisiting an old haunt or hearing a piece of music from one’s youth. As fans and academics we often look to the past to tell us about the present. We may argue about the supposed ‘golden age’ of comics. Our collecting habits may even define our lifestyles and who we are. But nostalgia has its dark side and some regard this continuous looking to the past as a negative emotion in which we aim to restore a lost adolescence. In Mediated Nostalgia, Ryan Lizardi argues that the contemporary media fosters narcissistic nostalgia ‘to develop individualized pasts that are defined by idealized versions of beloved lost media texts’ (2). This argument suggests that fans are media dupes lost in a reverie of nostalgic melancholia; but is belied by the diverse responses of fandom to media texts. Moreover, ‘retro’ can be taken to imply an ironic appropriation. -
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. -
Reverberações Do Noir Nas Gns E No Cinema Atual: Dark Cities
TRANS/RE/CRIAÇÕES DO ESTILO NOIR: DAS PÁGINAS PARA AS TELAS Denise Azevedo Duarte Guimarães1 Introdução Este artigo propõe reflexões sobre as múltiplas possibilidades de elaboração simbólica do espaço urbano, no âmbito das narrativas ficcionais, com ênfase em seus agenciamentos sígnicos e nos regimes visuais que efetivam seus modos de presença na mídia impressa e audiovisual. As recentes configurações imagéticas das metrópoles des/re/veladas nas páginas e nas telas constituem uma tendência que vai muito além do que era sazonal - em termos de desenhos animados e similares, destinados a platéias infanto-juvenis -; o que vem atraindo diversificados segmentos de público para as salas de cinema e movimentando um rico filão da indústria do entretenimento. Um exemplo relevante são as edições Marvel Noir: várias séries publicadas recentemente e que apresentam as aventuras dos heróis e super-heróis reinterpretadas de acordo com pressupostos estéticos do estilo noir. Com suas sinistras cidades imersas nas sombras, tais narrativas apresentam ostensivas reverberações dos filmes noir, que tiveram seu apogeu entre 1940 e 1960. Minha abordagem deste recente fenômeno transmidiático centra-se na observação de como as narrativas sequenciais ligadas ao universo de um tipo de quadrinhos, as graphic novels, tendem a marcar sua presença num nicho expressivo da indústria cinematográfica atual. Devido à expansão das adaptações fílmicas das GNs, o clima de mistério e inquietação em espaços urbanos noturnos e violentos, parece ter tomado de assalto as telas contemporâneas. Como um marcante estilo de época, bastante próximo da estética do cinema expressionista alemão, que lhe é anterior, a cinematografia noir tem sido continuamente revisitada por cineastas da atualidade. -
A Guide to Dark Horse Manga T Able of Contents
A GUIDE TO DARK HORSE MANGA T ABLE OF CONTENTS APPLESEED & THE WORKS OF SHIROW MASAMUNE . 5 ASTRO BOY . 7 BERSERK . 8 BLADE OF THE IMMORTAL . 9 BLOOD+ . 10 THE WORKS OF CLAMP . 11 EDEN . 13 GANTZ . 14 GUNSMITH CATS . 15 HELLSING & THE WORKS OF KOHTA HIRANO . 16 THE KUROSAGI CORPSE DELIVERY SERVICE . 18 LONE WOLF AND CUB & THE WORKS OF KAZUO KOIKE . 19 MPD-PSYCHO . 22 NEON GENESIS EVANGELION . 23 OH MY GODDESS! . 24 OLD BOY . 25 OREIMO . 26 TRIGUN & THE WORKS OF YASUHIRO NIGHTOW . 27 OTHER NOTABLE JAPANESE WORKS FROM DARK HORSE THE WORKS OF YOSHITAKA AMANO . 30 BLADE OF THE IMMORTAL ART BOOK & NOVEL . 33 BLOOD+ ILLUSTRATED NOVELS . 34 THE DIRTY PAIR ILLUSTRATED NOVELS . 35 GUNGRAVE . 36 OH MY GODDESS! FIRST END NOVEL . 37 SAMURAI CHAMPLOO . 38 VAMPIRE HUNTER D ILLUSTRATED NOVELS . 39 GLOSSARY anime—A general term for animated Japanese television shows and movies. BUNKobon—A small manga format, about 4 x 6 inches. FLopped—A format in which the manga artwork has been flopped to read left to right. This adjustment to fit the reading style of Western audiences was often made in the days when manga were targeted to the direct market. Josei—Manga intended for adult women. MANGa—A general term for Japanese comics, sometimes used incorrectly to refer to all Asian titles. MANGA-KA—Creator of manga. MANHWa—Korean comics. Although often grouped with manga, these titles have a distinct culture and style that differs from Japanese books. OTaku—A self-imposed term for a die-hard manga fan. seinen—Manga intended for adult men. -
Gue S T S Gue S
NYCC 2018 NYCC 2018 GUESTS SPOTLIGHT COMIC GUESTS Aaron Campbell Ant Lucia Chip Kidd David O’Sullivan Francesco Mattina Jamar Nicholas Aaron Kuder Arielle Jovellanos Chris Claremont David Petersen Francis Portela James Silvani Aaron Lopresti Art Baltazar Chris Eliopoulos Declan Shalvey Francisco Herrera James Tynion IV Abby Denson Arthur Adams Chrissie Zullo Dennis Calero Franco Janet Lee Adam Gorham Babs Tarr Christopher Jones Dennis Hopeless Frank Cho Jason Aaron Adam Kubert Barbara Nosenzo Christopher Priest Derek Charm Frank Miller Jason Adam Katzenstein Adelso Corona Bart Sears Christopher Uminga Diego Bernard Fred Van Lente Jason Fabok Adi Granov Ben Blacker Claudio Sanchez Domo Stanton GABO Jason Shawn Alexander Adriana Melo Ben Caldwell Clay Mann Donny Cates Gabriel Bá Javier Garron Agnes Garbowska Ben Harvey Clayton Henry Duncan Rouleau Geof Darrow Jay Leisten GUESTS Al Ewing Ben Templesmith Corin Howell Ed Benes Geoff Shaw Jayme Twins Alessandro Vitti Bengal Cory Smith Ed Brisson Germán Peralta Jeff Dekal Alex de Campi Bill Amend Craig Rousseau Ed McGuinness Gerry Duggan Jeffrey Brown Alex Maleev Billy Martin Creees Eddy Barrows Gideon Kendall Jen Bartel Alex Milne Billy Tucci Cryssy Cheung Edgar Delgado Gisele Lagace Jenn Doyle Alex Ross Bob Camp Cully Hamner Edgardo Miranda-Rodri- Goran Sudžuka Jeremy Haun Alex Saviuk Bob McLeod Damian Couceiro guez Graham Nolan Jerome Opeña Alex Sinclair Brahm Revel Dan Panosian Eduardo Pansica Greg Capullo Jill Thompson Alison Sampson Brandon Montclare Dan Parent Edwin Huang Greg Hildebrandt Jim Cheung Amanda Conner Brent Peeples Dan Slott Elena Casagrande Greg Horn Jim Lee Amanda Scurti Bret Blevins Daniel HDR Elia Bonetti Greg Pak Jim Mahfood Amy Chu Brett Weldele Daniel Warren Johnson Elias Chatzoudis Greg Tocchini Jim Salicrup Amy Mebberson Brian Azzarello Danny Fingeroth Emanuela Lupacchino Gus Vazquez Jim Starlin Amy Reeder Brian Michael Bendis Darryl DMC McDaniels Emi Lenox Guy Dorian Sr. -
2News Summer 05 Catalog
Comics’Fast & Furious Artist by Jim Amash with Eric Nolen-Weathington Table of Contents Introduction by Walter Simonson. 4 Chapter One: Inspiration All Around. 6 Chapter Two: A Heroic Departurre. 17 Chapter Three: How to Break in the Marvel Way . 33 Chapter Four: The Workhorse Hits His Stride . 59 Chapter Five: A New Start with a Different Company . 87 Chapter Six: The Craft of Creating Comic Book Art . 97 Art Gallery . 110 DR. STRANGE, HULK, SILVER SURFER ™ AND ©2010 MARVEL CHARACTERS, INC. 3 Chapter One Inspiration All Around Jim Amash: You probably don’t remember recollection from when I was five or six years when this happened, but I know you know old — when my brothers both painted a land- when and where you were born. scape of some kind. It was sort of a friendly Sal Buscema: Of course. [laughs] I was born competition. I think they may have been in Brooklyn, New York, on January 26, 1936. painting from a photograph. They were both My father’s name was John, and my mother’s working in oils, and having a good time. It was Sadie. My brother John was eight years was just a fun thing that they were doing. older than I, born December 11, 1927. John was always dabbling in this kind of stuff. He loved to draw and paint. I think Al JA: Do you have any other brothers or sisters? — there was a very friendly sibling rivalry (below) For many years, SB: Yes, though unfortunately they’re all between them. They were very close, very Sal participated in Friday deceased. -
Megascope Launches Highly Anticipated First Publishing List from Curator John Jennings
For Immediate Release Contact: Maya Bradford Senior Publicist 212.229.7188 [email protected] MEGASCOPE LAUNCHES HIGHLY ANTICIPATED FIRST PUBLISHING LIST FROM CURATOR JOHN JENNINGS The official Megascope logo and advisory board, featuring celebrated voices in the academic and literary world, is also established New York, NY – February 2020 – The celebrated imprint Abrams ComicArts is launching its first publishing list from Megascope, the new line of graphic novels curated by John Jennings. Jennings is an award-winning and New York Times bestselling comics creator and illustrator of graphic novel adaptations of Octavia E. Butler’s Kindred and Parable of the Sower. Megascope was first announced in 2018, and the inaugural publishing list will have two titles: After the Rain (October 27, 2020; Hardcover) by Nnedi Okorafor, adapted by John Jennings and illustrated by David Brame, and The Heavy (January 19, 2021; Hardcover) by Shawn Martinbrough. “When W.E.B. DuBois created the idea of the megascope in the short story The Princess Steel (1909), I wonder if he would ever have dreamed that he was giving us a gift of not just one future but myriad futures. The megascope functions as a lens through which so many unheard voices can be heard. I am so honored and excited to present this first slate of books that we have lovingly curated. It’s a very robust, diverse, extraordinary collection of narratives that, I hope, will foster conversation, celebration, and connection,” says Jennings. “The book is an empathy machine and ABRAMS has dedicated so much of its existence to making cutting-edge, well-designed, beautiful books for everyone. -
Celebrating the Comics, Cartoons and Creators Of
ISSUE 2 SPRING 2019 CELEBRATING THE COMICS, CARTOONS AND CREATORS OF CENTRAL OHIO COVER ILLUSTRATION BY TOM WILLIAMS WELCOME TO THE SCRIBBLER Hello and welcome to the second community within these pages. We’ve (exciting) issue of the Columbus also included some new exhibits at Scribbler! We were overwhelmed by our city’s very own comics museum, the positive response our first issue The Billy Ireland Cartoon Library & received and we’re happy to be able Museum. So, what are you waiting to continue to bring the wonderful for? Go out there and meet some artform of comics to the people of cartoonists! Let them tell you their Central Ohio. stories and make some new friends. As the city of Columbus’ cartoon With that said, we’d like to community continues to flourish, welcome you to this incredible we are proud to be a part of its medium that’s close to our hearts and growth and be able to showcase the challenge you find your place within COLUMBUSSCRIBBLER.COM amazing creative talent that this city comics. There’s room for everyone, has to offer. For those of you who whether it involves making your own have yet to discover, your city is stories or just reading and taking home to a plethora of cartoonists and them in. Remember you don’t have Cover Illustration by Tom Williams comic makers. to be an amazing artist to make or drawrobotdesigns.com Our goal here at the Scribbler is enjoy comics, you just have to love to inspire you, the people of Central comics. -
What Does Psychology Know and Understand About the Psychological Effects of Reading Superhero Comic Books?: an Exploration Study
WHAT DOES PSYCHOLOGY KNOW AND UNDERSTAND ABOUT THE PSYCHOLOGICAL EFFECTS OF READING SUPERHERO COMIC BOOKS?: AN EXPLORATION STUDY By PARKER T SHAW Bachelor of Science in Psychology Oklahoma State University Stillwater, Oklahoma 2009 Master of Science in Educational Psychology Oklahoma State University Stillwater, Oklahoma 2013 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY July, 2017 WHAT DOES PSYCHOLOGY KNOW AND UNDERSTAND ABOUT THE PSYCHOLOGICAL EFFECTS OF READING SUPERHERO COMIC BOOKS?: AN EXPLORATION STUDY Dissertation Approved: John Romans, Ph.D. Dissertation Chair Tonya Hammer, Ph.D. Dissertation Advisor Al Carlozzi, Ed.D. Committee Member Hugh Crethar, Ph.D. Committee Member Larry Mullins, Ph.D. Outside Committee Member ii ACKNOWLEDGEMENTS I am so very grateful for all those who sacrificed so that I may have this opportunity. Your sacrifice and support through these years has been so very special to me. I am thankful for my loving wife Katie and my darling daughter Penny Lane. You are my best accomplishments to date. I’m so blessed that you are here with me on this journey. Thank you to my wonderful parents for all the opportunities you gave me through your sacrifices. I hope to carry your legacy with grace. I would like to thank my committee for their guidance and support during this journey. It has been an honor to work alongside you all and learn. Lastly, thank you superheroes. Thank you for always being there. iii Acknowledgements reflect the views of the author and are not endorsed by committee members or Oklahoma State University. -
The Wonderful World of Comics
BOOKWORLD `sequential art'. (See glossary ofterms on p 22.) The wonderful Sequential artis picturesin a sequence thattella story,basicallyimparting a mes- sageingraphic andliterary form, orin other world of comics words, tellyou about a manthatdressesin a bat suitfighting crime. That'sthe message thatthe medium An introduction conveys. However, comics are not limited to telling stories about the adventures of RUDI WICOMB unlike most, was told before in another spandex-clad heroes, but have runthe gamutofliterarygenres. The lesson here is Librarian, Southfield Library medium. It startedin a brightly-coloured book with poor qualitypaper and told the never to mistake the message for the love comics. Since I was a kid I've har- simple storyofayoungman bitten bya medium (McCloud1994:6). boured a passion for comics. I remem- radioactive spider who is subsequently Graphic novels are much easier to I ber being mesmerised by the coloured define. Think ofa graphic novel as a book bestowed with great power and even pages, describing brilliant adventures of greaterresponsibilities. Itemblazoneditself toldin comic book form; it has a beginning, brightly-clad heroes fighting for truth, jus- intheheartsandmindsofAmericansfor middle and an end. tice and the Americanway. over 50 years. In contrast, comic book Reading comics made me believe in Now it is our turn to trade paperbacks are a collec- miracles butthen I grew up and Irealised hear the stories. tion ofstory arcs ofserialised that people didn't share my love for comics. Soonthere willbe comic booksinto a graphic Theycouldn'tor didn'tbelieve in miracles. others. Superman, novel format. Comic trades are They even said comics were bad for you. -
A Study of Graphic Novel Cataloging Records. PUB DATE Feb 92 NOTE 93P.; Master's Thesis, Kent State University
DOCUMENT RESUME ED 352 976 IR 054 326 AUTHOR Andelson, Eric TITLE A Study of Graphic Novel Cataloging Records. PUB DATE Feb 92 NOTE 93p.; Master's Thesis, Kent State University. PUB TYPE Dissertations/Theses Masters Theses (042) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Bibliographic Utilities; *Cataloging; College Libraries; Higher Education; Library Research; Online Catalogs; Online Searching; Research Methodology; Statistical Analysis; *Subject Index Terms; Tables (Data) IDENTIFIERS Bowling Green State University OH; *Graphic Novels; OCLC; Statistical Package for the Social Sciences ABSTRACT Graphic novels are a blending of words and art in which the illustrations bear the same relationship to the text that a film carries to its screenplay. The hypothesis of this research is that, as a new form of literature, graphic novels will display inconsistent cataloging. Methodology consisted of searching the titles generated from Bowling Green State University's subject heading, Graphic Novels, against OCLC records. There are 191 titles, with 299 OCLC records and 3,416 holdings. All records for the same title were downloaded from OCLC, encoded, and entered into SPSS. Statistical analysis such as tabulating and frequency distribution are utilized in analyzing the cataloging records. Definitions, examples, AACR2 cataloging rules, subject headings, added entries, and classification numbers clarify the format as well as the cataloging of graphic novels. One conclusion is that there are consistencies as well as inconsistencies in the cataloging record. Another is that graphic novels are not automatically cGnsidered juvenile works. Several recommendations based on the study findings are offered: (1) "chiefly ill." should be used in the physical field; (2) a subject heading "Graphic Novels" should be assigned in order to bring out this form of literature;(3) libraries may want to class graphic novels together locally; and (4) more individuals and roles should be listed in the statement of responsibility or notes. -
Adventures in Graphica
Adventures in Graphica How to read a graphic novel How do you define the medium of graphica? • Are they comics? Graphic novels? Cartoons? • I’m confused!!! There are many ways to define this particular medium… • Sequential art in book form • Tell a story with words and drawings and have identifiable beginning, middle and end • Stories told in both pictorial and word form • Arrangement of pictures or images and words to narrate a story or dramatize an idea • Juxtaposed pictorial and other images in deliberate sequence Perhaps we shouldn’t define it. • Why? • Because it is an ever-evolving medium with a wide range of possibilities. Graphica • NOUN A deium of literature that integrates pictures and words and arranges them cumulatively to tell a story or convey information;often presented in comic strip, periodical, or book form; also known as comics. Graphica is LITERATURE • The pictures and the words in graphic merge to produce a unique reading experience. Formats • Comic Strip • Comic Book Graphic Novel • Trade paper Backs • Manga Comic Strip • Usually 3 – 8 panels, newspaper funnies • Peanuts is an example Graphic Novel • Book length • Sturdier durability Manga • Japanes-style • Stylized drawings • Some read back to front Trade Paperback • Anthology of previously Printed comic books or story lines Why Graphica? What is the appeal? • Comics can be perceived as a forbidden pleasure to many students. • Reading a comic in class is like allowing students to chew gum in class, or use their cell phones! • Graphic appeals to students from a myarid of different backgrounds, cultures and personalities. • There are no socioeconomic boundries • They also deal with current, relevant, often complex social issues (prejudice, social injustice and personal triumph over adversity) • Boys!!! • Stereotypically it’s more challenging to get boys to read.