5A Temporada 5.- Mis Circunstancias / Lewis Trondheim Març 2012
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Rise of the Empire 1000 Bby-0 Bby (2653 Atc -3653 Atc)
RISE OF THE EMPIRE 1003-980 B.B.Y. (2653-2653 A.T.C.) The Battle of Ruusan 1,000 B.B.Y.-0 B.B.Y. and the Rule of Two (2653 A.T.C. -3653 A.T.C.) 1000 B.B.Y. (2653 A.T.C.) “DARKNESS SHARED” Bill Slavicsek Star Wars Gamer #1 Six months prior to the Battle of Ruusan. Between chapters 20 and 21 of Darth Bane: Path of Destruction. 996 B.B.Y. (2657 A.T.C.) “ALL FOR YOU” Adam Gallardo Tales #17 Volume 5 The sequence here is intentional. Though I am keeping the given date, this story would seem to make more sense placed prior to the Battle of Ruusan and the fall of the Sith. 18 PATH OF DESTRUCTION with the Sith). This was an issue dealt with in the Ruusan Reformations, marking the Darth Bane beginning of the Rule of Two for the Sith, and Drew Karpyshyn the reformation of the Republic and the Jedi Order. This has also been borne out by the fact that in The Clone Wars, the members of the current Galactic Republic still refer to the former era as “The Old Republic” (an error that in this case works in the favor of retcons, I The date of this novel has been shifted around believe). The events of this graphic novel were somewhat. The comic Jedi vs. Sith, off of which adapted and overwritten by Chapters 26- it is based, has been dated 1032 B.B.Y and Epilogue of Darth Bane: Path of Destruction 1000 B.B.Y. -
English-Language Graphic Narratives in Canada
Drawing on the Margins of History: English-Language Graphic Narratives in Canada by Kevin Ziegler A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2013 © Kevin Ziegler 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re- evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). -
Dossier De Presse
DOSSIER DE PRESSE Illustration : Emiliano Ponzi / Graphisme : Ad marginem.fr 29e ÉDITION 13 > 15 novembre EXPOSITIONS - RENCONTRES – DÉDICACES – LIBRAIRIE – ANIMATIONS – ATELIERS – CINÉMA – SPECTACLE ÉDITO 3 STRUCTURE ORGANISATRICE Mairie de Colomiers LES EXPOSITIONS 4 1, place Alex Raymond Voilà Masse ! - Masse 5 BP 30330 31 776 Colomiers CEDEX Portraits de mon frère et du roi du monde - David B. 6 Maire : Karine Traval-Michelet ville-colomiers.fr Lignes - Guillaume Chauchat 8 Silhouettes - Mickaël Jourdan 10 Les Pépites 11 L'Agrume 12 CONTACT Les Fourmis rouges 13 Communication et relation Presse Cornélius 14 Hélène Picot : 05 61 15 23 85 Marwanny Corporation 14 [email protected] CONFÉRENCES / RENCONTRES 16 Programmation et coordination festival JOURNÉE PROFESSIONNELLE 18 Amandine Doche : 05.61.15.24.13 ANIMATIONS / ATELIERS 20 [email protected] SPECTACLES 22 DE LA BANDE DESSINÉE AU CINÉMA 23 LES AUTEURS / LES ÉDITEURS 24 EN MÉTROPOLE 25 LE FESTIVAL PRATIQUE 27 PARTENAIRES 28 REMERCIEMENTS 28 ACCUEIL 2 / 28 ÉDITO Le festival BD de Colomiers existe depuis 29 ans. Depuis Le développement de cette manifestation représente, au- quelques années, sa programmation est axée sur la va- delà de l’aspect artistique, un enjeu économique. Le sou- lorisation de la bande dessinée d’auteur, le soutien à tien apporté par le festival aux jeunes auteurs, aux édi- l’édition dite « indépendante », l’exploration des relations teurs indépendants et le développement de nouveaux qu’entretient la BD avec les autres arts, et la création d’un partenariats avec les librairies indépendantes du terri- lien direct entre les auteurs, les éditeurs et le public. -
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. -
Notable Comics from September 1, 2017, to August 31, 2018
Notable Comics from September 1, 2017, to August 31, 2018 Selected by Bill Kartalopoulos CHRISTOPHER ADAMS A. DEGEN Gustave Flaubert: Trois Contes. Soft X-Ray / Mindhunters. AEON MUTE ABRAHAM DíAz Untitled. Nausea. The Beginning. STEVE DITKO DEREK M. BALLARD #26. Choreograph, Volume One. D.R.T. JOSH BAYER Qoberious, Vol. 1. RM. G. W. DUNCANSON GABRIELLE BELL Yaffingale Iditarod. Were We Dating? Freaker Unltd #5. medium.com/spiralbound DW ALYSSA BERG Mountebank. No Man Is an Island. JESSICA EARHART BRIAN BLOMERTH Khloris, Issue 3. Alphabet Junction. THEO ELLSWORTH vice.com The Murders in the Rue Morgue. JENNIFER CAMPER The Graphic Canon of Crime & Mystery, Vol. 1. Boys Will Be Boys. AUSTIN ENGLISH The Believer #118. The Enemy from Within. EMILY CARROLL & INES ESTRADA LAURIE HALSE ANDERSON Alienation #6. Speak. EDIE FAKE GENEVIÈVE CASTRÉE Gaylord Phoenix, Issue 8. A Bubble. JULES FEIFFER ANGELA CHEN The Ghost Script. Diary comics. GG instagram.com/angelafanche2 I’m Not Here. CHRIS CILLA ROLANDE GLICENSTEIN Blue Onion #1. Uncovering Walter Benjamin, Vols. I & II. JORDAN CRANE LEIF GOLDBERG Keeping Two, Part Six. Lost in the Fun Zone. FAREL DALRYMPLE ALEX GRAHAM Proxima Centauri #1–3. Cosmic BE-ING #6. MICHAEL DEFORGE VERONICA GRAHAM Rhode Island Me. Cold Snaps: Weather Reports, Vol. 2. A Western World. 371 BA_COMICS_2019_06_EM_369-378_final.indd 371 7/3/19 5:14 PM JAIME HERNANDEZ ADAM MEUSE The Dragon Slayer: Taking Up Space. Folktales from Latin America. HAYLEY DAWN MUIR JENNIFER L. HOLM & MATTHEW HOLM one is all, all is one. Swing It, Sunny. The Beginning. KEVIN HOOYMAN ROMAN MURADOV Mr. Meow. -
S18-FANTAGRAPHICS.Pdf
SUMMER 2018 SUMMER 2018 7563 lake city way ne • seattle, wa 98115 • usa telephone: 206-524-1967 • fax: 206-524-2104 the World’sG reatest customer service: 800-657-1100 her of Cart [email protected] • www.fantagraphics.com is oo Publ nists Distributed to the book trade in the In Japan: In Singapore, Malaysia: Distributed to the comic book specialty United States by: market by Diamond Comics Distribu- Rockbook – Gilles Fauveau Pansing Distribution Pte Ltd tors (www.diamondcomics.com). W.W. NORTON AND COMPANY, INC. Expirime 5F 10-10 Ichibancho 1 New Industrial Road 500 Fifth Avenue Chiyoda-ku Times Centre Also available via Last Gasp Books New York, NY 10110 102-0082 Tokyo Singapore 536196 (www.lastgasp.com). Tel.: 212-354-5500 Japan Tel (65) 6319 9939 Fax: 212-869-0856 Tel: (81) 90 9700 2481 Fax (65) 6459 4930 For information on distribution Tel: (81) 90 3962 4650 Order Dept. Tel.: 800-233-4830 email: [email protected] elsewhere, please contact Martin Bland. email: [email protected] Order Dept. Fax: 800-458-6515 email: [email protected] Customer Service Dept.: 800-233-4830 In Thailand, Cambodia, Laos, Vietnam, Special Sales Dept.: Myanmar: General Inquiries 800-286-4044 In Taiwan and Korea: [email protected] www.wwnorton.com Hardy Bigfoss International Co., Ltd. Sales & Distribution Martin Bland B. K. Norton Ltd. 293 Maenam Kwai Road, Tambol Tha [email protected] In the United Kingdom & Europe: 5F, 60 Roosevelt Road Makham Publicity & Marketing Jacq Cohen Sec. 4, Taipei 100 Amphur Muang [email protected] -
Itération Et Inexpressivité Dans La Bande Dessinée Humoristique
EESI d'Angoulême 134, rue de Bordeaux / 16000 Angoulême UFR Lettres et Langues de Poitiers 15, rue de l'Hôtel Dieu / 86034 Poitiers Master Littératures et Arts / Spécialité Bande Dessinée Année Universitaire 2010 / 2011 ITÉRATION ET INEXPRESSIVITÉ DANS LA BANDE DESSINÉE HUMORISTIQUE Léo LOUIS-HONORÉ Directeurs de mémoires Lambert BARTHÉLÉMY Dominique HÉRODY 2 ITÉRATION ET INEXPRESSIVITÉ DANS LA BANDE DESSINÉE HUMORISTIQUE Léo LOUIS-HONORÉ Directeurs de mémoires Lambert BARTHÉLÉMY Dominique HÉRODY 3 Merci à Dominique, Lambert, l'EESI et ma famille. 4 SOMMAIRE INTRODUCTION ....................................................................... P.06 I. HISTORIQUE, USAGES ET EFFETS DE L’ITÉRATION 1. L’OuBaPo ........................................................................ P.14 2. Un outil comique et narratif ............................................ P.23 - Le rôle du texte - La conservation du point de vue II. RYTHME ET NOTION DE RYTHME 1. Rythme et motif de l’identique ........................................ P.30 2. Une autre séquentialité ................................................... P.00 - L’attente de la chute - Court-circuitages III. INEXPRESSIVITÉ ET THÉÂTRALITÉ 1. Le comique de l’impassible .............................................. P.00 - Le burlesque - La force de l’inexpressif 2. Le théâtre de marionnettes ............................................. P.00 - La démarche de l’immobile - Stupidité et sérénité CONCLUSION ........................................................................... P.06 5 INTRODUCTION -
Comic Book Coloring Stricciones Y Creatividad” Titles Include: Bizarro Comics (DC), Nick- Festival ÑAM, Palencia, Spain, October 5, 2014
Matt Madden curriculum vitae areas of expertise contact • comics La maison des auteurs • art education 2 Bd Aristide Briand • comics criticism 16000 Angoulême • translation from French and Spanish France [email protected] +33 (0)6 80 67 55 80 teaching experience www.mattmadden.com faculty positions education Université de Picardie Jules Verne à Amiens University of Texas at Austin, May 1996 2013-2015 Austin, Texas USA Designed and led workshops teaching basics of cartooning language M.A., Foreign Language Education (TEFL) and skills to students in comics degree program. University of Michigan, May 1990 School of Visual Arts, 209 East 23 St., New York NY Ann Arbor, Michigan USA fall 2001-2012 B.A., Comparative Literature Classes taught include full year “Storytelling” class, a class on experimental comics, and a continuing education class, “Comics memberships & distinctions Storytelling” as well as a monthly seminar. Develop own syllabi and course materials. Chevalier dans l’Ordre des Arts et des Lettres Paid consultant on curriculum development for Division of 2012 Continuing Education comics classes. Conseil d’Orientation de la Cité Internatio- nale de la Bande Dessinée et de l’Image Eugene Lang College, The New School, 65 West 11th Street, New 2013-present York NY Comics Committee, Brooklyn Book Festival Spring 2007 2011-present Taught intensive workshop class on comics storytelling to Advisor, Sequential Artists Workshop humanities and art students. 2010-present Member, OuBaPo, Workshop for Potential Comics Yale University, New Haven CT 2002- present summer 2004 National Association of Comics Art Educators Created and taught five-week intensive course called “Comics 2002-present Storytelling” taught in the English Department as part of Yale Graphic Artists Guild Summer Programs. -
Concorso Romics Dei Libri a Fumetti 2020: I Vincitori
CONCORSO ROMICS DEI LIBRI A FUMETTI 2020: I VINCITORI Giunto alla diciannovesima edizione, il Concorso Romics dei Libri a fumetti è il prestigioso contest che premia le maggiori firme nazionali e internazionali della nona arte, col patrocinio del Centro per il Libro e la Lettura, Istituto Autonomo del Ministero dei Beni e delle Attività Culturali. Il Concorso mira ad evidenziare le novità del panorama nazionale ed internazionale delle più prestigiose case editrici italiane e promuove le produzioni di autori rinomati ed emergenti che con passione dedicano il proprio lavoro alla filiera editoriale e che grazie alla letteratura disegnata raccontano esperienze, storie, tematiche attuali e cronache che conducono il lettore negli scenari più disparati. Il Concorso Romics dei Libri a Fumetti 2020, con ben 120 titoli iscritti, ha visto la partecipazione delle case editrici: BAO Publshing, 80144 EDIZIONI, Barta, BeccoGiallo, Bugs Comics, Coconino Press – Fandango, ComicOut, Edizioni BD, Edizioni NPE, Edizioni Star Comics, Feltrinelli Editore, Gallucci Editore, J-Pop, Kasaobake, ManFont, Mondadori, saldaPress, Sergio Bonelli Editore, Shockdom, Tora Edizioni, Tunuè e Wilder on line. La giuria di qualità, composta da Valerio Stivè - critico, editor, redattore di Fumettologica.it, Sabrina Perucca - Direttore artistico di Romics e docente di cinema d’animazione ed Enrico Fornaroli - direttore dell’Accademia delle Belle Arti di Bologna, ha decretato i vincitori e annunciato i titoli premiati durante la Cerimonia di Premiazione tenutasi sabato 30 maggio 2020 con una diretta streaming sui canali social di Romics. Di seguito l’elenco dei titoli vincitori. GRAN PREMIO Clyde Fans di Seth, Coconino Press - Fandango PREMIO SPECIALE DELLA GIURIA La Fortezza vol.1 di Boulet, Joann Sfar e Lewis Trondheim, BAO Publishing PREMIO NUOVI TALENTI P. -
La Bande Dessinée, Nouvelle Frontière Artistique Et Culturelle
LA BANDE DESSINÉE, NOUVELLE FRONTIÈRE ARTISTIQUE ET CULTURELLE 54 propositions pour une politique nationale renouvelée Rapport au Ministre de la Culture Pierre Lungheretti Avec la collaboration de Laurence Cassegrain, directrice de projet à la DGMIC-Service du Livre et de la Lecture Janvier 2019 1 2 En hommage à Francis Groux et Jean Mardikian, pionniers de cette nouvelle frontière. « La bande dessinée est l’enfant bâtard de l’art et du commerce », Rodolphe Töpffer (1799-1846) "La bande dessinée en l’an 2000 ? Je pense, j’espère, qu’elle aura enfin acquis droit de cité, qu’elle se sera, si j’ose dire « adultifiée ». Qu’elle ne sera plus cette pelée, cette galeuse, d’où vient tout le mal, cette entreprise, dixit certains – d’abrutissement. Qu’elle sera devenue un moyen d’expression à part entière, comme la littérature ou le cinéma [auquel, soit dit en passant, elle fait pas mal d’emprunts]. Peut-être –sans doute –aura-t-elle trouvé, d’ici là, son Balzac. Un créateur qui, doué à la fois sur le plan graphique et sur le plan littéraire aura composé une véritable œuvre". Hergé 3 4 SYNTHÈSE 1. La bande dessinée française connaît depuis 25 ans une vitalité artistique portée par la diversification des formes et des genres. Art jeune apparu au XIX ème siècle, un peu avant le cinéma, la bande dessinée française connaît depuis près de vingt-cinq ans une phase de forte expansion, que certains observateurs qualifient de « nouvel âge d’or », dans un contexte mondial d’essor artistique du 9 ème art. -
Why Graphic Novels?
Why Graphic Novels? Graphic novels may be a new format for your store, but they’re still all about telling stories. The way graphic novels tell their stories – with integrated words and pictures – looks different from traditional novels, poetry, plays, and picture books, but the stories they tell have the same hearts. Bone, by Jeff Smith, is a fantastical adventure with a monstrous villain and endearing heroes, like Harry Potter. American Born Chinese, by Gene Luen Yang, is a coming-of-age novel, like Catcher in the Rye. Fun Home, by Alison Bechdel, is a powerful memoir, like Running With Scissors. When people ask, ‘why graphic novels?’ the easiest answer you can give is, graphic novels tell stories that are just as scary and funny and powerful and heartwarming as prose. Here are two more sophisticated answers you can also try out. Education Graphic novels are a great way to go for kids making the transition from image-centric books to more text-based books, and for adults just learning English. Because of the combination of image and text in a graphic novel, readers get visual clues about what’s going on in the story even if their vocabulary isn’t quite up to all the words yet. And because graphic novels are told as a series of panels, reading graphic novels also forces readers to think and become actively involved each time they move between one panel and the next. What’s happening in that space? How do the story and the characters get from panel 1 to panel 2? Both television and the internet play a large part in our culture – images are becoming more and more integrated into everyone’s everyday life.