Incarceration Through Comics and Graphic Novels
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Comics, Graphic Novels, Manga, & Anime
SAN DIEGO PUBLIC LIBRARY PATHFINDER Comics, Graphic Novels, Manga, & Anime The Central Library has a large collection of comics, the Usual Extra Rarities, 1935–36 (2005) by George graphic novels, manga, anime, and related movies. The Herriman. 741.5973/HERRIMAN materials listed below are just a small selection of these items, many of which are also available at one or more Lions and Tigers and Crocs, Oh My!: A Pearls before of the 35 branch libraries. Swine Treasury (2006) by Stephan Pastis. GN 741.5973/PASTIS Catalog You can locate books and other items by searching the The War Within: One Step at a Time: A Doonesbury library catalog (www.sandiegolibrary.org) on your Book (2006) by G. B. Trudeau. 741.5973/TRUDEAU home computer or a library computer. Here are a few subject headings that you can search for to find Graphic Novels: additional relevant materials: Alan Moore: Wild Worlds (2007) by Alan Moore. cartoons and comics GN FIC/MOORE comic books, strips, etc. graphic novels Alice in Sunderland (2007) by Bryan Talbot. graphic novels—Japan GN FIC/TALBOT To locate materials by a specific author, use the last The Black Diamond Detective Agency: Containing name followed by the first name (for example, Eisner, Mayhem, Mystery, Romance, Mine Shafts, Bullets, Will) and select “author” from the drop-down list. To Framed as a Graphic Narrative (2007) by Eddie limit your search to a specific type of item, such as DVD, Campbell. GN FIC/CAMPBELL click on the Advanced Catalog Search link and then select from the Type drop-down list. -
Comics and Controversy: a Brief History of Comic Book Publishing
A supplement to The Pocket Lawyer for Comic Book Creators by Thomas A. Crowell, Esq., (Focal Press, 2014). © 2014 Thomas A. Crowell, Esq. Comics and Controversy: A Brief History of Comic Book Publishing by Thomas A. Crowell, Esq. The great comic book artist, Will Eisner, defined the comic as a form of “sequential art.”1 Indeed, the narrative use of a series of images is as old as art itself: Cave paintings, Egyptian hieroglyphics, and medieval tapestries are all precursors to the comic book. Yet comics and controversy have been linked from the very start: Founder of the Protestant movement, Martin Luther, was an early target of editorial cartoons (well, engravings anyway); his critics created caricatures of him as a tool of the devil2 (so in a sense, Spider-Man can trace his origins, not just from a radioactive spider, but also from the Reformation). With the advent of the printing press and the proliferation of newspapers and broadsheets, satirical political cartoons soon began to appear. By the eighteenth and nineteenth centuries, editorial cartoons were a staple in the newspapers of the day. Benjamin Franklin’s famous “Join, or Die” is acknowledged as the first political cartoon in America, and served to galvanize support for colonial unity. In 1837 the first graphic novel was published by Swiss cartoonist Rudolphe Töpffer and was serialized in the American newspapers as “The Adventures of Mr. Obadiah Oldbuck.”3 Although conspicuously missing our now-familiar word balloons and sound effects, the comic book panel 1 Comics & Sequential Art. Eisner, W. (1990 Poorhouse Press (Expanded Edition)). -
Introduction to Manga for Librarians
PRESENTS AN INTRODUCTION TO MANGA FOR LIBRARIANS In cooperation with Hello, we’re We’re extremely excited to now have our entire digital book list available to libraries through OverDrive. Kodansha is one of the leading publishers in Japan, and one of the largest in the world. While we are a general publisher, we are also one of the major publishers of Japanese comics, or manga, with a long and distinguished history of releasing some the most popular titles in the world, including such classics as Sailor Moon, Akira, and most recently, Attack on Titan. This brief introduction covers manga titles available from our U.S.-based manga imprint, Kodansha Comics, which publishes selected manga from our broader Japanese list into the English-reading world. While the wide variety of genres (for all audiences) and long, complex storylines of manga can be bewildering for the uninitiated, we hope to break down some basic concepts here. In particular, we hope you take away from here a few key points about manga, and in particular digital manga, if you’re not familiar with them already: MANGA ARE THE KIND OF COMICS YOUNG WOMEN LIKE TO READ. Unlike most Western comics, manga is made for all categories, catering to all audiences, from young children to adults, girls and boys. In particular, manga has exposed the stereotype in North America that girls don’t like comics and are often the preferred type of comics young women like to read. MANGA SPEAKS TO TEENS. That said, teenagers are the core demographic of manga in the West. -
Enhanced Webcomics”: an Analysis of the Merging Of
University of Amsterdam Spring Semester 2015 Department of Media Studies New Media and Digital Culture Supervisor: Dr. Erin La Cour Second reader: Dr. Dan Hassler-Forest MA Thesis “Enhanced Webcomics”: An Analysis of the Merging of Comics and New Media Josip Batinić 10848398 Grote Bickersstraat 62 f-1 1013 KS Amsterdam [email protected] 06 264 633 34 26 June 2015 Table of Contents 1. Introduction .......................................................................................................................... 1 2. Defining Comics, Webcomics, and Enhanced comics ....................................................... 6 3. Literary Basis ...................................................................................................................... 11 4. Analysis ................................................................................................................................ 27 4.1 Infinite Canvas ................................................................................................................................. 27 4.2. Moving Image and Sound ............................................................................................................... 37 4.3 Co-Authorship and Reader-Driven Webcomics ............................................................................... 43 4.4 Interactivity ...................................................................................................................................... 49 5. Epilogue: A new frontier for comics ................................................................................ -
MANHUA MODERNITY HINESE CUL Manhua Helped Defi Ne China’S Modern Experience
CRESPI MEDIA STUDIES | ASIAN STUDIES From fashion sketches of Shanghai dandies in the 1920s, to phantasma- goric imagery of war in the 1930s and 1940s, to panoramic pictures of anti- American propaganda rallies in the 1950s, the cartoon-style art known as MODERNITY MANHUA HINESE CUL manhua helped defi ne China’s modern experience. Manhua Modernity C TU RE o ers a richly illustrated and deeply contextualized analysis of these il- A lustrations from the lively pages of popular pictorial magazines that enter- N UA D tained, informed, and mobilized a nation through a half century of political H M T and cultural transformation. N H O E A “An innovative reconceptualization of manhua. John Crespi’s meticulous P study shows the many benefi ts of interpreting Chinese comics and other D I M C illustrations not simply as image genres but rather as part of a larger print E T culture institution. A must-read for anyone interested in modern Chinese O visual culture.” R R I CHRISTOPHER REA, author of The Age of Irreverence: A New History A of Laughter in China L N “A rich media-centered reading of Chinese comics from the mid-1920s T U U I I through the 1950s, Manhua Modernity shifts the emphasis away from I R R T T ideological interpretation and demonstrates that the pictorial turn requires T N N examinations of manhua in its heterogenous, expansive, spontaneous, CHINESE CULTURE AND THE PICTORIAL TURN AND THE PICTORIAL CHINESE CULTURE Y and interactive ways of engaging its audience’s varied experiences of Y fast-changing everyday life.” YINGJIN ZHANG, author of Cinema, Space, and Polylocality in a Globalizing China JOHN A. -
Drawing the Line: Manga and Censorship
Drawing the Line: Manga and Censorship Akiko Walley East Asian Popular Culture Workshop August 19, 2016 - First use of the term “manga” 漫画 • Appears in late 18th-early 19th century • Katsushika Hokusai, Hokusai Manga (1814-) - Change in the meaning of the term “manga” 漫画 • 1890: “manga” = transla0on of the term “caricature” • 1902: column “Manga News” on Daily News - 1903: Kitazawa Rakuten (1876-1955) = first professional “manga arMst” - 1915: Okamoto Ippei (1886-1948) and Tokyo Manga Associaon Meiji-Shōwa manga booms (a quick overview) • 1868: Meiji Restoraon • 1894-1895: Sino-Japanese War I • 1904-1905: Russo-Japanese War • Early 20th century: Cartoon Magazine Boom • [1914-1918: WWI] • 1923: Great Kanto Earthquake • 1926-1936: Comic Strips Boom Tezuka Osamu • 1941-1945: Pacific War gekiga (dramac picture) • 1946-50: Comics Boom resumes • [1945-1952: Occupaon period] Tezuka Osamu (1928-1989) – Shin Takarajima (New Treasure Island). someMmes referred to as the “god of Story by Sakai Shichima. Art by Tezuka manga” Osamu. Published originally from Ikuei Shuppan, 1947. Warau manga: Pyonsuke no chin keiba (Manga for Laughs: Pyonsuke’s Strange Horse Race). Published from Shunkôdô, 1942. gekiga Black Blizzard (Kuroi fubuki). By Tatsumi Yoshihiro. First published as Rental Book in 1956. Manga censorship Manga Censorship: An Overview • 1947: New Treasure Island – popularity of Manga • 1949: CriMcism against akahon (“Red Book”) manga • 1955: Banning of “bad books” (akusho) • 1959: CriMcism against kashihon (“rental books”) gekiga • 1970: Shameless -
1 Comics Studies Qualifying Examination Structure Students
1 Comics Studies Qualifying Examination Structure Students taking the Comics Studies Qualifying Examination must master a core list of canonical primary texts, as well as an established body of critical theory, while also creating a specialty list from these emphases: Twentieth-Century North American Comics History Comics Memoir Critical Approach: Comics Theory Critical Approach: Gender and Sexuality Critical Approach: Cultural Studies A short list of required reading (between 5-10 texts) has been be provided for each specialty area, and candidates should enhance their list with texts of their own choosing. In total, the specialty list should total between 20-25 texts. The Comics Studies qualifying examination will have a core set of two questions and a specialty set of two questions. Students will answer one question in each part during the four-hour examination period. Comics Studies Qualifying Examination Area Reading List Overview Students taking the Comics Studies qualifying exam must be familiar with all primary and secondary sources on the Core List below. Each student must also be familiar with at least twenty additional texts, which should be chosen to reflect an sub-specialty area of interest to that student. Such areas of interest currently include: Twentieth-Century North American Comics History Comics Memoir Critical Approach: Comics Theory Critical Approach: Gender and Sexuality Critical Approach: Cultural Studies Students should develop their own areas of interest and a list of corresponding texts in conjunction with Dr. Tarbox or Dr. Meeusen. Core List Mastering comics studies requires knowledge of a number of canonical texts that are frequently mentioned in North American scholarship and are groundbreaking in 2 terms of content and/or form. -
American Comics Group
Ro yThomas’ Amer ican Comics Fanzine $6.95 In the USA No. 61 . s r e d August l o SPECIAL ISSUE! H 2006 t h g i r FABULOUS y MICHAEL VANCE’S p o C FULL-LENGTH HISTORY OF THE e v i t c e p s e R 6 0 AMERICAN 0 2 © & M T COMICS GROUP– s r e t c a r a h C STANDARD NEDO R STANDARD //NEDO R ; o n a d r o i G COOMMIICCSS – k c i D 6 & THE SANGOR ART SHOP! 0 0 2 © t -FEATURING YOUR FAVORITES- r A MESKIN • ROBINSON • SCHAFFENBERGER WILLIAMSON • FRAZETTA • MOLDOFF BUSCEMA • BRADBURY • STONE • BALD HARTLEY • COSTANZA • WHITNEY RICHARD HUGHES • & MORE!! 08 1 82658 27763 5 Vol. 3, No. 61 / August 2006 ™ Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editors Emeritus Jerry Bails (founder) Ronn Foss, Biljo White, Mike Friedrich Production Assistant Eric Nolen-Weathington Cover Artist Dick Giordano Cover Colorist Contents Tom Ziuko And Special Thanks to: Writer /Editorial: Truth, Justice, &The American (Comics Group) Way . 2 Heidi Amash Heritage Comics Dick Ayers Henry R. Kujawa Forbidden Adventures: The History Of The American Comics Group . 3 Dave Bennett Bill Leach Michael Vance’s acclaimed tome about ACG, Standard/Nedor, and the Sangor Shop! Jon Berk Don Mangus Daniel Best Scotty Moore “The Lord Gave Me The Opportunity To Do What I Wanted” . 75 Bill Black Matt Moring ACG/Timely/Archie artist talks to Jim Amash about his star-studded career. -
How to Study Comics & Graphic Novels
HOW TO STUDY COMICS & GRAPHIC NOVELS: A GRAPHIC INTRODUCTION TO COMICS STUDIES ENRIQUE DEL REY CABERO, MICHAEL GOODRUM & JOSEAN MORLESÍN MELLADO HOW TO STUDY COMICS & GRAPHIC NOVELS: A GRAPHIC INTRODUCTION TO COMICS STUDIES ENRIQUE DEL REY CABERO, MICHAEL GOODRUM & JOSEAN MORLESÍN MELLADO How to Study Comics & Graphic Novels: A Graphic Introduction to Comics Studies Text by Enrique del Rey Cabero and Michael Goodrum Illustrations and design by Josean Morlesín Mellado Published in 2021 by the Oxford Comics Network, based at TORCH The Oxford Research Centre in the Humanities. Oxford Comics Network: https://www.torch.ox.ac.uk/comics Twitter: @TORCHComicsOx Facebook: https://m.facebook.com/TORCHComics/ TORCH The Oxford Research Centre in the Humanities: https://www.torch.ox.ac.uk Twitter: @TORCHOxford Facebook: https://m.facebook.com/TORCHOxford This Guide and its content are published under the following Creative Commons License: Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0) ISBN: 978-1-8383792-0-9 Acknowledgements: The authors would like to thank Marie Trinchant for editing and revising this guide so thoroughly, as well as Chris Paul and Sarah Jacobs for proofreading it. TABLE OF CONTENTS 5 FOREWORD 7 INTRODUCTION 8 COMICS VS. GRAPHIC NOVELS 10 THE LANGUAGE 14 WORDS & IMAGES 18 PRODUCTION OF COMICS 20 COMICS 24 DISTRIBUTION 28 APPROACHES TO TRADITIONS METHODS STUDYING COMICS 32 FURTHER 34 AN INTERVIEW WITH 40 ABOUT READING NICK SOUSANIS THE AUTHORS FOREWORD If you’ve ever designed a module on comics before, you’ll know how difficult it is to decide where to begin. Do students need to understand the history before comics theory? Or do you need to talk about comics form before everything else? And where do institutions, politics and readers come in? It’s a bit like when a student comes to your office and asks what they need to read in order to start writing an essay on graphic novels. -
BREATHING LIFE INTO WEBCOMICS Pay Attention
v H Ma l ap d e sk a a nr ik BREATHING LIFE INTO WEBCOMICS Pay Attention Bachelor Degree Project in Media Arts, Aesthetics and Narration 30 ECTS Spring term 2018 Pernilla Larsson Supervisor: Lissa Holloway-Attaway Examiner: Lars Vipsjö Abstract This work explored the potential issues concerning attention when adding animation to a webcomic. The aim of the research has been to quantify reader reactions to a comic with animated elements to investigate potential gain or loss from the new format. The research question is formulated with regards to the specific issues of attention and distraction that movement poses on a reader’s ability to focus on the narrative content. A prototype comic tested the guidelines discovered in the background with regards to how animation should work in comics. The results shows that with the guidelines participation reaction becomes more predictable. The prototype was tested on a small group of participants, and the results show that while animations do distract they do not necessarily negatively impact reader experience. The conclusion is that animation within comics has the potential to further the media expression and that is worthy of further study. Key Words: Animation, Webcomics, Attention Table of Contents 1. Introduction………………………………………………………………………………………………. 1 2. Background………………………………………………………………………………………………. 2 2.1 Comics on the Web……………………………………………………………………………………………….… 2 2.1.1 Comics: media or medium?.......................................................................................... 2 -
Superhero Comics: Artifacts of the U.S. Experience Dr
Superhero Comics: Artifacts of the U.S. Experience Dr. Julian C. Chambliss Sequential SmArt: A Conference on Teaching with Comics, May 19, 2012 Julian Chambliss is Associate Professor of History at Rollins College. n the last two decades, comic books and comic book heroes have experienced increased scholarly I interest. This attention has approached comic books and characters as myth, sought context of the superhero archetype, and used comic books as cultural markers for postwar America. What all of these efforts share is an acknowledgement that comic books and superheroes offer a distinct means to understand U. S. culture.1 The place of comic books in contemporary discussion of the American experience has been seen as space linked to popular culture. The comic book genre, especially its most popular aspect, the superhero, uses visual cues to reduce individual characters into representations of cultural ideas. This process has allowed characters to become powerful representations of nationalism (Superman), or the search for societal stability (Batman), or struggles over femininity (Wonder Woman). Scholars have established the importance of heroic characterization as a means to inform societal members about collective expectations and behavioral ideas.2 In many ways, the use of comics in the classroom has become standardized over the last few years as teachers have discovered the medium’s ability to engage students. Indeed, academic conferences like this one have grown in number as scholars have rediscovered what we all know: kids who read comics tend to go on and read other material.3 Perhaps the most visible and lauded use of comics is in the History classroom, following the pattern established with the successful integration of comics focused on war and politics, found notably in Maus by Art Spiegelman and, more recently, in Alan’s War: The Memories of G.I. -
Metal Brain 109: Searching for a Manhwa, Starting from France To
Goucher Symposium 2019 Ertunga 1 Metal Brain 109: Searching for a manhwa, starting from France to Korea By: Erin Ertunga Professor: Dr. Charlee Sterling Course: Independent Writing Study Date: 17 May 2019 Goucher Symposium 2019 Ertunga 2 Contents I. Preface ...................................................................................................................................................... 3 II. The Context ............................................................................................................................................. 5 III. Tokebi .................................................................................................................................................... 8 IV. The Birth of Metal Warrior 109 .......................................................................................................... 10 V. Who is Kim Jun Bum? ......................................................................................................................... 13 VI. The publication life of Metal Brain 109 .............................................................................................. 16 VII. What is Metal Brain 109? .................................................................................................................. 17 VIII. In conclusion, what makes Metal Brain 109 so important? .............................................................. 21 IX. Annotated bibliography ......................................................................................................................