List of Works Cited

Total Page:16

File Type:pdf, Size:1020Kb

List of Works Cited List of Works Cited Adam, Barry D. “Theorizing Homophobia.” Sexualities, vol. 1, no. 4, 1998, pp. 387-404. doi.org/10.1177/136346098001004001 Ahmed, Sara. “Problematic Proximities: Or Why Critiques of Gay Imperialism Matter.” Feminist Legal Studies, vol. 19, no. 2, 2011, pp. 119-32. doi.org/10. 1007/s10691-011-9180-7 —. “Selfcare as Warfare.” feministkilljoys. 25 Aug. 2014, feministkill joys.com/2014/08/25/selfcare-as-warfare/. Accessed 16 July 2020. Aizura, Aren Z. “Of Borders and Homes: The Imaginary Community of (Trans)Sexual Citizenship.” Inter-Asia Cultural Studies, vol. 7, no. 2, 2007, pp. 289-309. doi.org/10.1080/14649370600673953 —. “Trans Feminine Value, Racialized Others and the Limits of Necropolitics.” Queer Necropolitics, edited by Jin Haritaworn et al., Routledge, 2014, pp. 129-147. doi.org/10.4324/9780203798300-7 Alexander, Michelle. The New Jim Crow: Mass Incarceration in the Age of Colorblindness. New Press, 2010. Allen, Theodore W. The Invention of the White Race: Racial Oppression and Social Control, vol. 1, 1994. Verso, 2002. —. The Invention of the White Race: The Origin of Racial Oppression in Anglo- America, vol. 2, Verso, 1997. Anderson, Kane. “Gender Studies and Queer Studies.” The Secret Origins of Comics Studies, edited by Matthew Smith and Randy Duncan, Routledge, 2017, pp. 178-189. Anzaldúa, Gloria. Borderlands/La Frontera: The New Mestiza. 1987. 3rd ed., Aunt Lute, 2007. —. “Hacienda caras, una entrada.” 1990. The Gloria Anzaldúa Reader, edited by AnaLouise Keating. Duke UP, 2009, pp. 124-139. doi.org/10.1215/978082 2391272-021 —. “To(o) Queer the Writer – Loca, escritora y chicana.” 1991. The Gloria Anzaldúa Reader, edited by AnaLouise Keating, Duke UP, 2009, pp. 163- 175. doi.org/10.1215/9780822391272-024 306 | Good White Queers? Aragon, Steven R., et al. “The Influence of Peer Victimization on Educational Outcomes for LGBTQ and Non-LGBTQ High School Students.” Journal of LGBT Youth, vol. 11, no. 1, 2014, pp. 1-19. doi.org/10.1080/19361653.201 4.840761 Arenas, Reinaldo. Before Night Falls. Penguin Books, 1993. Arguelles, Lourdes, and B. Ruby Rich. “Homosexuality, Homophobia, and Rev- olution: Notes Toward an Understanding of the Cuban Lesbian and Gay Male Experience, Part I.” Signs, vol. 9, no. 4, 1984, pp. 683-699. doi.org/ 10.1086/494093 Armstrong, Elizabeth. Forging Gay Identities: Organizing Sexuality in San Francisco 1950-1994. The U of Chicago P, 2002. Ayaka, Carolene, and Ian Hague. “Representing Multiculturalism in Comics and Graphic Novels.” Introduction. Representing Multiculturalism in Comics and Graphic Novels, edited by Ayaka and Hague, Routledge, 2015, pp. 1-16. doi.org/10.4324/9781315775340-1 Ayala, George, et al. “Where There’s Querer: Knowledge Production and the Praxis of HIV Prevention.” Latina/o Sexualities: Probing Powers, Passions, Practices, and Policies, edited by Marysol Asencio. Rutgers UP, 2010, pp. 150-172. Baetens, Jan, and Hugo Frey. The Graphic Novel: An Introduction. Cambridge UP, 2015. doi.org/10.1017/CBO9781139177849 Bancel, Nicolas et al. “Introduction: The Invention of Race – Scientific and Pop- ular Representations of Race from Linnaeus to the Ethnic Shows.” The In- vention of Race: Scientific and Popular Representations, edited by Bancel et al., Routledge 2014, pp. 1-13. doi.org/10.4324/9781315813318-1 Barnard, Ian. Queer Race: Cultural Interventions in the Racial Politics of Queer Theory. Peter Lang, 2004. Bassichis, Morgan, and Dean Spade. “Queer Politics and Anti-Blackness.” Queer Necropolitics, edited by Jin Haritaworn et al., Routledge, 2014, pp. 191-210. doi.org/10.4324/9780203798300-10 Batts, Valerie. “Is Reconciliation Possible? Lessons from Combating ‘Modern Racism.’” Waging Reconciliation: God’s Mission in a Time of Globalization and Crisis, edited by Ian T. Douglas, Church Publishing, 2002, pp. 35-75. Beaty, Bert. Fredric Wertham and the Critique of Mass Culture. The UP of Mis- sissippi, 2005. Bechdel, Alison. Dykes To Watch Out For (individual volumes in order of pub- lication): —. Dykes To Watch Out For. Firebrand Books, 1986. List of Works Cited | 307 —. More Dykes To Watch Out For. Firebrand Books, 1988. (contains strips 1- 23) —. New, Improved! Dykes To Watch Out For. Firebrand Books, 1990. (contains strips 24-77) —. Dykes To Watch Out For: The Sequel. Firebrand Books, 1992. (contains strips 78-126) —. Spawn of Dykes To Watch Out For. Firebrand Books, 1993. (contains strips 127-170) —. Unnatural Dykes To Watch Out For. Firebrand Books, 1995. (contains strips 171-221) —. Hot, Throbbing Dykes To Watch Out For. Firebrand Books, 1997. (contains strips 222-263) —. Split Level Dykes To Watch Out For. Firebrand Books, 1998. (contains strips 264-297) —. Post Dykes To Watch Out For. Firebrand Books, 2000. (contains strips 298- 337) —. Dykes and Sundry Other Carbon-Based Life-Forms To Watch Out For. Aly- son Books, 2003. (contains strips 338-397) —. Invasion of Dykes To Watch Out For. Alyson Books, 2005. (contains strips 398-457) —. The Essential Dykes To Watch Out For. Houghton Mifflin Harcourt, 2008. —. Fun Home: A Family Tragicomic. Houghton Mifflin, 2006. —. The Indelible Alison Bechdel: Confessions, Comix, and Miscellaneous Dykes To Watch Out For. Firebrand Books, 1998. —. “Introduction.” Stuck Rubber Baby, Howard Cruse, 2nd ed., Vertigo, 2010. Beirich, Heidi, and Susy Buchanan. “2017: The Year in Hate and Extremism.” Intelligence Report, Southern Poverty Law Center, 11 Feb. 2018, www.splcenter.org/fighting-hate/intelligence-report/2018/2017-year-hate- and-extremism. Accessed 16 July 2020. Beirne, Rebecca. Lesbians in Television and Text after the Millennium. Palgrave Macmillan, 2008. doi.org/10.1057/9780230615014 Berman, Mark. “Even More Black People Were Lynched in the U.S. than Previ- ously Thought, Study Finds.” The Washington Post, 10 Feb. 2015, www.washingtonpost.com/news/post-nation/wp/2015/02/10/even-more- black-people-were-lynched-in-the-u-s-than-previously-thought-study-finds/? noredirect=on&utm_term=.b8f250c767cc. Accessed 15 Mar 2017. Bernstein, Robin. “Where Women Rule.” Harvard Gay and Lesbian Review, vol. 1, no. 3, 1994, pp. 20-23. 308 | Good White Queers? Beyer, Dana. “Changing the T for LGBs.” Advocate, Here Media, 16 July 2015, www.advocate.com/transgender/2015/07/16/changing-t-lgbs. Accessed 17 July 2020. Bhanji, Nael. “Trans/scriptions: Homing Desires, (Trans)sexual Citizenship and Racialized Bodies.” The Transgender Studies Reader 2, edited by Susan Stryker and Aren Z. Aizura, Routledge, 2013, pp. 512-526. Bilge, Sirma. “Intersectionality Undone: Saving Intersectionality from Feminist Intersectionality Studies.” Du Bois Review, vol. 10, no. 2, 2013, pp. 405-424. doi.org/10.1017/S1742058X13000283 Bilger, Audrey. “The Essential Dykes To Watch Out For.” Bitch Magazine: Feminist Response To Pop Culture, vol. 43, 2009, p. 64. binaohan, b. decolonizing trans/gender 101. bijuti publishing, 2014. Bird, Susan. “Case Note: Re Kevin (validity of marriage of transsexual) [2001] FamCA 1074.“ Southern Cross Law Review, vol. 6, 2002, pp. 364–371. Bobo, Lawrence, and Camille L. Zubrinsky. “Attitudes on Residential Integra- tion: Perceived Status Differences, Mere In-Group Preference, or Racial Prejudice?” Social Forces, vol. 74, no. 3, 1996, pp. 883-909. doi.org/10.10 93/sf/74.3.883 Bolling, Ben. “The U.S. HIV/AIDS Crisis and the Negotiation of Queer Identity in Superhero Comics or, Is Northstar Still a Fairy?” Comic Books and Amer- ican Cultural History: An Anthology, edited by Matthew Pustz, continuum, 2012, pp. 202-219. doi.org/10.5040/9781350185555.ch-013 Bonilla-Silva, Eduardo. Racism Without Racists: Color-Blind Racism and the Persistence of Racial Inequality in the United States. 2nd ed., Rowman & Littlefield Publishers, 2006. —. “The Structure of Racism in Color-Blind, ‘Post-Racial’ America.” American Behavioral Scientist, vol. 59, no. 11, 2015, pp. 1358-1376. doi.org/10.1177/ 0002764215586826 “Book Notes – Howard Cruse (‘Stuck Rubber Baby’).” largehearted boy, 10 June 2010, www.largeheartedboy.com/blog/archive/2010/06/book_notes_ ho wa.html. Accessed 19 July 2020. Boykin, Keith. One More River to Cross: Black and Gay in America. Double- day, 1996. Brodkin, Karen. How Jews Became White Folks and What That Says about Race in America. Rutgers UP, 1998. Buhle, Paul. “The Undergrounds.” Underground Classics: The Transformation of Comics into Comix, edited by James Danky and Denis Kitchen, Abrams ComicArts, 2009, pp. 35-45. Butler, Judith. Gender Trouble. 1990. Routledge, 1999. List of Works Cited | 309 —. Precarious Life: The Power of Mourning and Violence. Verso, 2004. —. Undoing Gender. Routledge, 2004. doi.org/10.4324/9780203499627 Camper, Cathy. “‘Stuck Rubber Baby’ by Howard Cruse.” Lambda Literary, 26 July 2010, www.lambdaliterary.org/reviews/comic/07/26/stuck-rubber-baby- by-howard-cruse/. Accessed 16 July 2020. Camper, Jennifer, editor. Juicy Mother: Number One: Celebration. Soft Skull Press, 2005. —, editor. Juicy Mother 2: How They Met. Manic D Press, 2007. Capó, Julio, Jr. “Queering Mariel: Mediating Cold War Foreign Policy and U.S. Citizenship among Cuba’s Homosexual Exile Community, 1978-1994.” Journal of American Ethnic History, vol. 29, no. 4, 2010, pp. 78-106. doi.org/10.5406/ jamerethnhist.29.4.0078 —. “Why a Forgotten KKK Raid on a Gay Club in Miami Still Matters 80 Years Later.” Time, 28 Nov. 2017, time.com/5037803/stonewall-la-paloma- history/. Accessed 16 July 2020. Carbado, Devon W. “Colorblind Intersectionality.” Signs, vol. 38, no. 4, 2013, pp. 811-845. doi.org/10.1086/669666 Carbado, Devon W., et al. “Intersectionality: Mapping the Movements of a The- ory.” Du Bois Review, vol. 10, no. 2, 2013, pp. 303-312. doi.org/10.1017/S1 742058X13000349 Çetin, Zülfukar, and Heinz-Jürgen Voß. Schwule Sichtbarkeit – schwule Identi- tät: Kritische Perspektiven. Psychosozial-Verlag, 2016. doi.org/10.30820/97 83837968057 Charles, Camille Zubrinsky. “Neighborhood Racial-Composition Preferences: Evidence from a Multiethnic Metropolis.” Social Problems, vol. 47, no. 3, 2000, pp. 379-407. doi.org/10.1525/sp.2000.47.3.03x0297k Chávez Leyva, Yolanda. “Listening to the Silences in Latina/Chicana Lesbian History.” Living Chicana Theory, edited by Carla Trujillo, Third Woman Press, 1998, pp.
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]
  • 2News Summer 05 Catalog
    SAV THE BEST IN COMICS & E LEGO ® PUBLICATIONS! W 15 HEN % 1994 --2013 Y ORD OU ON ER LINE FALL 2013 ! AMERICAN COMIC BOOK CHRONICLES: The 1950 s BILL SCHELLY tackles comics of the Atomic Era of Marilyn Monroe and Elvis Presley: EC’s TALES OF THE CRYPT, MAD, CARL BARKS ’ Donald Duck and Uncle Scrooge, re-tooling the FLASH in Showcase #4, return of Timely’s CAPTAIN AMERICA, HUMAN TORCH and SUB-MARINER , FREDRIC WERTHAM ’s anti-comics campaign, and more! Ships August 2013 Ambitious new series of FULL- (240-page FULL-COLOR HARDCOVER ) $40.95 COLOR HARDCOVERS (Digital Edition) $12.95 • ISBN: 9781605490540 documenting each 1965-69 decade of comic JOHN WELLS covers the transformation of MARVEL book history! COMICS into a pop phenomenon, Wally Wood’s TOWER COMICS , CHARLTON ’s Action Heroes, the BATMAN TV SHOW , Roy Thomas, Neal Adams, and Denny O’Neil lead - ing a youth wave in comics, GOLD KEY digests, the Archies and Josie & the Pussycats, and more! Ships March 2014 (224-page FULL-COLOR HARDCOVER ) $39.95 (Digital Edition) $11.95 • ISBN: 9781605490557 The 1970s ALSO AVAILABLE NOW: JASON SACKS & KEITH DALLAS detail the emerging Bronze Age of comics: Relevance with Denny O’Neil and Neal Adams’s GREEN 1960-64: (224-pages) $39.95 • (Digital Edition) $11.95 • ISBN: 978-1-60549-045-8 LANTERN , Jack Kirby’s FOURTH WORLD saga, Comics Code revisions that opens the floodgates for monsters and the supernatural, 1980s: (288-pages) $41.95 • (Digital Edition) $13.95 • ISBN: 978-1-60549-046-5 Jenette Kahn’s arrival at DC and the subsequent DC IMPLOSION , the coming of Jim Shooter and the DIRECT MARKET , and more! COMING SOON: 1940-44, 1945-49 and 1990s (240-page FULL-COLOR HARDCOVER ) $40.95 • (Digital Edition) $12.95 • ISBN: 9781605490564 • Ships July 2014 Our newest mag: Comic Book Creator! ™ A TwoMorrows Publication No.
    [Show full text]
  • THE COMIX BOOK LIFE of DENIS KITCHEN Spring 2014 • the New Voice of the Comics Medium • Number 5 Table of Contents
    THE COMIX BOOK LIFE OF DENIS KITCHEN 0 2 1 82658 97073 4 in theUSA $ 8.95 ADULTS ONLY! A TwoMorrows Publication TwoMorrows Cover art byDenisKitchen No. 5,Spring2014 ™ Spring 2014 • The New Voice of the Comics Medium • Number 5 TABLE OF CONTENTS HIPPIE W©©DY Ye Ed’s Rant: Talking up Kitchen, Wild Bill, Cruse, and upcoming CBC changes ............ 2 CBC mascot by J.D. KING ©2014 J.D. King. COMICS CHATTER About Our Bob Fingerman: The cartoonist is slaving for his monthly Minimum Wage .................. 3 Cover Incoming: Neal Adams and CBC’s editor take a sound thrashing from readers ............. 8 Art by DENIS KITCHEN The Good Stuff: Jorge Khoury on artist Frank Espinosa’s latest triumph ..................... 12 Color by BR YANT PAUL Hembeck’s Dateline: Our Man Fred recalls his Kitchen Sink contributions ................ 14 JOHNSON Coming Soon in CBC: Howard Cruse, Vanguard Cartoonist Announcement that Ye Ed’s comprehensive talk with the 2014 MOCCA guest of honor and award-winning author of Stuck Rubber Baby will be coming this fall...... 15 REMEMBERING WILD BILL EVERETT The Last Splash: Blake Bell traces the final, glorious years of Bill Everett and the man’s exquisite final run on Sub-Mariner in a poignant, sober crescendo of life ..... 16 Fish Stories: Separating the facts from myth regarding William Blake Everett ........... 23 Cowan Considered: Part two of Michael Aushenker’s interview with Denys Cowan on the man’s years in cartoon animation and a triumphant return to comics ............ 24 Art ©2014 Denis Kitchen. Dr. Wertham’s Sloppy Seduction: Prof. Carol L. Tilley discusses her findings of DENIS KITCHEN included three shoddy research and falsified evidence inSeduction of the Innocent, the notorious in-jokes on our cover that his observant close friends might book that almost took down the entire comic book industry ....................................
    [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]
  • Visitor Guide — Room 1
    VISITOR GUIDE — ROOM 1 — THE SPIRIT OF WILL EISNER For its 10th Comics Biennial, the Thomas The one hundred works in this exhibition, Henry Museum is honouring one of the on loan from private collections, present the most influential authors of American comic major stages in the career of an author who books: Will Eisner (1917-2005). Will Eisner was focussed on elevating his discipline left an indelible mark on pop culture with to the rank it deserved, that of an art form The Spirit, a cult series which was to have in its own right. In the complete stories of an impact on the creativity of several The Spirit, Eisner’s very specific narration is generations, from the underground comix there to be discovered (or re-discovered): movement of the 1960s (Robert Crumb, plunge into the very dark atmosphere of Harvey Kurtzman) to the dark comics of the his flagship series, wander through his 1980s (Frank Miller, Alan Moore). theatrical sets and view New York City and the life of its most humble inhabitants from THE THOMAS HENRY MUSEUM Following the end of The Spirit in 1952, Will a different perspective. HAS ADAPTED TO THE CURRENT REGULATIONS RELATING Eisner pondered the theory of his art and TO THE HEALTH CRISIS AND IS OPEN TO THE PUBLIC. taught a ‘sequential art’ class, at the School of Visual Art in New York. After a long break, THIS EXHIBITION HAS BEEN CREATED IN PARTNERSHIP during which he was creating comics and WITH GALERIE 9e ART (REFERENCES). illustrations for educational purposes, he returned to the forefront of the comic book scene in 1978, inventing a new form of narration: the graphic novel.
    [Show full text]
  • Comic Book Club Handbook
    COMIC BOOK CLUB HANDBOOK Starting and making the most of book clubs for comics and graphic novels! STAFF COMIC BOOK LEGAL Charles Brownstein, Executive Director Alex Cox, Deputy Director DEFENSE FUND Samantha Johns, Development Manager Kate Jones, Office Manager Comic Book Legal Defense Fund is a non-profit organization Betsy Gomez, Editorial Director protecting the freedom to read comics! Our work protects Maren Williams, Contributing Editor readers, creators, librarians, retailers, publishers, and educa- Caitlin McCabe, Contributing Editor tors who face the threat of censorship. We monitor legislation Robert Corn-Revere, Legal Counsel and challenge laws that would limit the First Amendment. BOARD OF DIRECTORS We create resources that promote understanding of com- Larry Marder, President ics and the rights our community is guaranteed. Every day, Milton Griepp, Vice President Jeff Abraham, Treasurer we publish news and information about censorship events Dale Cendali, Secretary as they happen. We are partners in the Kids’ Right to Read Jennifer L. Holm Project and Banned Books Week. Our expert legal team is Reginald Hudlin Katherine Keller available at a moment’s notice to respond to First Amend- Paul Levitz ment emergencies. CBLDF is a lean organization that works Andrew McIntire hard to protect the rights that our community depends on. For Christina Merkler Chris Powell more information, visit www.cbldf.org Jeff Smith ADVISORY BOARD Neil Gaiman & Denis Kitchen, Co-Chairs CBLDF’s important Susan Alston work is made possible Matt Groening by our members! Chip Kidd Jim Lee Frenchy Lunning Join the fight today! Frank Miller Louise Nemschoff http://cbldf.myshopify Mike Richardson .com/collections William Schanes José Villarrubia /memberships Bob Wayne Peter Welch CREDITS CBLDF thanks our Guardian Members: Betsy Gomez, Designer and Editor James Wood Bailey, Grant Geissman, Philip Harvey, Joseph Cover and interior art by Rick Geary.
    [Show full text]
  • Feminist (And/As) Alternative Media Practices in Women’S Underground Comix in the 1970S1
    Małgorzata Olsza Feminist (and/as) Alternative Media Practices in Women’s Underground Comix in the 1970s1 Abstract: The American underground comix scene in general, and women’s comix that flourished as a part of that scene in the 1970s in particular, grew out of and in response to the mainstream American comics scene, which, from its “Golden Age” to the 1970s, had been ruled and construed in accordance with commercial business practices and “assembly-line” processes. This article discusses underground comix created by women in the 1970s in the wider context of alternative and second-wave feminist media practices. I explain how women’s comix used “activist aesthetics” and parodic poetics, combining a radical political and social message with independent publishing and distributive networks. Keywords: American comics, American comix, women’s comix, feminist art and theory, media practices Introduction Toughly mainly associated with popular culture, mass production, and thus consumerism, the history of comics also intertwines with the history of the American counterculture and feminism. In the present article, I examine women’s underground comix from the 1970s as a product and an integral element of a complex and dynamic network of historical, cultural, and social factors, including the mainstream comics industry, men’s underground comix, and alternative media practices, demonstrating how the media practices adopted by female comix authors were used to promote the ideals of second-wave feminism. As Elke Zobl and Ricarda Drüeke point out in Feminist Media, “[u]sing media to transport their messages, to disrupt social orders and to spin novel social processes, feminists have long recognized the importance of self-managed, alternative media” (11).
    [Show full text]
  • JOIN CBLDF TODAY! CBLDF’S Important Work Defending the Freedom to Read Is Only Possible Because of the Support of Individuals Like You
    CELEBRATE REGINALD PROFILES DIVERSITY «««HUDLIN: BLACK «««IN BLACK IN 2016! COMICS MATTER CARTOONING Issue 5 Spring 2016 Director’s Note Everything is changing in 2016, yet the familiar challenges of the past continue to reverberate with great force. This isn’t just true in the broader world, but in comics, too. While the boundaries defining representation and content in free expression are expanding, we continue to see biased or outmoded viewpoints stifling those advances. STAFF As you’ll see in this issue of CBLDF Defender, we are working on both ends of the Charles Brownstein, Executive Director spectrum by providing vital education about the people whose work expanded free ex- Alex Cox, Deputy Director pression while simultaneously fighting all attempts to censor creative work in comics. Betsy Gomez, Editorial Director Maren Williams, Contributing Editor In this issue, we work the former end of the spectrum with a pair of articles spotlight- Caitlin McCabe, Contributing Editor ing the pioneers who advanced diverse content. On page 10, “Profiles in Black Cartoon- Robert Corn-Revere, Legal Counsel ing” introduces you to some of the cartoonists who used comics to express themselves about the African-American experience in the harsh racial climate of the United States BOARD OF DIRECTORS in the 20th Century. “She Changed Comics,” on page 7, introduces CBLDF’s upcoming Larry Marder, President Milton Griepp, Vice President book, which will tell the story of how women changed free expression in comics. Jeff Abraham, Treasurer In our lead interview, “Black Comics Matter,” entertainment luminary and CBLDF Dale Cendali, Secretary Board Member Reginald Hudlin discusses how times have changed for Black creators Jennifer L.
    [Show full text]
  • A Comprehensive History of How Comics and Comic Art Gained Rec- Ognition As Art
    FOR IMMEDIATE RELEASE Contact: [email protected] A COMPREHENSIVE HISTORY OF HOW COMICS AND COMIC ART GAINED REC- OGNITION AS ART Contributions by Kenneth Baker, Jaqueline Berndt, Albert Boime, John Carlin, Benoit Crucifix, David Deitcher, Michael Dooley, Damian Duffy, M. C. Gaines, Paul Gravett, Diana Green, Karen Green, Doug Harvey, Charles Hatfield, M. Thomas Inge, Leslie Jones, Denis Kitchen, Jonah Kin- igstein, John A. Lent, Dwayne McDuffie, Andrei Molotiu, Alvaro de Moya, Kim A. Munson, Cullen Murphy, Gary Panter, Trina Robbins, Antoine Sausverd, Rob Salkowitz, Art Spiegelman, Scott Timberg, Carol Tyler, Brian Walker, Alexi Worth, Joe Wos, and Craig Yoe Comic Art in Museums Edited by Kim A. Munson Through essays and interviews, Kim A. Munson’s anthology tells the story of the over-thirty-year history of the artists, art critics, collectors, cura- tors, journalists, and academics who championed the serious study of University Press of Mississippi comics, the trends and controversies that produced institutional interest ISBN 978-1-4968-2807-1 in comics, and the wax and wane and then return of comic art in muse- Paper $30.00S ums. Audiences have enjoyed displays of comic art in museums as early as 1930. In the mid-1960s, after a period when most representational and commercial art was shunned, comic art began a gradual return to art mu- seums as curators responded to the appropriation of comics characters and iconography by such famous pop artists as Andy Warhol and Roy Lichtenstein. From the first-known exhibit to show comics in art histor- Publication Date: ical context in 1942 to the evolution of manga exhibitions in Japan, this volume regards exhibitions both in the United States and internationally.
    [Show full text]
  • Feminist (And/As) Alternative Media Practices in Women’S Underground Comix in the 1970S1
    Małgorzata Olsza Feminist (and/as) Alternative Media Practices in Women’s Underground Comix in the 1970s1 Abstract: The American underground comix scene in general, and women’s comix that flourished as a part of that scene in the 1970s in particular, grew out of and in response to the mainstream American comics scene, which, from its “Golden Age” to the 1970s, had been ruled and construed in accordance with commercial business practices and “assembly-line” processes. This article discusses underground comix created by women in the 1970s in the wider context of alternative and second-wave feminist media practices. I explain how women’s comix used “activist aesthetics” and parodic poetics, combining a radical political and social message with independent publishing and distributive networks. Keywords: American comics, American comix, women’s comix, feminist art and theory, media practices Introduction Toughly mainly associated with popular culture, mass production, and thus consumerism, the history of comics also intertwines with the history of the American counterculture and feminism. In the present article, I examine women’s underground comix from the 1970s as a product and an integral element of a complex and dynamic network of historical, cultural, and social factors, including the mainstream comics industry, men’s underground comix, and alternative media practices, demonstrating how the media practices adopted by female comix authors were used to promote the ideals of second-wave feminism. As Elke Zobl and Ricarda Drüeke point out in Feminist Media, “[u]sing media to transport their messages, to disrupt social orders and to spin novel social processes, feminists have long recognized the importance of self-managed, alternative media” (11).
    [Show full text]
  • Our 6 Page Press
    Lloyd Greif presents A Montilla Pictures Production In Association with Comic Book Artist magazine and Schackman Films CAST & CREW Directed By Andrew D. Cooke Produced By Andrew D. Cooke & Jon B. Cooke Executive Producer & Editor: Kris Schackman Written by Jon B. Cooke Co-Producers: Ben Tudhope & James D. Lee Camera: Ben Tudhope, Kris Schackman, Joaquin Diego Prange Sound Recording: Alex P. Sullivan, Kris Schackman Associate Producer: Ria Finazzo Music composed & performed by Big Al & the Bop City Band Al Schackman - Guitar Bob Dorough - Piano / Organ Bradford Hayes - Alto & Soprano Sax Lisle Atkinson - Bass Adam Deitch - Drums CAST (as themselves, in alphabetical order): Neal Adams Frank Miller Brian Azzarello Eduardo Risso Kyle Baker Trina Robbins Peter Bagge Jerry Robinson Michael Chabon Art Spiegelman Max Allan Collins Adrian Tomine Will Eisner Craig Thompson Ann Eisner Kurt Vonnegut Jules Feiffer Michael T. Gilbert Gerard Jones Gil Kane Jack Kirby Denis Kitchen Joe Kubert Peter Kuper Harvey Kurtzman Stan Lee Scott McCloud DIRECTOR'S BIO Andrew D. Cooke is a writer and director living in New York City. Andrew has written two independent feature scripts, Darwin and Stone Diaries, for Producer G. Mac Brown (The Departed; Unfaithful) and has recently completed a screenplay with director Alex Sichel (All Over Me ) which Dolly Hall (The Incredibly True Adventure of Two Girls in Love, High Art) will produce. Andrew spent much of his early career in film production as a location manager, working on such films as Last Exit to Brooklyn, Scent of a Woman, Flesh and Bone, then later Vanilla Sky and Catch Me If You Can.
    [Show full text]
  • A Guide to Banned, Challenged, and Controversial Comics and Graphic
    READ BANNED COMIC A Guide to Banned, Challenged and Controversial Comics and Graphic Novels Comic Book Legal Defense Fund Director’s Note is a non-profit organization dedi- cated to the protection of the First Happy Banned Books Week! Amendment rights of the comics art form and its community of Every year, CBLDF joins a chorus of readers, advo- retailers, creators, publishers, cates, and organizations to mark the annual cele- librarians, educators, and readers. CBLDF provides legal bration of the freedom to read! We hope you’ll join referrals, representation, advice, us in the celebration by reading banned comics! assistance, and education in furtherance of these goals. In the pages ahead, you’ll see a sampling of the many, many titles singled out for censorship in STAFF American libraries and schools. Censorship has Charles Brownstein, Executive Director Alex Cox, Deputy Director broad targets, from books that capture the unique Georgia Nelson, Development Manager challenges of younger readers, such as Drama by Patricia Mastricolo, Editorial Coordinator Raina Telgemeier and This One Summer by Mariko Robert Corn-Revere, Legal Counsel and Jillian Tamaki, to the frank discussion of adult BOARD OF DIRECTORS ADVISORY BOARD identity found in Fun Home by Alison Bechdel Christina Merkler, President Neil Gaiman & and Maus by Art Spiegelman. The moral, vision- Chris Powell, Vice President Denis Kitchen, Co-Chairs Ted Adams, Treasurer Susan Alston ary realities of authors like Brian K. Vaughan, Neil Dale Cendali, Secretary Greg Goldstein Gaiman, and Alan Moore have all been targeted. Jeff Abraham Matt Groening Jennifer L. Holm Chip Kidd Even the humor and adventure of Dragon Ball and Reginald Hudlin Jim Lee Bone have come under fire.
    [Show full text]