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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. -
Hernandez Brothers' Love and Rockets
Critical Survey of Graphic Novels LOVE AND ROCKETS LOVE AND ROCKETS Author: Hernandez, Gilbert; Hernandez, Jaime; Her- nandez, Mario Artist: Gilbert Hernandez (illustrator); Jaime Her- nandez (illustrator); Mario Hernandez (illustrator); Jeff Johnson (colorist); Rhea Patton (colorist); Chris Brownrigg (colorist); Steven Weissman (colorist) Publisher: Fantagraphics Books First serial publication: 1982-1996; 2001-2007; 2008- First book publication: 1985- Publication History Soon after brothers Mario, Gilbert, and Jaime Her- nandez self-published their first issue of Love and Rockets in 1981, it caught the eye of Fantagraphics publisher Gary Groth. In 1982, Groth republished the inaugural issue; the first series ofLove and Rockets ran for fifty issues, ending in 1996. All issues in the orig- inal volume were magazine-size, and the comics were black and white. The art duties for the color covers al- ternated between Gilbert and Jaime; one would draw the front cover and the other the back cover, then switching responsibilities for the following issue. Love and Rockets. (Courtesy of Fantagraphics Books) After the end of the first series, Jaime and Gilbert began working on separate titles that continued many large omnibus collections, and Love and Rockets Li- of the stories in the original Love and Rockets. In brary editions. 2001, the brothers began their second series of Love and Rockets, which ran for twenty issues, until 2007. Plot Although these issues were smaller than the originals, Love and Rockets contains a variety of narrative arcs, they nonetheless retained a similar format: color covers many of which have convoluted plots. The two pri- illustrated by Jaime and Gilbert and black-and-white mary stories, however, concern the associations of the content written and illustrated by all three brothers. -
British Library Conference Centre
The Fifth International Graphic Novel and Comics Conference 18 – 20 July 2014 British Library Conference Centre In partnership with Studies in Comics and the Journal of Graphic Novels and Comics Production and Institution (Friday 18 July 2014) Opening address from British Library exhibition curator Paul Gravett (Escape, Comica) Keynote talk from Pascal Lefèvre (LUCA School of Arts, Belgium): The Gatekeeping at Two Main Belgian Comics Publishers, Dupuis and Lombard, at a Time of Transition Evening event with Posy Simmonds (Tamara Drewe, Gemma Bovary) and Steve Bell (Maggie’s Farm, Lord God Almighty) Sedition and Anarchy (Saturday 19 July 2014) Keynote talk from Scott Bukatman (Stanford University, USA): The Problem of Appearance in Goya’s Los Capichos, and Mignola’s Hellboy Guest speakers Mike Carey (Lucifer, The Unwritten, The Girl With All The Gifts), David Baillie (2000AD, Judge Dredd, Portal666) and Mike Perkins (Captain America, The Stand) Comics, Culture and Education (Sunday 20 July 2014) Talk from Ariel Kahn (Roehampton University, London): Sex, Death and Surrealism: A Lacanian Reading of the Short Fiction of Koren Shadmi and Rutu Modan Roundtable discussion on the future of comics scholarship and institutional support 2 SCHEDULE 3 FRIDAY 18 JULY 2014 PRODUCTION AND INSTITUTION 09.00-09.30 Registration 09.30-10.00 Welcome (Auditorium) Kristian Jensen and Adrian Edwards, British Library 10.00-10.30 Opening Speech (Auditorium) Paul Gravett, Comica 10.30-11.30 Keynote Address (Auditorium) Pascal Lefèvre – The Gatekeeping at -
Treasure Island | the Comics Journal
Archived version from NCDOCKS Institutional Repository http://libres.uncg.edu/ir/asu/ Book Review -- Treasure Island: Part I By: Craig Fischer Fischer, C. (2014). “Connor Willumsen’s Treasure Island." The Comics Journal, July 23, 2014. Version of record available at : http://www.tcj.com/reviews/treasure-island/ Treasure Island | The Comics Journal Blog Features Columns Reviews Listings TCJ Archive ← This One Summer Youth is Wasted → The Spain Interview In this two-part interview, Gary Groth Treasure Island talks to Spain about Catholicism, Connor Willumsen working in a factory, rebelling against Breakdown Press authority, teaching, the underground £8, 56 pages comix movement and Zap, and Nightmare Alley. Continue reading → BUY IT NOW REVIEWED BY CRAIG FISCHER JUL 23, 2014 Who is Connor Willumsen? In 2009, Willumsen penciled an issue of Mike Allred’s Madman, and in 2010 he drew three covers for Dust to Dust, Boom’s prequel to their comics adaptation of Do Androids Dream of Electric Sheep? Perhaps Willumsen’s most notable contribution to genre comics, however, was his art for “Where the Devil Don’t Stay”, written by Jason Latour for Untold Tales of Punisher Max #2 (2012). Latour’s story, about a family of redneck criminals who capture the Punisher and then fall apart while arguing over what to do with him (kill him or deliver him to a crime syndicate?) is Eisnerian in its focus on disposable supporting characters instead of the marquee lead. The Punisher doesn’t speak a word in this comic, and his face is cloaked in shadow. He’s only a MacGuffin, a narrative pretext that creates homicidal dissention among the rednecks. -
Ownvoices and Small Press Comics
#OwnVoices and Small Press Comics Reader’s Advisory Hello! Presenters: Amanda Hua, Children’s Librarian, The Seattle Public Library Nathalie Gelms, Youth Services Librarian, Sno-Isle Libraries Aydin Kwan, Assistant Manager, Outsider Comics and Geek Boutique 2 Let’s Meet Your Neighbors! Exquisite Corpse The Rules: • Teams of four, please. • Fold the paper in half twice to make four long rectangles. • Every team should have a clipboard, paper, and • First person draw a head and neck. pencils. • Second person draw a torso. • We will draw a body in • Third person draw legs. teams without seeing • Fourth person draw feet and ground. what the other person drew. 3 4 Up next: • #OwnVoices Definition and History • Comic Book Publishing • Resources for finding #OwnVoices and Small Press comics • Our favorite comics • Your favorite comics! 5 “This is saying our generation will never matter. But we have to matter. If we don’t, there is no future worth saving.” – Ms. Marvel #10, Civil War Vol. 2 6 #OwnVoices: A History Author Corinne Duyvis created the # on twitter “to recommend kidlit about diverse characters written by authors from that same diverse group,” (Duyvis, 2015). http://www.corinneduyvis.net/ownvoices/ 7 Comic Book Publishing × Major publishers and our big vendors often determine selection for libraries. × To make sure our collections are representative of all of our patrons, however, we need to explore other options. 8 What is small press? —Spike Trotman, Iron Circus Comics 9 #OwnVoices Publishers at a glance Small Press Small-ish Press -
Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. -
The Role of Superhero Comic Books in Representing Some Aspects of American Cultural Ideals
Mohamed Khider University of Biskra Faculty of Letters and Languages Department of Foreign Languages MASTER THESIS Letters and Foreign Languages English Language Literature and Civilization Submitted and Defended by: Didiche Achour Aya The Role of Superhero Comic Books in Representing Some aspects of American Cultural Ideals. A Dissertation submitted to the Department of Foreign Languages in partial Fulfilment for the Requirement of the Master Degree in Literature and Civilization Jury Members: Mr. Haddad Mimouna MAA Biskra Supervisor Mr. Chraeitt Asma MAA Biskra Examiner Dr. Salim Kerboua MCB Biskra Examiner Mr. Abd Razaq Abd Nacer MCB Biskra Chairman Academic Year : 2018 - 2019 I DEDICATION In the name of « ALLAH » the Most Gracious the Most Merciful and the most compassionate. I dedicate this modest work to my wonderful and my dearest parents; Didiche Mohammed And Saadi Raffika Thank you for your support and your endless love. To all my friends with whom I shared the university life with its lights and shadows. To all who love me Especially my best friend of hard times that made my dreams come true Bellebcir Halima II Acknowledgements I would like to express my sincere gratitude to my supervisor for his . unaccountable guidance, support, help and patience. I would like to express my warm thanks to Mr. Abd Razaq Abd Alnasser and Mr. Chariett Assma who accepted to examine my research work. I sincerely wish to thank all the teachers of the English Department for their help and seriousness. I would like to extend my deep appreciation to all the staff members of the library of Bisksa University, without their help, this study would have been impossible. -
Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
Las Adaptaciones Cinematográficas De Cómics En Estados Unidos (1978-2014)
UNIVERSITAT DE VALÈNCIA Facultat de Filologia, Traducció i Comunicació Departament de Teoria dels Llenguatges i Ciències de la Comunicació Programa de Doctorado en Comunicación Las adaptaciones cinematográficas de cómics en Estados Unidos (1978-2014) TESIS DOCTORAL Presentada por: Celestino Jorge López Catalán Dirigida por: Dr. Jenaro Talens i Dra. Susana Díaz València, 2016 Por Eva. 0. Índice. 1. Introducción ............................................................................................. 1 1.1. Planteamiento y justificación del tema de estudio ....................... 1 1.2. Selección del periodo de análisis ................................................. 9 1.3. Sinergias industriales entre el cine y el cómic ........................... 10 1.4. Los cómics que adaptan películas como género ........................ 17 2. 2. Comparación entre los modos narrativos del cine y el cómic .......... 39 2.1. El guion, el primer paso de la construcción de la historia ....... 41 2.2. La viñeta frente al plano: los componentes básicos esenciales del lenguaje ........................................................................................... 49 2.3. The gutter ................................................................................. 59 2.4. El tiempo .................................................................................. 68 2.5. El sonido ................................................................................... 72 3. Las películas que adaptan cómics entre 1978 y 2014 ........................... 75 -
British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2013 Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Salisbury, Derek, "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books" (2013). Graduate College Dissertations and Theses. 209. https://scholarworks.uvm.edu/graddis/209 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. -
HARVEY IMPLICATES GEPPI in $5 MILLION STOLEN ART SUIT! October 24; Sad Sack, Inc
COMICON.corn Splash Page 1 of 17 DIAMOND OWNER SUED OVER SAD SACK ARTI HARVEY IMPLICATES GEPPI IN $5 MILLION STOLEN ART SUIT! October 24; Sad Sack, Inc. owners of George Baker's famous comic, radio, film character, and World War II veteran Sad Sack, announced October 4th, thai they have started a legal action against Steve Geppl, Geppi's Comic World, Inc., Alexander Acevedo, and Alexander Gallery. The action alleges that Steve Geppi and Geppi's Comic World engaged in fraud and conversion and that all defendants engaged in conspiracy and unauthorized sale of goods. The news, which was broken on Friday on The Comics Journal website, IQJ.&Q!JJ, not only illuminates the sometimes shadowy world of buying and selling original comic book art, but also shines a legal spotlight on the reputation of one of the most powerful men in comics. Steve Geppi owns Diamond Comics Distribution, which through a series of exclusive brokerage contracts with the Marvel, DC Comics, Dark Horse and Image controls 95% of the Direct Sales Market. Geppi also owns Diamond Select Toys, which licenses and manufactures collectable toys and two months ago purchased the largest gaming distributor. in America. Outside of comics he is a well-respected figure in Baltimore, owning a share of the Baltimore Orioles. He also owns equity and sits on the Board of Directors of Fandom.com. The details of the complaint allege that Alan Harvey, Sad Sack. Inc.'s President. discovered the attwork missing after Sleven Geppi had access to the Harvey warehouse, where Sad Sack also maintained art.