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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. -
Graphic Novels for Children and Teens
J/YA Graphic Novel Titles The 9/11 Report: A Graphic Adaptation Sid Jacobson Hill & Wang Gr. 9+ Age of Bronze, Volume 1: A Thousand Ships Eric Shanower Image Comics Gr. 9+ The Amazing “True” Story of a Teenage Single Mom Katherine Arnoldi Hyperion Gr. 9+ American Born Chinese Gene Yang First Second Gr. 7+ American Splendor Harvey Pekar Vertigo Gr. 10+ Amy Unbounded: Belondweg Blossoming Rachel Hartman Pug House Press Gr. 3+ The Arrival Shaun Tan A.A. Levine Gr. 6+ Astonishing X-Men Joss Whedon Marvel Gr. 9+ Astro City: Life in the Big City Kurt Busiek DC Comics Gr. 10+ Babymouse Holm, Jennifer Random House Children’s Gr. 1-5 Baby-Sitter’s Club Graphix (nos. 1-4) Ann M. Martin & Raina Telgemeier Scholastic Gr. 3-7 Barefoot Gen, Volume 1: A Cartoon Story of Hiroshima Keiji Nakazawa Last Gasp Gr. 9+ Beowulf (graphic adaptation of epic poem) Gareth Hinds Candlewick Press Gr. 7+ Berlin: City of Stones Berlin: City of Smoke Jason Lutes Drawn & Quarterly Gr. 9+ Blankets Craig Thompson Top Shelf Gr. 10+ Bluesman (vols. 1, 2, & 3) Rob Vollmar NBM Publishing Gr. 10+ Bone Jeff Smith Cartoon Books Gr. 3+ Breaking Up: a Fashion High graphic novel Aimee Friedman Graphix Gr. 5+ Buffy the Vampire Slayer (Season 8) Joss Whedon Dark Horse Gr. 7+ Castle Waiting Linda Medley Fantagraphics Gr. 5+ Chiggers Hope Larson Aladdin Mix Gr. 5-9 Cirque du Freak: the Manga Darren Shan Yen Press Gr. 7+ City of Light, City of Dark: A Comic Book Novel Avi Orchard Books Gr. -
Sandman, Aesthetics and Canonisation Today I Want To
Sandman, Aesthetics and Canonisation Today I want to examine the ways in which Neil Gaiman’s Sandman has used narrative, format and aesthetic to move ever closer to the notion of the literary text. Particularly going to consider how it exploits the author function and enacts the struggle for cultural worth that comics seem consistently engaged in. Sandman is an epic series rewriting a golden-age superhero into an immortal deity. It is best remembered for its mythological content and literary references, and these elements have allowed it to claim its place as a canonised graphic novel (despite not actually being a singular GN but a maxi-series across multiple trade paperbacks!). Neil Gaiman’s authorship and authority dominate the text and epitomise Michel Foucault’s author function. But Sandman also draws heavily on mixed media and artistic variation and these aspects are less often discussed. Far from supporting a singular author function, Sandman’s visual style is multiple and varied. But despite this, in paratexts the artistic contributions are frequently subsumed into Gaiman’s authorship. However, a closer reading demonstrates that in fact this artistic variety destabilises clear-cut authorship and enacts the particular status struggles of comics as a collaborative medium struggling against the graphic novel branding. SLIDE: literary pix Sandman was launched in 1989 and became the flagship title for DC’s new Vertigo imprint. Vertigo’s publications contributed heavily to the mainstream cultural revaluation of comics as graphic novels, and critics such as Candace West have argued that Sandman in particular was instrumental here due to the attention the series received from mainstream media such as Rolling Stone magazine. -
Press Release
PRESS RELEASE FOR IMMEDIATE RELEASE Three River Studios Options Bryan Talbot’s Graphic Novel Series The Adventures of Luther Arkwright and Heart of Empire London, XX April 2021: Three River Studios today announces it has optioned the rights to develop, finance and produce a live action, returnable TV series based on Bryan Talbot’s ground-breaking and multi-award winning graphic novels: The Adventures of Luther Arkwright and its sequel Heart of Empire. Considered to be one of the most significant graphic novel series to come out of Britain, the stories from The Adventures of Luther Arkwright and Heart of Empire are rich in lore and legend, vast in the scope, and have an incredible breadth of complex characters. Written for a mature readership and born out of the anti-establishment wave of the 70s and 80s and in part as a protest at the rise of the far right, The Adventures of Luther Arkwright are a violent, raunchy combination of satire, science fiction and thrilling adventure into what has been described as the very first steampunk comic. The graphic novels weave an apocalyptic tale across a multiverse in which many alternate versions of history exist parallel to one another. With the ability to move between these ‘parallels’ by sheer force of will, Talbot’s hero, psychic secret agent Luther Arkwright, fights the malign influence of the Disruptors, a group who have manipulated humanity throughout history. He is aided by fellow agent Rose Wylde, a telepath who can communicate with her many alternative selves across the multiverse. The central plot of The Adventures of Luther Arkwright focuses on Arkwright’s battle with a fascist dictatorship in a parallel reality where Oliver Cromwell’s Puritans, secretly controlled by the Disruptors, never lost their grip on power. -
Slice-Of-Life the Daily Dramas of Life Are What Make a Great Story
Recommended Reading List: Slice-of-Life The daily dramas of life are what make a great story. Whether it's normal people in extraordinary circumstances or extraordinary people trying to make it day to day, the slice- of-life genre is all about the interactions between characters and personal insights. If you've ever religiously watched Seinfeld, Party of Five, Dawson's Creek, or Friends, then www.sequentialtart.com these are the comics for you. Blue Monday Petra Etcetera by Chynna Clugston-Major by Adrian Kermode, Terry Wiley Oni Press (www.onipress.com) Gratuitous Bunny Comix (www.sleazecastle.co.uk) http://read.sequentialtart.com/?bluemonday You’ll enjoy this if you like: British kitchen sink movies, Eddie You'll enjoy this if you like: Pretty in Pink, Ant Music, Vespas In a cheery, beery, slightly surreal yet very down to earth Bleu Finnegan and her high school friends star in this story, British college students search for love, sex, com- tale of high school woe and struggle that's always good panionship, and the nearest pub. Petra is one such stu- for a laugh. Blue Monday will remind you of all the worst dent who seems to be heading for trouble. and best of high school. The Tale of One Bad Rat Box Office Poison by Bryan Talbot by Alex Robinson Dark Horse Comics (www.darkhorse.com) Top Shelf Comix (www.topshelfcomix.com) http://read.sequentialtart.com/?taleofonebadrat http://read.sequentialtart.com/?boxofficepoison You'll enjoy this if you like: Beatrix Potter You’ll enjoy this if you like: Friends, Will & Grace Helen runs away from home with her pet rat. -
Drawing on the Victorians Eries in Victorian Studies S Series Editors: Joseph Mclaughlin and Elizabeth Miller Katherine D
Drawing on the Victorians eries in Victorian Studies S Series editors: Joseph McLaughlin and Elizabeth Miller Katherine D. Harris, Forget Me Not: The Rise of the British Literary Annual, 1823–1835 Rebecca Rainof, The Victorian Novel of Adulthood: Plot and Purgatory in Fictions of Maturity Erika Wright, Reading for Health: Medical Narratives and the Nineteenth-Century Novel Daniel Bivona and Marlene Tromp, editors, Culture and Money in the Nineteenth Century: Abstracting Economics Anna Maria Jones and Rebecca N. Mitchell, editors, Drawing on the Victorians: The Palimpsest of Victorian and Neo-Victorian Graphic Texts Drawing on the Victorians The Palimpsest of Victorian and Neo-Victorian Graphic Texts edited by Anna Maria Jones and Rebecca N. Mitchell with an afterword by Kate Flint ohio university press athens Ohio University Press, Athens, Ohio 45701 ohioswallow.com © 2017 by Ohio University Press All rights reserved To obtain permission to quote, reprint, or otherwise reproduce or distribute material from Ohio University Press publications, please contact our rights and permissions department at (740) 593-1154 or (740) 593-4536 (fax). Printed in the United States of America Ohio University Press books are printed on acid-free paper ƒ ™ 27 26 25 24 23 22 21 20 19 18 17 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data available upon request. Names: Jones, Anna Maria, 1972- editor. | Mitchell, Rebecca N. (Rebecca Nicole), 1976- editor. Title: Drawing on the Victorians : the palimpsest of Victorian and neo-Victorian graphic texts / edited by Anna Maria Jones and Rebecca N. Mitchell ; with an afterword by Kate Flint. -
British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2013 Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Salisbury, Derek, "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books" (2013). Graduate College Dissertations and Theses. 209. https://scholarworks.uvm.edu/graddis/209 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. -
Taming the Bourgeoisie: Grandville's Scènes De La Vie Privée Et Publique
EnterText 7.3 KERI BERG Taming the Bourgeoisie: Grandville’s Scènes de la vie privée et publique des animaux (1840-1842) Writing in 1842, an unnamed critic for L’Artiste described the caricaturist J. J. Grandville’s (1803-1847) Scènes de la vie privée et publique des animaux as a “mirror, accurate but not very flattering, in which each of us can look at ourselves and recognize ourselves.”1 The critic’s description of the illustrated book Scènes de la vie privée et publique des animaux (henceforth referred to as Les Animaux) sums up both the work and its particular mode of representation: caricature, which is the comic distortion and/or exaggeration of an original object. From political celebrations to marriage proposals, Les Animaux’s visual and verbal “scènes” from nineteenth- century life presented period readers with a deformed image of themselves, their personality traits, habits and hobbies distorted by the artist’s pencil. Grandville’s brand of caricature, however, stands out from that of his contemporaries, such as Honoré Daumier, Henri Monnier and Gavarni, in that the basis for Les Animaux’s distortion, as the title of the work suggests, is the animal. In Les Animaux, the bourgeois banker is a fattened turkey, the politician a rotund hippopotamus and the landlord a beady-eyed vulture. While the use of animal imagery and metaphors was not new in the 1840s, Grandville’s approach was, as the caricaturist created Keri Berg: Taming the Bourgeoisie 43 EnterText 7.3 hybrid creatures—animal heads atop human bodies—that visually and literally metamorphosed the person figured. -
Representations of Race in Graphic Novels for Young Adults
Volume 21, 2018 Approved February 19, 2018 ISSN: 2165-1019 www.ala.org/aasl/slr Drawing Diversity: Representations of Race in Graphic Novels for Young Adults Robin A. Moeller, Ph.D., Associate Professor of Library Science, Appalachian State University Kim Becnel, Ph.D., Associate Professor of Library Science, Appalachian State University Abstract In light of the recent focus on diversity in books for youth as exemplified by movements such as “We Need Diverse Books” and “Reading Without Walls,” the authors sought to understand how race is depicted in graphic novels for teens. A textual analysis was conducted on a sample of books from the Young Adult Library Services Association’s 2015 “Great Graphic Novels for Teens” booklist to answer the questions: How many people of color are depicted in the sample of graphic novels? How are people of color characterized as main character, supporting character, or background characters? What are the races of the authors and illustrators of these graphic novels? Analysis of the data suggests a higher-than-expected number of characters who are people of color are depicted in this sample of graphic novels, and that those characters often play central or significant supporting roles. The researchers also found that this sample of graphic novels was, for the most part, produced by white authors and illustrators. Introduction Background Each year the Cooperative Children’s Book Center (CCBC) in Wisconsin publishes a set of statistics that reflect the number of books received the previous year that were written by and about individuals who are people of color. (According to the FAQ page (n.d.) at the CCBC website, most large trade book publishers in the U.S. -
1 DOUBLE DÉTENTE the Role of Gaullist France and Maoist China In
DOUBLE DÉTENTE The Role of Gaullist France and Maoist China in the Formation of Cold War Détente, 1954-1973 by Alice Siqi Han A thesis submitted to the Department of History in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Honors Harvard University Cambridge Massachusetts 10 March 2016 1 TABLE OF CONTENTS Introduction: Détente in Three Parts: The France-China-U.S. Triangle ........................................ 3 1. From Paris to Pékin .................................................................................................................. 17 2. “Opening” the China Box ......................................................................................................... 47 3. The Nixon Administration’s Search for Détente ...................................................................... 82 Conclusion: The Case for Diplomacy ......................................................................................... 113 Works Cited ................................................................................................................................ 122 2 Introduction Détente in Three Parts: The France-China-U.S. Triangle Did the historic “opening to China” during the Cold War start with the French? Conventional Cold War history portrays President Richard Nixon and his chief national security advisor, Henry Kissinger, as the principal architects of the U.S. “opening to China.”1 Part of the Nixon administration’s détente strategy, the China initiative began in 1971 with Kissinger’s -
Download the Timeline and Follow Along
THE GREAT STEAMPUNK TIMELINE (to be printed A3 portrait size) LITERATURE FILM & TV GAMES PARALLEL TRACKS 1818 - Frankenstein: or The Modern Prometheus (Mary Shelley) 1864 - A Journey to the Centre of the Earth (Jules Verne) K N 1865 - From the Earth to the Moon (Jules Verne) U P 1869 - Twenty Thousand Leagues Under the Sea (Jules Verne) - O 1895 - The Time Machine (HG Wells) T O 1896 - The Island of Doctor Moreau (HG Wells) R P 1897 - Dracula (Bram Stoker) 1898 - The War of the Worlds (HG Wells) 1901 - The First Men in the Moon (HG Wells) 1954 - 20,000 Leagues Under the Sea (Disney) 1965 - The Wolves of Willoughby Chase (Joan Aiken) The Wild Wild West (CBS) 1969 - Captain Nemo and the Underwater City (MGM) 1971 - Warlord of the Air (Michael Moorcock) 1973 - A Transatlantic Tunnel, Hurrah! (Harry Harrison) K E N G 1975 - The Land That Time Forgot (Amicus Productions) U A 1976 - At the Earth's Core (Amicus Productions) P S S 1977 - The People That Time Forgot (Amicus Productions) A R 1978 - Warlords of Atlantis (EMI Films) B Y 1979 - Morlock Night (K. W. Jeter) L R 1982 - Burning Chrome, Omni (William Gibson) A E 1983 - The Anubis Gates (Tim Powers) 1983 - Warhammer Fantasy tabletop game > Bruce Bethke coins 'Cyberpunk' (Amazing) 1984 - Neuromancer (William Gibson) 1986 - Homunculus (James Blaylock) 1986 - Laputa Castle in the Sky (Studio Ghibli) 1987 - > K. W. Jeter coins term 'steampunk' in a letter to Locus magazine -
Comics and Graphic Novels for Young People
27 SPRING 2010 Going Graphic: Comics and Graphic Novels for Young People CONTENTS Editorial 2 ‘Remember Me’: An Afrocentric Reading of CONFERENCE ARTICLES Pitch Black 14 Kimberley Black The State of the (Sequential) Art?: Signs of Changing Perceptions of Comics, Manga and Graphic Novels and the Holocaust 15 Graphic Novels in Britain 3 Rebecca R. Butler Mel Gibson Copulating, Coming Out and Comics: The High From Tintin to Titeuf: Is the Anglophone Market School Comic Chronicles of Ariel Schragg 16 too Tough for French Comics for Children? 4 Erica Gillingham Paul Gravett Is Henty’s History Lost in Graphic Translation? The Short but Continuing Life of The DFC 5 Won by the Sword in 45 pages 17 David Fickling Rachel Johnson Out of the Box 6 Sequences of Frames by Young Creators: The Marcia Williams Impact of Comics in Children’s Artistic Development 18 Raymond Briggs: Blurring the Boundaries Vasiliki Labitsi among Comics, Graphic Novels, Picture Books and Illustrated Books 7 ‘To Entertain and Educate Young Minds’: Janet Evans Graphic Novels for Children in Indian Publishing 19 Graphic Novels in the High-School Malini Roy Classroom 8 Bill Boerman-Cornell Strangely Familiar: Shaun Tan’s The Arrival and the Universalised Immigrant Experience 20 Britain’s Comics Explosion 9 Lara Saguisag Sarah McIntyre Journeys in Time in Graphic Novels from Reading between the Lines: The Subversion of Greece 21 Authority in Comics and Graphic Novels Mariana Spanaki Written for Young Adults 10 Ariel Kahn Crossing Boundaries 22 Emma Vieceli Richard Felton Outcault and The Yellow Kid 10 Dora Oronti Superhero Comics and Graphic Novels 22 Jessica Yates As Old as Clay 11 Daniel Moreira de Sousa Pinna Composing and Performing Masculinities: Of Reading Boys’ Comics c.