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El Cómic Y Su Valor Como Arte

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El Cómic Y Su Valor Como Arte UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE BELLAS ARTES TESIS DOCTORAL El cómic y su valor como arte MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Sergio Ballester Redondo Director Manuel Álvarez Junco Madrid, 2018 © Sergio Ballester Redondo, 2017 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE BELLAS ARTES TESIS DOCTORAL EL CÓMIC Y SU VALOR COMO ARTE MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Sergio Ballester Redondo BAJO LA DIRECCIÓN DEL DOCTOR Manuel Álvarez Junco Madrid, 2017 Sergio Ballester Redondo, 2017 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE BELLAS ARTES TESIS DOCTORAL: EL CÓMIC Y SU VALOR COMO ARTE DOCTORANDO: SERGIO BALLESTER REDONDO DIRECCIÓN DEL DOCTOR: MANUEL ÁLVAREZ JUNCO MADRID, 2017 A mi madre, porque empezamos leyendo cómics juntos y todavía lo seguimos haciendo. ÍNDICE RESUMEN............................................................................................................................ 12 ABSTRACT.......................................................................................................................... 14 1. INTRODUCCIÓN ..................................................................................................... 17 1.1 MOTIVACIÓN .................................................................................................. 20 1.1.1 De lector a dibujante .............................................................................. 20 1.1.2 De dibujante a profesional ..................................................................... 22 1.2 HIPÓTESIS ........................................................................................................ 24 1.2.1 La idea................................................................................................... 24 1.3 OBJETIVOS ....................................................................................................... 25 1.3.1 Objetivos principales ............................................................................. 25 1.3.2 Objetivos secundarios ............................................................................ 25 1.4 METODOLOGÍA .............................................................................................. 26 1.4.1 Procedimiento ....................................................................................... 26 1.4.2 Fuentes .................................................................................................. 27 2. EL ARTE Y EL CÓMIC........................................................................................... 29 2.1 EL ARTE ............................................................................................................ 29 2.1.1 Origen y clasificación ............................................................................ 29 2.1.2 Teóricos y prácticos ............................................................................... 42 2.1.3 Utilidad y finalidad ................................................................................ 55 2.1.4 Bagaje elitista ........................................................................................ 60 2.1.5 Características ....................................................................................... 70 2.1.6 Definición ............................................................................................. 74 2.2 EL CÓMIC ......................................................................................................... 83 2.2.1 Origen y clasificación ............................................................................ 83 2.2.2 Teóricos y prácticos. ............................................................................ 105 2.2.3 Utilidad y finalidad .............................................................................. 124 2.2.4 Bagaje elitista ...................................................................................... 133 2.2.5 Características ..................................................................................... 142 2.2.6 Definición ........................................................................................... 157 3. RELACIÓN ENTRE ARTE Y CÓMIC ................................................................. 169 3.1 INFLUENCIAS QUE HA RECIBIDO EL CÓMIC ....................................... 169 3.1.1 Arte antiguo ......................................................................................... 169 3.1.2 Literatura, cine y tecnología................................................................. 178 3.2 INFLUENCIAS QUE HA APORTADO EL CÓMIC .................................... 187 3.2.1 Arte Pop .............................................................................................. 187 3.2.2 Literatura, cine y tecnología................................................................. 221 4. CONCLUSIONES ................................................................................................... 233 5. BIBLIOGRAFÍA ..................................................................................................... 249 5.1 LIBROS Y PUBLICACIONES IMPRESAS................................................... 249 5.2 TESIS Y TESINAS ACADÉMICAS ............................................................... 264 5.3 DOCUMENTALES Y PUBLICACIONES AUDIOVISUALES .................... 265 5.4 WEBS ONLINE Y PUBLICACIONES DIGITALES .................................... 267 6. ANEXOS .................................................................................................................. 289 6.1 ENTREVISTAS A PROFESIONALES DEL CÓMIC ................................... 289 6.1.1 Extracto de charla mantenida con Antonio Altarriba. ........................... 289 6.1.2 Extracto de charla mantenida con Chris Bachalo. ................................. 294 6.1.3 Extracto de charla mantenida con José Andrés Santiago Iglesias. ......... 296 6.1.4 Extracto de charla mantenida con Marc Bernabé. ................................. 301 6.1.5 Extracto de charla mantenida con Marika Vila. .................................... 303 6.1.6 Extracto de charla mantenida con Paco Roca. ...................................... 306 6.1.7 Extracto de charla mantenida con Pere Olivé. ...................................... 308 6.1.8 Extracto de charla mantenida con Román Gubern. ............................... 310 6.2 BIOGRAFÍAS DE PROFESIONALES DEL CÓMIC ................................... 311 6.3 DATOS DE INTERÉS SOBRE EL CÓMIC................................................... 319 6.3.1 Lista de vocablos ................................................................................. 319 6.3.2 Lista de universidades.......................................................................... 320 6.3.3 Lista de premios .................................................................................. 323 6.3.4 Lista de eventos ................................................................................... 328 6.3.5 Lista de museos ................................................................................... 331 TABLA DE ILUSTRACIONES Figura 1. Morris & Pierre Vankeer, Neuvième Art: musée de la bande dessinée, Nº 1392, Le Journal de Spirou, cabecera Pág. 85, 17 de diciembre, Dupuis, Henao, 1964. ................... 39 Figura 2. Quino, Ni arte ni parte, Pág. 43, sección de literatura, Editorial Lumen, Barcelona, 2002. ................................................................................................................... 48 Figura 3. Bill Watterson, Calvin y Hobbes: En todas partes hay tesoros, Pág. 83. Ediciones B, Barcelona, 1998. .............................................................................................. 53 Figura 4. Charles M. Schulz, Lo mejor de Carlitos y Snoopy, Tira 9-15, Reinbook, Debolsillo, Barcelona, 2012. ................................................................................................. 68 Figura 5. Craig Damrauer, Modern Art, Colección New Math, impresión digital, Ed Ruscha, Londres, 2010. ........................................................................................................ 81 Figura 6. James Gillray, Begging no Robbery, colección satírica, Litografía, Museo Británico, Londres, 1796. ..................................................................................................... 87 Figura 7. Rodolphe Töpffer, Monsieur Pencil, Pág. 46, litografía de Caillet, Librairie de Garnier Frères, París: 1860 (creado en 1831 y primera edición en 1840). .............................. 89 Figura 8. Richard Felton Outcault, The Yellow Kid´s new phonograph clock, Pág. 8, 14 febrero, New York Journal, Biblioteca pública de Nueva York, 1897. .................................. 95 Figura 9. Katsuichi Kabashima & Oda Shôsei, Shô-chan no bôken, viñetas 33-36, Tomo 4, historia Tau no ruha, (original en periódico Asahi Shinbun), colección privada de Spencer, Biblioteca pública de Nueva York, 1923. .............................................................................. 98 Figura 10. Gérard Lauzier, Cronache dell'Isola grande: Seu Edmundo, detalle Pág. 5-A, Bonelli-Dargaud, 1984 (original Chroniques de l'ile grande, Francia, 1977). ...................... 149 Figura 11. Wally Wood & Harvey Kurtzman, Sound effects!, Nº 20, Mad the comic book, detalle Pág. 6, EEUU, 1955. ...................................................................................... 150 Figura 12. J. H. Williams, Mick Gray & Alan Moore, Promethea, Tomo 3, Pág. 109, WildStorm, EEUU, 2005. ..................................................................................................
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