DOCSLIB.ORG

SWR2 Literatur Der Autor, Der Mit Bildern Schrieb Will Eisner Und Seine Graphic Novels Von Silke Merten

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SWR2 Literatur Der Autor, Der Mit Bildern Schrieb Will Eisner Und Seine Graphic Novels Von Silke Merten SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE SWR2 Literatur Der Autor, der mit Bildern schrieb Will Eisner und seine Graphic Novels Von Silke Merten Sendung: Dienstag, 21. Februar 2017 Redaktion: Walter Filz Produktion: SWR 2017 Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Service: SWR2 Literatur können Sie auch als Live-Stream hören im SWR2 Webradio unter www.swr2.de oder als Podcast nachhören: http://www1.swr.de/podcast/xml/swr2/literatur.xml Mitschnitte aller Sendungen der Redaktion SWR2 Literatur sind auf CD erhältlich beim SWR Mitschnittdienst in Baden-Baden zum Preis von 12,50 Euro. Bestellungen über Telefon: 07221/929-26030 Bestellungen per E-Mail: [email protected] Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de (Atmo Regen langsam einblenden - und zwar wirklich flutartigen Regen, der auf Pflaster prasselt!) Sprecher 1 (Erzähler - Zitat 1 aus "Ein Vertrag mit Gott"): Den ganzen Tag fiel strömender Regen gnadenlos auf die Bronx. Die Gullys konnten die Fluten nicht mehr fassen und das Wasser stieg über die Bordsteine. (Männerschritte einblenden, die näher kommen) O-Ton Andreas C. Knigge 1: Der Regen ist bei Will Eisner ne ganz interessante Geschichte! Denn es geht bei Will Eisner immer um Persönlichkeiten – nicht Figuren – die nicht mit der Außenwelt agieren, sondern deren Konflikte im Inneren stattfinden. Das ist eben dieser Regen, der runterprasselt, der von Treppengeländern, von Autos auf der Straße abspritzt und dadurch eine fast hermetische Atmosphäre schafft. Und – und das ist für mich das Entscheidende – eine Verbindung schafft zwischen den beiden Themen Will Eisners: der Person und ihrem Ort. Beides wird im Regen eins. (Schritte werden lauter) Sprecher 1 (Erzähler - Zitat 2 aus "Ein Vertrag mit Gott"): Das Haus in der Dropsie Avenue Nr. 55 schien sich von seinen Grundfesten zu lösen, als wolle es in der rauschenden Flut davonschwimmen. "Wie die Arche Noah", dachte Frimme Hersh, während er heimwärts schlurfte. O-Ton Denis Kitchen 1: When Will started „A contract with God“ it’s not done in conventional panels. With borders and gutters between them. There’s a lot of text, and you basically have illustrations with text. And this was also not the conventional way people told stories in comics. Sprecher 3 (Voice over Kitchen): Als Will den Anfang von "Ein Vertrag mit Gott" zeichnete, hat er es nicht in den konventionellen Einzelbildern getan, mit Rahmen und Lücken dazwischen. Da steht erst einmal nur Text und daneben Illustrationen. Und das war nicht die übliche Weise, in der im Comic erzählt wurde. (Schritte nah, dann schwerfällig Stufen aufwärts) Sprecher 1 (Erzähler - Zitat 3 aus "Ein Vertrag mit Gott"): Diese Sintflut... es konnten nur die Tränen von zehntausend weinenden Engeln sein! Und für ihn war es wohl auch genau das...denn dies war schließlich der Tag, an dem Frimme Hersh seine Tochter Rachele beerdigt hatte . O-Ton Levitz 1: What makes “Contract”’s content a radical step forward is that the interlinked stories that are in it deal with the genuine issues that as a novelist you are empowered to talk about the human condition: death, religion, our relationship with God, our own mortality, the mortality of those around us that we love, sexuality not in a “gee, look at 1 those people and all the nice, naughty things they’re doing” but in the complications of what sexual relations and sexual behavior can do. Sprecher 2 (Voice over Levitz): Der Inhalt von "Ein Vertrag mit Gott" ist ein so radikaler Schritt vorwärts, weil in den lose verbundenen Geschichten ein Erzähler die wesentlichen Dinge des menschlichen Daseins behandelt: Tod, Religion, unser Verhältnis zu Gott, unsere eigene Sterblichkeit und die der Menschen, die wir lieben, Sexualität, nicht im Sinne von "guck mal, was für ungezogene Dinge die da machen" sondern die Komplikationen, die sich aus unseren sexuellen Beziehungen ergeben. O-Ton Will Eisner 1: And the dream essentially was that I would reach a point that this medium would achieve the status of literature. And that I would someday be regarded as a writer. As I like to think of myself as a writer who writes with pictures. Sprecher 1 (Voice over Eisner): Und mein Traum war, dass ich irgendwann den Punkt erreichen würde, an dem das Medium den Status von Literatur hat. Und dass ich als Autor anerkannt werde. Denn ich betrachte mich als Autor, der mit Bildern schreibt. Sprecherin 7 - Ansage Der Autor, der mit Bildern schrieb – Will Eisner und seine Graphic Novels - Ein Feature von Silke Merten - Mit Paul Levitz, Eisner-Biograph und –Verleger O-Ton Levitz 2: (freistehen lassen)) If you look at the graphic novel today, that’s his legacy! Sprecherin 7 (Erzählerin): Andreas C. Knigge – Übersetzer O-Ton Andreas C. Knigge 2: Was bleibt, ist einfach die Dropsie Avenue. Sprecherin 7 (Erzählerin): Denis Kitchen, Freund, Verleger und Nachlassverwalter. O-Ton Kitchen 2 (freistehen lassen): Above all, he was a humanist. Sprecherin 7 (Erzählerin): Carl und Nancy Gropper O-Ton Carl Gropper 1: (Achtung, dieser und alle anderen O-Töne der beiden wurden im Auto aufgenommen, Verkehrsgeräusche im Hintergrund!) 2 Will was our uncle. And as Will passed away Ann Eisner, his widow, asked if we would help. Sprecher 4 (Voice over Carl): Will war unser Onkel. Und als er starb, hat uns seine Witwe Ann gebeten, ihr zu helfen Sprecherin 7 (Erzählerin): Und Will Eisner. Sprecher 1 (Voice over Eisner): I’m talking about heartbreak, I’m talking about the human experience – therefore I’m talking to adults. O-Ton Eisner 2: Ich spreche über Liebeskummer, über menschliche Erfahrungen, darum wende ich mich an erwachsene Leser. Sprecherin 7 (Erzählerin); William Erwin Eisner. Geboren am 6. März 1917 als Kind jüdischer Einwanderer in New York. Gestorben am 3. Januar 2005 in Lauderdale Lakes, Florida. Eröffnete als Teenager zusammen mit Jerry Iger sein erstes eigenes Zeichenstudio für Comics. Spezialität: Abenteuer- und Detektivgeschichten. Sprach schon zu Anfang der 40er Jahre über das literarische Potential des Comics. Berühmteste Figur: der „Spirit“, das maskierte Alter Ego des Privatdetektivs Denny Colt. O-Ton Kitchen 3: Will had been sort of retired from the comic book scene, he had left The Spirit in 1952, he began doing educational comics for the army and also for private corporations, he was also doing comics for school children. Sprecher 3 (Voice over Kitchen): Will hatte sich zurückgezogen aus der Comicszene. 1952 hat er mit „The Spirit“ aufgehört. Er hat dann angefangen, für die Army und für Unternehmen Gebrauchsanweisungen zu zeichnen, außerdem hat er Comics für Schulkinder gemacht. O-Ton Andreas C. Knigge 3: Natürlich schwelte dieser Gedanke, mehr zu machen als das, was Comics damals taten, weiter in ihm und als dann Ende der 60er Jahre in den USA die Undergroundcomix aufkamen – Robert Crumb und andere Zeichner – da sah er plötzlich, dass eine junge Generation von Comiczeichnern etwas anderes mit Comics macht. Sprecherin 7 (Erzählerin): Nämlich ohne Rücksicht auf Tabus erzählen. Schluss mit Superhelden. Die eigenen Erfahrungen zu Geschichten machen. 3 O-Ton Eisner 3: I don’t hesitate to point out that Jewish literature, Yiddish folklore remains very much inside of me and I think in these terms „A contract with God“ was written in a Yiddish story rhythm. It’s almost like the singsong of Yiddish storytelling. Sprecher 1 (Voice over Eisner): Jüdische Literatur und yiddische Folklore sind tief in mir verwurzelt. Beides prägt mein Denken. Und „Ein Vertrag mit Gott“ habe ich in einem yiddischen Erzählrhythmus geschrieben, fast wie ein Singsang. Spielszene/Ausschnitt „Ein Vertrag mit Gott“ Sprecher 1 (Erzähler): Im Jahr 1881 wurde Zar Alexander II. von Russland ermordet, und eine Welle schrecklicher Judenverfolgungen überzog das Land. Dies war auch das Jahr, in dem Frimme Hersh geboren wurde – in Piske, einem kleinen Dorf in der Nähe von Tiflis. Irgendwie überlebten seine Angehörigen das Massaker, und Frimmele – wie er zärtlich genannt wurde –wuchs heran . Sprecher 5 (Ältester 1): Der nächste Überfall kann für uns alle das Ende sein, doch du sollst am Leben bleiben, denn wir glauben, dass Gott noch Großes mit dir vorhat. Sprecher 2 (Rabbi): Mach dir keine Sorgen, Frimmele. Gott ist mit dir, Du wirst nach Amerika gehen. Sprecher 1 (Erzähler): Und Hersh gehorchte. Zwei Nächte später, irgendwo in den Wäldern… (unter Feuerknistern) Sprecherin 8 (Junger Frimme): Rebbe…ist Gott gerecht? Sprecher 2 (Rabbi): Wenn die Gerechtigkeit nicht in Gottes Händen ist – wo sollte sie sonst sein? Sprecherin 8 (Junger Frimme): Und wenn ich Gutes tue – wird Gott es auch wissen? Sprecher 2 (Rabbi) (müde) : Warum nicht? Heißt es nicht, dass Gott allwissend ist? (kurze Pause) 4 Sprecherin 8 (Junger Frimme) (laut, bestimmt): Dann mache ich einen Vertrag mit Gott! O-Ton Kitchen 4: Will was proud of his Jewish heritage but he was noone who’s a fanatical Zionist. Above all, he was a humanist. And you see in story, it’s about humanism. And a character might be Jewish but it’s not Jewish in a sense that makes him superior to his neighbors or smarter or more successful, he’s just another character and Will knows that culture better. But it’s really about humans. Sprecher 3 (Voice over Kitchen): Will war stolz auf seine jüdischen Wurzeln, aber kein fanatischer Zionist. Er war vor allem Humanist und seine Geschichten sind humanistisch. Eine Figur mag jüdisch sein, aber nicht im Sinne, dass sie besser oder klüger oder erfolgreicher wäre.
Load more

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]
  • Report on Micro Data, Sorted by Title
    English Language Graphic Novels Winners and Nominations of Comics and Graphic Novels Awards up to 2004 (list sorted first by title) Prepared by Olivier Charbonneau [email protected] Concordia University Data current as of May 18, 2004 PS. Please feel free to use and circulate this list – as long as the person using or receiving it does not use it for commercial purposes (selecting books for a library is OK) and agrees to send me a thank you letter at the following address: Olivier Charbonneau, Webster Library, room LB-279 Concordia University 1400 de Maisonneuve Blvd. W. Montreal, Quebec, H3G 1M8 Page 1 of 56 Title Publisher Wins Nominations 100 Unknown 1 Workman, John letterer 100 BulletDC 4 5 Azzarello, Brian writer Johnson, Dave cover 2002-2003 Risso, Eduardo artist 1001 Nights of BacchusDark Horse Comics 1 Schutz, Diana editor 1963 Image 2 Moore, Alan 20 Nude Dancers 20Tundra 1 Martin, Mark 20/20 VisionsDC/Vertigo 1 Alonso, Axel editor Berger, Karen editor 300Dark Horse Comics 2 2 Miller, Frank Varley, Lynn colorist 32 Stories Drawn & Quarterly 1 Tomine, Adrian A Contract with GodDC 2 Eisner, Will A Decade of Dark HorseDark Horse Comics 1 Stradley, Randy editor A History of ViolenceParadox 1 Wagner, John A Jew in Communist PragueNBM 1 4 Giardino, Vittorio Nantier, Terry editor A Small KillingVG Graphics/Dark Horse 1 1 Moore, Alan Zarate, Oscar A1Atomeka 1 2 Elliott, Dave editor Abraham StonePlatinum/Malibu 2 Kubert, Joe Page 2 of 56 Title Publisher Wins Nominations Acid Bath CaseKitchen Sink Press 1 Schreiner, Dave editor
    [Show full text]
  • |||GET||| Dropsie Avenue 1St Edition
    DROPSIE AVENUE 1ST EDITION DOWNLOAD FREE Will Eisner | 9780393328110 | | | | | Dropsie Avenue: The Neighborhood I just could not decide how to grade this book at first. It's about as far from a "comic book" as you can get, but that's actually a compliment. Over the span of these three books, though, emotions jostle and balance each other; sometimes the stories seem upbeat, sometimes fatalistic. To ask other readers questions about Dropsie Avenueplease Dropsie Avenue 1st edition up. But if I am only for myself, what am I? The true main character is Dropsie Avenue itself, in all its messy, gritty, dirty, glory. Synopsis About this title Published quietly inWill Eisner's revolutionary literary work A Contract With God marked the invention of the modern graphic novel, took on a life of its own, and inspired a generation of "sequential artists. According to comics historian R. Okay, I get the idea — each group that lives in this part of the Bronx thinks that it is better than the newcomers and the neighborhood slowly gets worse and worse. It's not a very insightful piece of work despite the early promise of the first and titular Dropsie Avenue 1st edition in the Trilogy. Movies and books usually tell us the story of one or few persons, not the story of one or few buildings. Retrieved January 30, Frimme Hersh grieves over the death of his daughter, which he perceives as a breach of his contract with God; [47] street singer Eddie returns to insignificance when he finds himself unable to find his would-be benefactor; [2] Goldie's and Willie's romantic ideals are disillusioned after her near-rape and his seduction.
    [Show full text]
  • Modern Marvels Jewish Adventures in the Graphic Novel
    jewish literature Identity and Imagination modern marvels Jewish Adventures in the Graphic Novel Essay by Jeremy Dauber atran assistant professor of yiddish language, literature, and culture at columbia university Presented by Nextbook and the American Library Association modern marvels Jewish Adventures in the Graphic Novel Jeremy Dauber Back when he was on Saturday Night Live, Adam Sandler used to do a skit called “The Hanukkah Song,” where he would sing about all the celebrities no one knew were Jewish (“David Lee Roth lights the menorah, / So do James Caan, Kirk Douglas, and the late Dinah Shore-ah.”). If Sandler were to write a similar tune about comic books, he’d have his work cut out for him. Superman? The Last Son of Krypton was the brainchild of two Jewish men from Cleveland, Jerry Siegel and Joe Shuster. Batman? The handiwork of Bob Kane and Bill Finger. The Marvel comic book characters who have made their way to a multiplex near you—the Fantastic Four, the X-Men, the Hulk? The products of Stanley Lieber and Jacob Kurtzberg’s imaginations (better known as Stan Lee and Jack Kirby). More than two million Eastern European Jewish immigrants arrived in the United States between 1880 and 1920, just in time to participate in the great explosion of American popular arts: fi lm, radio, vaudeville, sports, and eventually television. One of the most page 1 powerful of these new cultural institutions was the periodical press, both in Yiddish and in English. Publishers like William Randolph Hearst and Joseph Pulitzer, determined to reach as many readers as possible, transformed the newspaper, introducing new features like advice columns, full-color photo sections, and, of course, the comic strip.
    [Show full text]
  • Will Eisner's Dropsie Avenue
    ​DROPSIE AVENUE: THE NEIGHBORHOOD Critical Survey of Graphic Novels DROPSIE AVENUE: THE NEIGHBORHOOD Author: Eisner, Will work in which the main protagonist is arguably the Artist: Will Eisner (illustrator) neighborhood itself. While several major characters Publisher: Kitchen Sink Press recur throughout the narrative, no one figure com- First book publication: 1995, 2006 (The Contract mands the spotlight. Instead, each shares the stage with with God Trilogy) a large cast of minor or walk-on actors, and together they reveal the dynamic life force underlying the Publication History neighborhood. As the third in the trilogy of Will Eisner’s narra- Dropsie Avenue can be read as an example of Amer- tives centered on a neighborhood in the south Bronx, ican realism, adhering to verisimilitude and empha- Dropsie Avenue was originally published in 1995 by sizing growth through the various choices individuals underground comics pioneer Denis Kitchen, under make. A more accurate analysis would place it in the his Kitchen Sink Press. A Contract with God (1978) naturalist tradition, in that the book’s many charac- and A Life Force (1988) complete the trilogy. When ters (and the neighborhood itself) seem at the mercy Kitchen’s company went out of business in 1999, DC of forces beyond their control. At different times Comics bought the rights to Eisner’s catalog, including throughout the graphic novel, individuals note the cy- not only his graphic novels but also The Spirit reprints. clical and inevitable nature of the events. DC republished Dropsie Avenue in 2000 as part of The events begin in 1870, at a time when the area its Will Eisner Library series.
    [Show full text]
  • The Granddaddy of the Graphic Novel a Year After His Death, Will Eisner finally Gets Some Respect
    30 CHICAGO READER | DECEMBER 30, 2005 | SECTION ONE Books THE CONTRACT WITH GOD TRILOGY: LIFE ON DROPSIE AVENUE WILL EISNER (NORTON) The Granddaddy of the Graphic Novel A year after his death, Will Eisner finally gets some respect. By Whet Moser y the mid-1970s Will Eisner of his books, the genre he legit- in exchange for good fortune. Aiding lowed by better fortune, but only was already an eminence imized has finally legitimized its the elderly and committing himself with the help of a mob-connected B grise of the comics world. founding work: Norton, which pub- to a New York synagogue, he enjoys Italian carpenter and a down-on- He’d started out during the lished his final original novel last a modicum of success until a baby is his-luck Yankee with big-business Depression as a 19-year-old prodigy, spring—The Plot: The Secret History left on his doorstep and he under- ties who has eyes for Jacob’s drawing for the short-lived kids’ of the Elders of Zion—is now rere- takes his most generous project— daughter. Over 140 pages Jacob publication Wow, What a leasing 14 Eisner works, beginning raising the anonymous child. When endures a wedding (his son’s), a Magazine! When that folded he with a handsome hardcover volume she dies from an unknown illness, divorce (his own), a reunion cofounded a lucrative comics stu- that combines A Contract With God he spits on the contract and hurls it (with a Holocaust escapee from dio; three years later, in 1940, he with two related books, A Life Force out the window.
    [Show full text]
  • Will Eisner E Seu Legado Para a 9ª Arte1 a Complete Comic Book Arti
    HOMENAGEM Um artista completo das histórias em quadrinhos: Will Eisner e seu legado para a 9ª Arte1 A complete comic book artist: Will Eisner and his legacy for the 9th art El artista completo del cómic: Will Eisner y su legado para el 9º arte Waldomiro Vergueiro2 1 Recebido em 28/09/18, versão aprovada em 11/11/2018. 2 Professor Doutor Titular aposentado da Escola de Comunicações e Artes da Universidade de São Paulo (ECA/USP). Graduado em Biblioteconomia pela Escola Fundação de Sociologia e Política de São Paulo. Mestre e Doutor em Ciência da Informação pela Escola de Comunicações e Artes da Universidade de São Paulo (ECA/USP). Fundador e coordenador do Observatório de Histórias em Quadrinhos da Escola de Comunicações e Artes (OHQ/USP). Professor associado ao Programa de Pós-Graduação em Ciência da Informação da Universidade Federal de Sergipe (PPGCI/UFS). Autor de representativo número de livros e artigos científicos sobre histórias em quadrinhos. 227 Revista Cajueiro, v. 1, n.1, p. 227-266, nov. 2018 RESUMO Homenageando o centenário de nascimento de Will Eisner, descreve aspectos biográficos, com ênfase na produção das histórias em quadrinhos, com inequívoca contribuição às narrativas sequenciais gráficas, do ponto de vista da 9ª. Arte, da linguagem dos quadrinhos, mídia e mediações, abrangência de segmentos de público, linguagem e grafismos, editoração, ainda contemplados na forma como todo conhecimento produzido por ele era mediado e disseminado entre os jovens artistas gráficos e quadrinhistas. Como considerações finais, conclui que Will Eisner teve uma vida totalmente dedicada ao desenvolvimento e divulgação da linguagem das histórias em quadrinhos, mostrando, por obras e atos, sua firme crença de que ela poderia ser colocada em uma enorme variedade de usos e missões, do entretenimento à educação de jovens e adultos.
    [Show full text]
  • Graphic Novel Finding Aid for Merril Collection of Science Fiction, Speculation & Fantasy Last Updated: September 15, 2020
    Graphic Novel Finding Aid for Merril Collection of Science Fiction, Speculation & Fantasy Last updated: September 15, 2020 Most books in this list are in English. We have some graphic novels in other languages . Books are listed alphabetically by series title. Books in series are listed in numerical order (if possible) — otherwise they’re listed alphabetically by sub-title. A | B |C |D | E |F |G | H | I| J| K | L | M | N |O | P | Q| R |S | T| U | V | W | X | Y | Z Title Writer/Artist Notes A A.B.C. Warriors. The Mills, Pat and Kevin A.B.C. Warriors began in Mek-nificent Seven O’Neill and Mike Starlord. McMahon A. D.: after death Snyder, Scott and Jeff Lemire A.D.D. : Adolescent Rushkoff, Douglas Demo Division et al. Aama. 1, The smell Peeters, Frederick of warm dust Aama. 2, The Peeters, Frederick invisible throng Aama. 3, The desert Peeters, Frederick of mirrors The Abaddon Shadmi, Koren Abbott Ahmed, Saladin and Originally published in single others magazine form as Abbott, #1-5. Aama. 4, You will be Peeters, Frederick glorious, my daughter Abe Sapien. Vol. 1, Mignola, Mike et al. The drowning Abe Sapien. Vol. 2, Mignola, Mike et al. The devil does not jest and other stories Across the Universe. Moore, Alan et al. “Superman annual” #11; The DC Universe “Detective comics” #549, 550, stories of Alan “Green Lantern” #188; Moore “Vigilante” #17, 18; “The Omega men” #26, 27; “DC Comics presents” #85; “Tales of the Green Lantern corps annual” #2, 3; “Secret origins” #10; “Batman annual” #11 The Action heroes Gill, Joe et al.
    [Show full text]
  • The Contract with God Trilogy: Life on Dropsie Avenue Free
    FREE THE CONTRACT WITH GOD TRILOGY: LIFE ON DROPSIE AVENUE PDF Will Eisner | 528 pages | 17 Dec 2005 | WW Norton & Co | 9780393061055 | English | New York, United States The Contract With God Trilogy - Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to The Contract with God Trilogy: Life on Dropsie Avenue Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. It marked the birth of the modern graphic novel and the beginn alternate cover for ISBN Will Eisner — saw himself as "a graphic witness reporting on life, death, heartbreak, and the never-ending struggle to prevail. It marked the birth of the modern graphic novel and the beginning of an era when serious cartoonists could be liberated from their stultifying comic-book format. More than a quarter-century after the initial publication of A Contract With Godand in the last few months of his life, Eisner chose The Contract with God Trilogy: Life on Dropsie Avenue combine the three fictional works he had set on Dropsie Avenue, the mythical street of his youth in Depression-era New York City. In the second book, A Life Forcedeclared by R. Chronicling not only the Crash of and the Great Depression but also the rise of Nazism and the spread of left-wing politics, Eisner combined the miniaturist sensibility of Henry Roth with the grand social themes of novelists such as Dos Passos and Steinbeck.
    [Show full text]
  • The Book of Stone: Architecture, Memory, and the Graphic Novel By
    The Book of Stone: Architecture, Memory, and the Graphic Novel by Gorana Tolja A thesis presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts In Contemporary Art, Design, and New Media Art Histories Program Toronto, Ontario, April, 2014 © Gorana Tolja 2014 Authors Declaration I herby declare that I am the sole author of this thesis. This is a true copy of my thesis, including any final revisions, as accepted by my examiners. I authorize OCAD University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. I further authorize OCAD University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research Signature__________________________________________________________ ii Abstract The Book of Stone: Architecture, Memory, and the Graphic Novel Master of Arts 2014 Gorana Tolja Contemporary Art, Design, and New Media Art Histories OCAD University This paper looks to explore the contemporary graphic novel as a platform to engage with the city and architectural space as an experiential, lived, site as well as an archive of personal and collective memories and histories. It looks at graphic novels that present architecture and the urban environment as an active character within the novel, and their portrayal of historical and psychological dimensions embedded within built space. The visual structure of the comic, with its forms of representations and unique temporalities are taken into consideration as this thesis explores how these works become a viable form of research into the urban environment, portraying how architecture and urban space is an active force in shaping and influencing the lives of its inhabitants.
    [Show full text]
  • The Jewish Comic Book Guys
    The Jewish Comic Book Guys Presented at the JCC of Ann Arbor February 25th, 2016 The American comic book industry was, from its inception until modern times, dominated by Jewish publishers, writers and artists. How this came about and what it says both about that industry and about Jewish culture in America is the subject of this presentation. The Early or Platinum Days – As has been the case in many of the fields that I have discussed before, Jews entered the comic book industry through a combination of chance and lack of resistance. There were so many professions that were either closed to Jews or where access was limited through quotas or discrimination that Jews gravitated to those professions that were comparatively open. The Eastern Color Printing Company opened in 1928 as an adjunct to the Waterbury Republican newspaper1. The Eastern handled the full-color publishing duties, which were primarily the printing of the comic strips for the paper, those serials known as the “Sunday funnies”. These included some of the famous comics such as Joe Palooka and Mutt and Jeff. Eastern also printed the color covers for the “racy” magazines known as the pulps. In 1933, the general manager for Eastern was a man named Harry Wildenberg. He took note of the increasing popularity of comics and believed that they could be used as a vehicle to sell advertising. It was about this time that an unemployed Jewish novelty salesman named Maxwell Charles “M.C.” Gaines (formerly Max Ginzberg) joined the company in the sales department2. Whether the idea of a full-color magazine of these same Sunday comic strips originated with Wildenberg or Ginzberg is not clear, but they were able to sell the idea as a promotional opportunity.
    [Show full text]
  • Robert Fowler Underground Comics Collection M2090
    http://oac.cdlib.org/findaid/ark:/13030/c8w66r8m No online items Guide to the Robert Fowler Underground Comics Collection M2090 Department of Special Collections and University Archives 2015 ; revised 2019 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the Robert Fowler M2090 1 Underground Comics Collection M2090 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Robert Fowler underground comics collection source: Fowler, Robert Identifier/Call Number: M2090 Physical Description: 65 Linear Feet(127 boxes) Date (inclusive): 1968-2010 Date (bulk): 1970s-1990s Abstract: Thousands of underground comics (aka comix), assembled by collector Robert Fowler. Special Collections and University Archives materials are stored offsite and must be paged 36 hours in advance. Content Description Collection consists of approximately 4000 underground comic books (also known as "comix"), mostly from the 1970s through the 1990s. Represented in the collection are thousands of authors. Roughly two-thirds of the collection is single issue comics, with the other third made up of multi-issue series. Topics and genres reflected include politics, sexuality, hippies, drugs, fantasy, erotica, and science fiction. Some might also be classified as graphic novels. Some are reprints, others are signed copies, and a few are annotated lightly with notes and corrections. Most are in very good condition. Publishers include Rip Off Press, Print Mint, Last Gasp, Fantagraphics, Kitchen Sink, and Drawn & Quarterly, as well as many others, including self-published works and many obscure titles from Great Britain. What follows is a very basic listing of titles, numbers, and dates.
    [Show full text]