DOCSLIB.ORG

1.Teaching the Art of Comics by Chris Gavaler

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

11164.6_244.1.23.qxd 19/02/21 16:18 Pagina 1 1 1 Il presente volume, partendo da oggetti e prodotti mediatici con cui si ha 1 6 a che fare nell' esperienza quotidiana (serie tv, romanzi, film, fumetti), vuole 4 . 6 TEORIA SOCIOLOGICA rendere familiari alcuni concetti sociologici di base e allo steso tempo inter - pretare sociologicamente i prodotti culturali volta per volta presi in conside - M razione. E INDUSTRIA CULTURALE Questi oggetti vengono qui affrontati come occasione per una riflessione V i s di carattere generale sui concetti fondamentali della sociologia. In questo e n senso, il volume è il tentativo di coinvolgere come lettori attivi gli studenti di t i n scienze sociali, attraverso alcuni dei concetti più più noti nella sociologia clas - , sica e contemporanea, andando oltre la sola definizione teorica. Ogni saggio O Comics, serie tv, . di questo volume può diventare così un esercizio di apprendimento attivo G i proprio perché basato sull'analisi di un prodotto culturale del nostro tempo. a letteratura e cinema n Obiettivo primario di chi fa sociologia non è solo parlare alla comunità di c o “addetti ai lavori” ma anche mostrare ai newcomers quanto essa si configu - l a ( ri come un sapere applicabile alla vita quotidiana, anche rispetto agli ogget - a c ti più inattesi. Le analisi dei prodotti della cultura pop, che qui sono presen - u A cura di Martina Visentin r a tati, possono offrire quindi uno specchio attraverso cui mostrare l'ordinario d i nello straordinario, le regolarità nelle eccezioni, fornendo opportunità per ri - ) e Orazio Giancola flettere e confrontare prospettive di genere, etnia, classe sociale e altro an - T cora, dialogando sia con gli accademici sia con coloro che sono interessati a E O un’analisi rigorosa, teoricamente e metodologicamente fondata, della realtà R I sociale . A S Martina Visentin è ricercatrice in Sociologia dei processi culturali e comunica - O tivi presso l’Università di Padova, Dipartimento di Scienze Politiche, Giuridiche e C I O Studi Internazionali (SPGI). I suoi interessi di ricerca convergono sule culture del L welfare locale, le transizioni alla vita adulta e le trasformazioni culturali. Fra le sue O G Y ultime pubblicazioni ricordiamo: con Salmieri L. (2020), Il Mondo che abbiamo N I perso. L’Università e l’ecologia della presenza ; (2019), Identità instabili nell’epoca del C A E G cambiamento accelerato: un approfondimento qualitativo , FrancoAngeli . E I P N O Orazio Giancola è professore associato in Sociologia dei processi culturali e co - D U municativi, Università di Roma “Sapienza”. Le sue aree di ricerca si muovono fra la L O S comparazione dei sistemi educativi e universitari, le diseguaglianze e l’equità in T educazione, i processi socializzativi e la transizione alla vita adulta. Fra le sue ulti - R I O A me pubblicazioni: con Colarusso S. (2020), Università e nuove forme di valutazio - I C ne: Strategie individuali, produzione scientifica, effetti istituzionali, Sapienza Uni - U C versità Editrice; con Benadusi L. (2021), Equità e merito nella scuola. Teorie, inda - L T gini empiriche, politiche FrancoAngeli . U R O A L S Franc oAngeli E La passione per le conoscenze ISBN 978-88-351-1635-6 € 13,00 (edizione fuori commercio ) OPEN SOCIOLOGY Open Sociology Direzione scientifica Linda Lombi, Michele Marzulli (Università Cattolica di Milano) Open Sociology è una collana che si propone di racco- gliere contributi, sia di taglio teorico che empirico, sui temi chiave della sociologia. Open significa innanzitutto la scelta di un modello editoriale di condivisione del sapere (open access), ma anche un’idea di conoscenza aperta e interdisci- plinare, in cui la sociologia non rinuncia a sconfinamenti, scambi e confronti con le altre scienze umane. L’apertura si riferisce anche alla possibilità concreta data a giovani stu- diosi e ricercatori di proporre iniziative editoriali e progetti culturali innovativi. Infatti, la collana è guidata da un Comitato scientifico e una Direzione composta da giovani studiosi, ma non rinuncia al confronto con un comitato internazionale e al supporto di un Comitato di saggi che garantisce della validità delle proposte. La rivoluzione digitale degli ultimi anni, insieme a molti altri cambiamenti che hanno investito la società contemporanea, ha comportato la possibilità di comunicare in maniera aperta i contenuti del sapere che tradizionalmente erano rimasti chiusi nell’accademia. In quanto open access, la collana mira a diffondere la conoscenza sociologica attra- verso un orientamento di apertura e accessibilità, favorendo la spendibilità del sapere in tutti i contesti, istituzionali e non, in cui questa forma di pubblicazione rappresenta un requisito indispensabile. I manoscritti proposti sono sottoposti a referaggio in doppio cieco. Copyright © 2021 by FrancoAngeli s.r.l., Milano, Italy. ISBN 9788835122074 Comitato scientifico OPEN SOCIOLOGY Biagio Aragona (Università di Napoli), Davide Arcidiacono (Università di Catania), Charlie Barnao (Università di Catanzaro), Davide Bennato (Università di Catania), Alessia Bertolazzi (Università di Macerata), Silvia Cervia (Università di Pisa), Romina Deriu (Università di Sassari), Raffaella Ferrero Camoletto (Università di Torino), Angela Genova (Università di Urbino), Fabio Introini (Università Cattolica di Milano), Cristina Lonardi (Università di Verona), Roberto Lusardi (Università di Bergamo), Elena Macchioni (Università di Bologna), Natalia Magnani (Università di Trento), Beba Molinari (Università di Catanzaro), Veronica Moretti (Università di Bologna), Luca Mori (Università di Verona), Matteo Moscatelli (Università Cattolica di Milano), Sara Nanetti (Università Cattolica di Milano), Marta Pantalone (Università di Venezia), Nicola Pasini (Università degli Studi di Milano), Nicoletta Pavesi (Università Cattolica di Milano), Marco Pedroni (Università eCampus), Annamaria Perino (Università di Trento), Paolo Parra Saiani (Università di Genova), Alessandra Sannella (Università di Cassino), Mariagrazia Santagati (Università Cattolica di Milano), Alice Scavarda (Università di Torino). Comitato dei saggi Natale Ammaturo (Università di Salerno), Elena Besozzi (Università Cattolica di Milano), Andrea Bixio (Università “La Sapienza” di Roma), Bernardo Cattarinussi (Università di Udine), Alessandro Cavalli (Università di Pavia), Vincenzo Cesareo (Università Cattolica di Milano), Costantino Cipolla (Università di Bologna), Roberto Cipriani (Università Roma Tre), Pierpaolo Donati (Università di Bologna), Renzo Gubert (Università di Trento), Clemente Lanzetti (Università Cattolica di Milano), Alberto Marradi (Università di Firenze), Rosanna Memoli (Università “La Sapienza” di Roma), Everardo Minardi (Università di Teramo), Mauro Niero (Università di Verona), Nicola Porro (Università di Cassino), Giovanna Rossi (Università Cattolica di Milano), Ernesto Savona (Università Cattolica di Milano), Antonio Scaglia (Università di Trento), Raimondo Strassoldo (Università di Udine), Willem Tousijn (Università di Torino). Comitato internazionale Ilona Biernacka-Ligięza (University of Marie Curie-Sklodowska - Polonia), Carlos Gallegos Elías (Unam - Universidad Nacional Autónoma de México), Carlos Gutiérrez Rohàn (Universidad de Sonora - Mexico), Juan Ignacio Piovani (Universidad Nacional de La Plata - Argentina), Ericka Johnson (Linkoping University - Svezia), Victoria Robinson (York University - Regno Unito), Karen Willis (La Trobe University - Australia). Copyright © 2021 by FrancoAngeli s.r.l., Milano, Italy. ISBN 9788835122074 COPY 15,5X23 1-02-2016 8:56 Pagina 1 TEORIA SOCIOLOGICA E INDUSTRIA CULTURALE Comics, serie tv, letteratura e cinema A cura di Martina Visentin e Orazio Giancola OPEN SOCIOLOGY Copyright © 2021 by FrancoAngeli s.r.l., Milano, Italy. ISBN 9788835122074 La pubblicazione di questo volume è stata possibile grazie al contributo dei fondi di Dotazione Ordinaria della Ricerca del Dipartimento di Scienze Politiche, Giuri- diche e Studi Internazionali (SPGI) dell’Università degli Studi di Padova. Progetto grafico di copertina di Elena Pellegrini Copyright © 2021 by FrancoAngeli s.r.l., Milano, Italy. Pubblicato con licenza Creative Commons Attribuzione-Non Commerciale-Non opere derivate 4.0 Internazionale (CC-BY-NC-ND 4.0) L’opera, comprese tutte le sue parti, è tutelata dalla legge sul diritto d’autore. L’Utente nel mo- mento in cui effettua il download dell’opera accetta tutte le condizioni della licenza d’uso dell’opera previste e comunicate sul sito https://creativecommons.org/licenses/by-nc-nd/4.0/deed.it Copyright © 2021 by FrancoAngeli s.r.l., Milano, Italy. ISBN 9788835122074 Indice Introduzione: il sociale e il sociologico nella produ- pag. 9 zione culturale di massa, di Martina Visentin e Orazio Giancola 1. Teaching the Art of Comics, di Chris Gavaler »19 Insegnando attraverso l’arte dei fumetti, di Chris Ga- » 32 valer (traduzione di Martina Visentin e Orazio Giancola) 2. Per una lettura sociologicamente sensibile dei pro- » 44 dotti culturali ( o contro il radicalismo critico), di Orazio Giancola 3. All new, all different? I ‘meravigliosi’ paradossi di » 63 Kamala Khan, di Martina Visentin, Winona Landis e Riccardo Prandini 4. Il tempo e i suoi significati attraverso i romanzi di- » 75 stopici italiani, di Riccardo Prandini e Giuseppe Rizzi 5. Ordine sociale e conflitto morale nel romanzo poli- » 88 ziesco contemporaneo (Tre excursus per una didattica spinoziana), di Luca Martignani 6. Serie Tv e moda. L’esempio di Sex Education, » 104 di Antonella Mascio 7. Voglia di fantasy: comunità
Recommended publications
  • Curtis C. Chen Clarion West Write-A-Thon 2020

    Curtis C. Chen Clarion West Write-A-Thon 2020

    2020-07-14 Curtis C. Chen Clarion West Write-a-thon 2020 “Yo, who the F is this?” 1 2020-07-14 “a hyperactive, wisecracking hero” – Library Journal https://waypointkangaroo.com “as smart and sassy as its title character” – Publishers Weekly (starred review) https://kangaroo2.com https://twitter.com/pennjillette/status/1111114779504971777 2 2020-07-14 WHAT MAKES GOOD DIALOGUE? Writer’s Edit “5 Golden Rules For Writing Authentic Dialogue” 1.Aim For Speech That’s Realistic – But Not Too Realistic 2.Use Dialogue Tags And Actions Effectively 3.Use Different Dialogue Styles To Distinguish Characters 4.Pay Attention To Punctuation 5.Create A Balance Between Dialogue And Narration https://writersedit.com/fiction-writing/5-golden-rules-for-writing-authentic-dialogue/ 3 2020-07-14 Writer’s Edit “5 Golden Rules For Writing Authentic Dialogue” 1.Aim For Speech That’s Realistic – But Not Too Realistic 2.Use Dialogue Tags And Actions Effectively 3.Use Different Dialogue Styles To Distinguish Characters 4.Pay Attention To Punctuation 5.Create A Balance Between Dialogue And Narration 4 2020-07-14 EXERCISE: WHO TALKS LIKE THAT? “I think it’s the best thing to do. But I don’t want you to do it if you don’t really want to.” “And if I do it you’ll be happy and things will be like they were and you’ll love me?” “I love you now. You know I love you.” “I know. But if I do it, then it will be nice again if I say things are like white elephants, and you’ll like it?” “I’ll love it.
  • Matt Baker Baker of Cheesecake / Alberto Becattini / 36 Sidebar: the Geri Shop / Jim Vadeboncoeur Jr

    Matt Baker Baker of Cheesecake / Alberto Becattini / 36 Sidebar: the Geri Shop / Jim Vadeboncoeur Jr

    The of Edited by Jim Amash and Art GlamourEric Nolen-Weathington 1 2 4 11 18 22 24 ATT AKER MTheArt of Glamour B edited by Jim Amash and Eric Nolen-Weathington designed by Eric Nolen-Weathington text by Jim Amash • Michael Ambrose Alberto Becattini • Shaun Clancy Dan O’Brien • Ken Quattro • Steven Rowe Jim Vadeboncoeur Jr. and VW Inc. Joanna van Ritbergen TwoMorrows Publishing • Raleigh, North Carolina 33 TABLE OF CONTENTS Part One: Meet Matt Baker BAKER OF CHEESECAKE / Alberto Becattini / 36 Sidebar: The gerI Shop / Jim Vadeboncoeur Jr. / 38 Sidebar: Fox Feature Syndicate / Steven Rowe / 46 Sidebar: St. John Publishing/ Ken Quattro / 49 Sidebar: Elizabeth Waller on It Rhymes with Lust / Shaun Clancy / 52 Sidebar: Charlton Comics / Michael Ambrose / 62 THE MYSTERY OF AcE BAKER / Jim Vadeboncoeur Jr. / 66 Sidebar: Ace Comics / Steven Rowe / 67 THE MATT BAKER CHECKLIST / Alberto Becattini and Jim Vadeboncoeur Jr. / 68 Part Two: Family THE TALENT RUNS DEEP / Jim Amash / 96 FURTHER RUMINATIONS / Joanna van Ritbergen / 118 Part Three: Friends & Colleagues A GREAT FRIENDSHIP / Shaun Clancy / 122 THE BEST MAN FOR THE JOB / Shaun Clancy with Dan O’Brien / 136 …ON MATT BAKER / Jim Amash / 152 Part Four: Comics THE VORTEX OF SCOUNDRELS AND SCANDAL / Phantom Lady, Phantom Lady #14 / 2 THE SODA MINT KILLER / Phantom Lady, Phantom Lady #17 / 12 SKY GIRL / Sky Girl, Jumbo Comics #103 / 24 CANTEEN KATE / Canteen Kate, Anchors Andrews #1 / 31 THE OLD BALL GAME / Canteen Kate, Anchors Andrews #1 / 168 KAYO KIRBY / Kayo Kirby, Fight Comics #54 / 176 TIGER GIRL / Tiger Girl, Fight Comics #52 / 182 35 PART ONE: Meet Matt Baker BAKER OF CHEESECAKE AN APPRECIATION OF MATT BAKER, GOOD GIRL ARTIST SUPREME by Alberto Becattini This is anextended, mended version of the essay which originally appeared in Alter Ego #47 (April 2005).
  • Adapting the Graphic Novel Format for Undergraduate Level Textbooks

    Adapting the Graphic Novel Format for Undergraduate Level Textbooks

    ADAPTING THE GRAPHIC NOVEL FORMAT FOR UNDERGRADUATE LEVEL TEXTBOOKS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Brian M. Kane, M.A. Graduate Program in Arts Administration, Education, and Policy The Ohio State University 2013 Dissertation Committee: Professor Candace Stout, Advisor Professor Clayton Funk Professor Shari Savage Professor Arthur Efland Copyright by Brian M. Kane 2013 i ABSTRACT This dissertation explores ways in which the graphic narrative (graphic novel) format for storytelling, known as sequential art, can be adapted for undergraduate-level introductory textbooks across disciplines. Currently, very few graphic textbooks exist, and many of them lack the academic rigor needed to give them credibility. My goal in this dissertation is to examine critically both the strengths and weaknesses of this art form and formulate a set of standards and procedures necessary for developing new graphic textbooks that are scholastically viable for use in college-level instruction across disciplines. To the ends of establishing these standards, I have developed a four-pronged information-gathering approach. First I read as much pre factum qualitative and quantitative data from books, articles, and Internet sources as possible in order to establish my base of inquiry. Second, I created a twelve-part dissertation blog (graphictextbooks.blogspot.com) where I was able to post my findings and establish my integrity for my research among potential interviewees. Third, I interviewed 16 professional graphic novel/graphic textbook publishers, editors, writers, artists, and scholars as well as college professors and librarians. Finally, I sent out an online survey consisting of a sample chapter of an existing graphic textbook to college professors and asked if the content of the source material was potentially effective for their own instruction in undergraduate teaching.
  • Catalog Sixty-Nine Royalbooks C Atalog Sixty-Nine Royal Books the CELLULOID PAPER TRAIL

    Catalog Sixty-Nine Royalbooks C Atalog Sixty-Nine Royal Books the CELLULOID PAPER TRAIL

    catalog catalog sixty-nine royal books Royalc Booksatalog sixty-nine THE CELLULOID PAPER TRAIL Oak Knoll Press is pleased to announce the publication of Terms and Conditions Kevin R. Johnson’s The Celluloid All books are first editions unless indicated otherwise. Paper Trail. The first book All items in wrappers or without dust jackets advertised have glassine covers, and all dust jackets are protected ever published on film script by new archival covers. Single, unframed photographs identification and description, housed in new, archival mats. lavishly illustrated and detailed. In many cases, more detailed physical descriptions for archives, manuscripts, film scripts, and other ephemeral Designed for any book scholar, items can be found on our website. including collectors, archivists, Any item is returnable within 30 days for a full refund. librarians, and dealers. Books may be reserved by telephone, or email, and are subject to prior sale. Payment can be made by credit card Available now at royalbooks.com or, if preferred, by check or money order with an invoice. or by calling 410.366.7329. Libraries and institutions may be billed according to preference. Reciprocal courtesies extended to dealers. Please feel free to let us know if you would like your copy signed or inscribed by the author. We accept credit card payments by VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PAYPAL. Shipments are made via USPS priority mail or Fedex Ground unless other arrangements are requested. All shipments are fully insured. Shipping is free within the United States. For international destinations, shipping is $60 for the first book and $10 for each thereafter.
  • Alter Ego #78 Trial Cover

    Alter Ego #78 Trial Cover

    Roy Thomas’ Pug nacious Com ics Fan zine JOJOEE GGIIEELL LALA THE FELLA WHO INKED DC’S SILVER AGE! (AND SOME GOLDEN AGE , TOO!) $6.95 In the USA No. 52 September 2005 ALSO: JAY SCOTT PIKE & MARTIN THALL ] . s c i m o C C D 5 0 0 2 © & M T s r e t c a r a h C ; a l l e PPLLUUSS:: i G e o J 5 0 0 2 © t r A [ Vol. 3, No. 52 / September 2005 ™ 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 Joe Giella Contents Cover Colorist Tom Ziuko Writer/Editorial: “For He’s A Jolly Good Giella…” . 2 And Special Thanks to: “Joe Giella Is Like Fine Wine—He Gets Better With Age!” . 3 Heidi Amash Thomas C. The man who inked DC’s Silver Age, and lots more besides—interviewed by Jim Amash. Michael Ambrose Lammers Ger Apeldoorn Mark Luebker Bob Bailey Boyd Magers “Comic Artists Could Draw Better Than Anybody in the World!” . 33 Mike W. Barr Dan Makara 1950s-70s artist Jay Scott Pike speaks with Jim A. about his years at Marvel & DC. Tom Batiuk Bob Maison Alberto Becattini Joe Marek “I Was All Over The Place, And Enjoying Every Minute Of It!” . 46 Philippe Benoist Sheldon Moldoff Martin Thall tells Mr. A. all about drawing comics in the 1940s and ’50s.
  • The Bear, the Bomb, and Uncle Sam: the Evolving American Perception of “Russians” Viewed Through Political Cartoons

    The Bear, the Bomb, and Uncle Sam: the Evolving American Perception of “Russians” Viewed Through Political Cartoons

    The Bear, the Bomb, and Uncle Sam: The Evolving American Perception of “Russians” Viewed Through Political Cartoons A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Geography of the McMicken College of Arts and Sciences by Beth Ciaravolo B.A. University of Cincinnati June 2012 Committee Chair: Dr. Colleen McTague, Ph.D. Abstract This project entails an analysis of the popular discourse of political cartoons involving Russia and the former USSR as they fit into this category. Cartoons are selected from a number of the most widely-read papers in the United States. All signs, symbols, and text are linguistically analyzed, with the ultimate aim of uncovering Americans’ underlying perceptions of Russia and the former Soviet states and how these views have changed (or not changed) over the years since the Cold War. Points of interest include the kinds of words used, the symbols selected to represent various personalities and nations, and any notable omissions of related facts. These findings are then situated in the original sociopolitical context, so that the question may be asked: What do cartoons tell us about the changing American perceptions of Russia and the former Soviet states? ii iii Acknowledgements I would like to thank my committee, especially my advisor, Dr. Colleen McTague, without whom this thesis would never have been possible. Thanks also go to my colleagues at UC and my best friend Jen Weber for all their help and support, and to all the staff at the Billy Ireland Cartoon Library and Museum at The Ohio State University, particularly Mrs.
  • Drawing Swords: War in American Editorial Cartoons 1 by Lucy Shelton Caswell

    Drawing Swords: War in American Editorial Cartoons 1 by Lucy Shelton Caswell

    13 AMERICAN JOURNALISM, 21(2), 13–45 Copyright © 2004, American Journalism Historians Association Drawing Swords: War in American Editorial Cartoons 1 by Lucy Shelton Caswell Wartime editorial cartoons document a nation’s underlying assumptions about the truth of their cause that justifies war and sustains them during the fighting. Increasingly during the past half-century in the United States, they also reflect the doubts and concerns of the opponents of a war. This study is an overview of U.S. editorial cartoons over more than two centuries of wars. Main- stream publications and reprint volumes of the work of major cartoonists were examined to seek patterns in the depiction of the enemy; to investigate the use of stereotypes; and to determine if these wartime cartoons might be considered pro- paganda. or a book that reprinted one hundred cartoons from the Great War, James Montgomery Flagg drew a self-caricature, dapper in F an artist’s smock, overlooking the shoulder of the Kaiser. The defeated German ruler is bending toward a mirror to stare at his reflection, which is a skeleton. The caption of the cartoon is “The Cartoonist Makes People See Things!” (Fig. 1) Antebellum engravings and lithographs about America’s wars evolved to become editorial cartoons as changes in newspaper and magazine publi- cation technology made timely transmission of war news possible and as publishers discovered that pictures that maligned the enemy or glorified “our” cause sold copies. War cartoons of the first half of the twentieth century display a remarkable continuity of visual metaphors that are based on traditional artistic conventions in the depiction of one’s enemy.
  • How Lust Was Lost: Genre, Identity and the Neglect of a Pioneering Comics Publication

    How Lust Was Lost: Genre, Identity and the Neglect of a Pioneering Comics Publication

    Portland State University PDXScholar Student Research Symposium Student Research Symposium 2016 May 4th, 10:00 AM - 11:30 AM How Lust Was Lost: Genre, Identity and the Neglect of a Pioneering Comics Publication Robert Hulshof-Schmidt Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/studentsymposium Part of the English Language and Literature Commons, and the Other History Commons Let us know how access to this document benefits ou.y Hulshof-Schmidt, Robert, "How Lust Was Lost: Genre, Identity and the Neglect of a Pioneering Comics Publication" (2016). Student Research Symposium. 6. https://pdxscholar.library.pdx.edu/studentsymposium/2016/Presentations/6 This Oral Presentation is brought to you for free and open access. It has been accepted for inclusion in Student Research Symposium by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Hulshof-Schmidt 1 Robert Hulshof-Schmidt How Lust Was Lost: Genre, Identity, and the Neglect of a Pioneering Comics Publication In 1950, comic book publisher St. John released a self-proclaimed “Picture Novel” titled It Rhymes With Lust, a 128-page digest sized book written by the pseudonymous Drake Waller (in fact the team of Arthur Drake and Leslie Waller). Their story blended the romance and crime genres popular in comics of the day and featured art by St. John stalwarts Matt Baker (pencils) and Ray Osrin (inks). An unusual publishing experiment, It Rhymes With Lust can arguably be considered the first graphic novel, but is seldom recognized as such. In this paper I will explore the novel’s overlooked place in comics history, and examine key reasons for this omission.
  • Les Sources Du Graphic Novel: Des Romanssans Paroles De Lynd Ward À It Rhymes with Lust D'arnold Drake Et Matt Baker

    Les Sources Du Graphic Novel: Des Romanssans Paroles De Lynd Ward À It Rhymes with Lust D'arnold Drake Et Matt Baker

    Les sources du graphic novel: des romanssans paroles de Lynd Ward à it rhymes with lust d'Arnold Drake et Matt Baker Jean-Paul Gabilliet Université Michel de Montaigne — Bordeaux 3 (França) Resumo Este artigo examina as formas primitivas que os americanos batizaram de “graphic novels” (romance gráfico) a partir dos anos 70. Dos “romances” sob a forma de gravuras em madeira produzidas pelo artista americano Lynd Ward nos anos 30 e 40 ao “picture novel” It Rhymes With Lust em formato de livro de bolso publicado em 1950 pelo editor popular St. John, passando por diversas experiências “sérias” ou “populares”, assiste-se no meio do século XX nos Estados Unidos a tentativas dispersas de fazer narrativa com imagens em formatos próximos do desenho em quadrinhos sem o ser de fato. Daí uma possibilidade de reflexão sobre onde começa e onde termina a forma “desenho em quadrinhos” e uma interrogação sobre as condições de legitimidade e de ilegitimidade cultural das histórias com imagens na América do meio do século XX. Palavras-chave: desenho em quadrinho artístico; romance gráfico; narração gráfica; Estados Unidos. This paper looks into the early forms of what Americans have called "graphic novel" as of the 1970s. From fine artist Lynd Ward's 1930s and 40s woodcut novels to the film noir pastiche It Rhymes With Lust released in 1950 by pulp publisher St John, via a number of drawn narratives released by both popular and highbrow companies in-between, a number of disparate graphic story-telling experiments in comic strip- like or quasi-comic strip formats appeared in the United States in the mid-20th century.
  • Spionaggio E Graphic Novel

    Spionaggio E Graphic Novel

    FUMETTO Spionaggio e graphic novel GIUSEPPE POLLICELLI Un graphic novel è un fumetto abbastanza lungo nello sviluppo narrativo, tale da poter essere accostato a un romanzo. Qualunque altra definizione va respinta poiché inesatta e, spesso, ingiustamente penalizzante nei confronti del linguaggio fumettistico. Un romanzo grafico, non diversamente da uno in prosa, può frequentare qualsiasi segmento dell’immaginario e, dunque, non mancano quelli di genere spionistico. L’autore di fumetti che si è maggiormente distinto uando si parla di fumetti capita con sempre maggiore frequenza, soprattutto sui nell’abbinare la formula del romanzo grafico media, di imbattersi nella locuzione in lingua inglese graphic novel, che tradotta allo spionaggio è l’americano Matt Kindt che, Qletteralmente in italiano significa «romanzo grafico». Il diffondersi di questa de- tra il 2004 e il 2010, ha sfornato ben tre opere finizione ha prodotto un sovrappiù di confusione intorno a una materia – il fumetto, ap- (tutte gratificate da una lusinghiera accoglienza punto, e le sue peculiarità come linguaggio – che necessiterebbe invece di quanta più sia da parte della critica che del pubblico) chiarezza possibile. Si può intanto premettere che v’è incertezza, in Italia, anche su quale dedicate al mondo dell’intelligence. La seconda di queste, Super Spy, sia il genere da attribuire a graphic novel, se maschile o femminile. L’assonanza del ter- uscita negli Stati Uniti nel 2007 e ambientata mine novel con il nostro «novella» ha fatto sì che, fino a oggi, abbia prevalso il femminile, durante la Seconda guerra mondiale, dunque la graphic novel. La traduzione, però, di novel è «romanzo», per cui gli studiosi è stata tradotta anche nel nostro Paese, sono unanimi nel ritenere preferibile il genere maschile, che adotteremo anche noi.
  • Matt Baker Baker of Cheesecake / Alberto Becattini / 36 Sidebar: the Geri Shop / Jim Vadeboncoeur Jr

    Matt Baker Baker of Cheesecake / Alberto Becattini / 36 Sidebar: the Geri Shop / Jim Vadeboncoeur Jr

    The of Edited by Jim Amash and Art GlamourEric Nolen-Weathington 1 2 3 4 11 18 19 22 24 DEDICATION To Joan Schenkar, whose journalistic integrity, sage advice, and friendship has guided me through many projects. And to Jim Vadeboncoeur Jr., whose many years of tireless research and analysis are the foundation on which this book was built. 32 ATT AKER MTheArt of Glamour B edited by Jim Amash and Eric Nolen-Weathington designed by Eric Nolen-Weathington text by Jim Amash • Michael Ambrose Alberto Becattini • Shaun Clancy Dan O’Brien • Ken Quattro • Steven Rowe Jim Vadeboncoeur Jr. and VW Inc. Joanna van Ritbergen TwoMorrows Publishing • Raleigh, North Carolina 33 TABLE OF CONTENTS Part One: Meet Matt Baker BAKER OF CHEESECAKE / Alberto Becattini / 36 Sidebar: The gerI Shop / Jim Vadeboncoeur Jr. / 38 Sidebar: Fox Feature Syndicate / Steven Rowe / 46 Sidebar: St. John Publishing/ Ken Quattro / 49 Sidebar: Elizabeth Waller on It Rhymes with Lust / Shaun Clancy / 52 Sidebar: Charlton Comics / Michael Ambrose / 62 THE MYSTERY OF AcE BAKER / Jim Vadeboncoeur Jr. / 66 Sidebar: Ace Comics / Steven Rowe / 67 THE MATT BAKER CHECKLIST / Alberto Becattini and Jim Vadeboncoeur Jr. / 68 Part Two: Family THE TALENT RUNS DEEP / Jim Amash / 96 FURTHER RUMINATIONS / Joanna van Ritbergen / 118 Part Three: Friends & Colleagues A GREAT FRIENDSHIP / Shaun Clancy / 122 THE BEST MAN FOR THE JOB / Shaun Clancy with Dan O’Brien / 136 …ON MATT BAKER / Jim Amash / 152 Part Four: Comics THE VORTEX OF SCOUNDRELS AND SCANDAL / Phantom Lady, Phantom Lady #14 / 2 THE SODA MINT KILLER / Phantom Lady, Phantom Lady #17 / 12 SKY GIRL / Sky Girl, Jumbo Comics #103 / 24 CANTEEN KATE / Canteen Kate, Anchors Andrews #1 / 31 THE OLD BALL GAME / Canteen Kate, Anchors Andrews #1 / 168 KAYO KIRBY / Kayo Kirby, Fight Comics #54 / 176 TIGER GIRL / Tiger Girl, Fight Comics #52 / 182 35 PART ONE: Meet Matt Baker BAKER OF CHEESECAKE AN APPRECIATION OF MATT BAKER, GOOD GIRL ARTIST SUPREME by Alberto Becattini This is anextended, mended version of the essay which originally appeared in Alter Ego #47 (April 2005).
  • Auction - Sale 717: Comic Books 12/10/2020 11:00 AM PST

    Auction - Sale 717: Comic Books 12/10/2020 11:00 AM PST

    Auction - Sale 717: Comic Books 12/10/2020 11:00 AM PST Lot Title/Description Lot Title/Description 1 SEDUCTION of the INNOCENT 11 BEWARE! TERROR TALES No. 3 397 + [16] black & white illustrated pp. Lacks bibliography, which was Fawcett. September, 1952. CGC certified: Fine- (5.5). Sheldon Moldoff removed from most copies at the insistence of the comics publishers and Bob McCarty art. Bernard Baily cover. named therein. (8vo) cloth-backed boards, jacket. First Edition, second Est. 200 - 300 printing, without "circle R" colophon on copyright page. Very good in 12 BLACK CAT MYSTERY No. 39 Good/VG jacket.Tears and creases to jacket, chips to corners and spine Harvey Publications. September, 1952. CGC certified: VG/Fine (5.0) ends, spine lettering faded, spine and edges of front and rear panels Purple Label. "Slight (B-1)." White pages. Restoration includes: small toned, not price-clipped; a few bumps to cloth, binding solid but very amount of color touch on cover. Warren Kremer, Joe Certa and Rudy slightly leaning; 1958 ownership inscription to front free endpaper with Palais art. Lee Elias cover. Hanging cover and panels. Used in blacked-out previous inscription, occasional underlinings and marginal Seduction of the Innocent. notes in ink with some erasures. Est. 100 - 150 Est. 300 - 500 13 BLACK CAT MYSTERY No. 46 2 THE WORLD OF FANZINES: A SPECIAL FORM OF Harvey (Indicia: "Home Comics, Inc."). October, 1953. VG+ (4.5). Spine COMMUNICATION a bit rolled, a few light nicks and a touch of edgewear to top edge, small 144 pp., with 32 pp.