Steven Cerio.Pdf
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Actuel and the Acclimation of US Comix in France in the 1970S Jean-Paul Gabilliet
Actuel and the acclimation of US comix in France in the 1970s Jean-Paul Gabilliet To cite this version: Jean-Paul Gabilliet. Actuel and the acclimation of US comix in France in the 1970s. 2019. hal- 02275648 HAL Id: hal-02275648 https://hal.archives-ouvertes.fr/hal-02275648 Preprint submitted on 10 Sep 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. “Comics and Travel” conference, 5th July 2019, Oxford “Actuel and the acclimation of US comix in France in the 1970s”1 Jean-Paul Gabilliet, Université Bordeaux Montaigne (France) 01 In the historiography of French bande dessinée, the period following the May 1968 student and labour protest movement is generally addressed from the angle of the “adult” comic magazines that appeared in those years. The most famous of them were the post-spring 1968 Pilote, Charlie Mensuel (debut issue in February 1969), L’Écho des savanes (May 1972), Métal Hurlant (January 1975), and Fluide glacial (May 1975). 02 There appeared simultaneously a handful of more or less short-lived titles— including Zinc (1971-1974), Le Canard sauvage (1973-1974), Mormoil (1974-1975)— whose quick or not-so-quick demises stemmed from insufficiently attractive contents and/or faulty distribution. -
An Aesthetic History of Comics Instructor: Dan Nadel
NACAE National Association of Comics Art Educators An Aesthetic History of Comics Instructor: Dan Nadel This is a class about comics as a medium for expression. It focuses on the aesthetics of comics on and beyond the page. Comics are usually taught in terms of its dominant genres (superhero) and characters (Superman, etc.). This class will cover that history minimally, in favor of a strong focus on comics as a mode of expression (discussing drawing/mark making, storytelling mechanics) and as a graphic/commercial culture that defined many pop cultural icons/idioms and in turn influenced fine artists. This course will attempt to place comics firmly within the context of visual culture in general while continually arguing for the relevance and power of the printed image. Semester-long readings: Tom De Haven: Derby Dugan’s Depression Funnies, Dugan Goes Underground Kim Deitch: Boulevard of Broken Dreams McSweeney’s 13 Steven Milhauser: Little Kingdoms Patrick McDonnell, et al, Krazy Kat: The Comic Art of George Herriman Dan Raeburn: The Imp 4 This document is free for non-commercial educational use. See http://www.teachingcomics.org/copy.php for complete copyright information. NACAE National Association of Comics Art Educators UNIT 1: INTRODUCTION Week 1: Overview Historical and thematic overview of the course. Initial discussion: Reasons, interests, favorites, requests. Reading: Art Spiegelman, “Comix: An Idiosyncratic Historical and Aesthetic Overview,” 1988, in Comix, Essays, Graphics and Scraps. Chris Ware, Introduction to McSweeney’s 13. Handout with comics and odds and ends from DN Viewing: The University of Brighton’s Comics resource: http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComics.html UNIT 2: HISTORIES I Week 2: Artful beginnings Modern comics begin in the mid 19th century with the Swiss fine artist Rudolf Topffer, who created nonfiction and satiric graphic novels, and continues with Wilhelm Busch and numerous German artists who expanded the comics vocabulary. -
“We're Not Rated X for Nothin', Baby!”
CORSO DI DOTTORATO IN “LE FORME DEL TESTO” Curriculum: Linguistica, Filologia e Critica Ciclo XXXI Coordinatore: prof. Luca Crescenzi “We’re not rated X for nothin’, baby!” Satire and Censorship in the Translation of Underground Comix Dottoranda: Chiara Polli Settore scientifico-disciplinare L-LIN/12 Relatore: Prof. Andrea Binelli Anno accademico 2017/2018 CONTENTS CONTENTS ........................................................................................................................................................................ 1 INTRODUCTION ............................................................................................................................................................. 3 SECTION 1: FROM X-MEN TO X-RATED ............................................................................................................ 11 Chapter 1. “DEPRAVITY FOR CHILDREN – TEN CENTS A COPY!” ......................................................... 12 1.1. A Nation of Stars and Comic Strips ................................................................................................................... 12 1.2. Comic Books: Shades of a Golden Age ............................................................................................................ 24 1.3. Comics Scare: (Self-)Censorship and Hysteria ................................................................................................. 41 Chapter 2. “HAVE YOU EVER SEEN THE RAIN?”: RISE AND FALL OF A COUNTERCULTURAL REVOLUTION ................................................................................................................................................................ -
La Bande Dessinée De La Contestation
UNDERGROUND U.S.A. Jacques BISCEGLIA - né à Paris en 1940 - photographe de jazz - collabore à de nombreux magazines français (dont les deux premières séries d'Actuel) ou étrangers depuis 1968 - a illustré plusieurs centaines de pochettes de dis- ques de jazz en France, aux U.S. A., au Japon, en Grande- Bretagne, etc. - producteur à France-Musique - bouqui- niste sur les quais de Seine - collabore au Collectionneur de bandes dessinées et à Trésors de la bande dessinée (B.D.M.) - anime les collections « Harry Dickson » et « Fantastique » aux éditions Corps 9 - auteur de : - Trésors du roman policier, de la science-fiction et du fan- tastique (avec Roland Buret), éditions de l'Amateur, Paris, 1981 ; - Trésors du roman policier, éditions de l'Amateur, Paris, 1984; - Black & White Fantasy (127 photos sur le jazz), éditions Corps 9, Troesnes, 1984. Sylvie BROD - née à Paris en 1949 - professeur d'anglais, et spécialisée en civilisation américaine. Jacques Bisceglia et Sylvie Brod ont réalisé l'exposition «Voyage en Underground» lors du 13e Salon internatio- nal de la bande dessinée d'Angoulême en janvier 1986. En préparation, des mêmes auteurs : Underground II. J- 8Í>Cé.Gf,.ÏA - Ç'3^ot> LA BANDE DESSINÉE DE LA CONTESTATION Publié avec le concours du Centre National des Lettres Corps 9 EDITIONS TROESNES 02460 LAFERTÉ-MILON @ Jacques Bisceglia et Sylvie Brod pour le texte, 1986. @ Les auteurs pour les illustrations, 1986. Ce livre est dédié à tous les chats de la Bande Dessinée. Gilbert Shelton, Fat Freddy's comics & stories 1, 1983, au milk-bar^ « Nous aimerions atteindre les lecteurs de bandes dessinées qui sont réceptifs à autre chose [...]. -
Alternative Comics: an Emerging Literature
ALTERNATIVE COMICS Gilbert Hernandez, “Venus Tells It Like It Is!” Luba in America 167 (excerpt). © 2001 Gilbert Hernandez. Used with permission. ALTERNATIVE COMICS AN EMERGING LITERATURE Charles Hatfield UNIVERSITY PRESS OF MISSISSIPPI • JACKSON www.upress.state.ms.us The University Press of Mississippi is a member of the Association of American University Presses. Copyright © 2005 by University Press of Mississippi All rights reserved Manufactured in the United States of America First edition 2005 ϱ Library of Congress Cataloging-in-Publication Data Hatfield, Charles, 1965– Alternative comics : an emerging literature / Charles Hatfield. — 1st ed. p. cm. Includes bibliographical references and index. ISBN 1-57806-718-9 (cloth : alk. paper) — ISBN 1-57806-719-7 (pbk. : alk. paper) 1. Underground comic books, strips, etc.—United States—History and criticism. I. Title. PN6725.H39 2005 741.5'0973—dc22 2004025709 British Library Cataloging-in-Publication Data available CONTENTS Acknowledgments vii Introduction ix Alternative Comics as an Emerging Literature 1 Comix, Comic Shops, and the Rise of 3 Alternative Comics, Post 1968 2 An Art of Tensions 32 The Otherness of Comics Reading 3 A Broader Canvas: Gilbert Hernandez’s Heartbreak Soup 68 4 “I made that whole thing up!” 108 The Problem of Authenticity in Autobiographical Comics 5 Irony and Self-Reflexivity in Autobiographical Comics 128 Two Case Studies 6 Whither the Graphic Novel? 152 Notes 164 Works Cited 169 Index 177 This page intentionally left blank ACKNOWLEDGMENTS Who can do this sort of thing alone? Not I. Thanks are due to many. For permission to include passages from my article, “Heartbreak Soup: The Interdependence of Theme and Form” (Inks 4:2, May 1997), the Ohio State University Press. -
The Comics and Art of Rory Hayes Free
FREE SO THATS WHERE THE DEMENTED WENTED: THE COMICS AND ART OF RORY HAYES PDF Daniel Nadel,Glenn Bray | 144 pages | 25 Sep 2008 | Fantagraphics | 9781560979234 | English | Seattle, United States Where Demented Wented: The Art and Comics of Rory Hayes by Rory Hayes What a great web site, and I love that you love Rory Hayes. I always wanted to know more about this man, like I couldn't understand the dichotomy of his coming from a tight loving family or so it is said in the press releases and then his being such a major speed freak. Most speed freaks I used to know had troubled backgrounds. Anyway, I just wondered, and So Thats Where the Demented Wented: The Comics and Art of Rory Hayes always liked his artwork. Speed and that bay are old friends. I saw his brother speak about Rory and they were very focused even as kids about drawing So Thats Where the Demented Wented: The Comics and Art of Rory Hayes sci-fi horror, and the 70's were just kind of off the hook about drugs, I remember kids in my middle class neighborhood being all into PCP and it was kind of normal Much more middle class than you would think. I mentor students in art now and a lot of them are very anti-drug. Times change I suppose. I love how this guy just doesn't fit any real genre. Its kind of outsider, but "in". I think you have to approach it from his motivation. I guess the word is idiosyncratic. -
Newfangles 53
z" to wins: KLATTANGLES 53 is the November 1971 -- and penultimate -- issue of a news&opinion fanzine from Don&lvlaggie Thompson, 8786 Hendricks Rd., Kent or OH 44060 at 20'/ a copy. There will be only one more issue and we will publish only enough copies to meet orders. We have 543 subscribers this issue, 490 for next. We have back issues 50 and 52 for 20/ each. 535353535353535353535353535353535353535353535353535353535353535353535353535353535353535353 This is Page 361 of Newfangles. '.ARREN NEWS: Warren is using several European artists and will soon reprint from overseas publications, barren is expanding the search for artists to the Orient. He already is using some extremely talented artists of Spanish descent. There are a number of stories in the Warren backlog-by such writers-worth-watching as T Casey Brennan, Donald McGregor and Douglas iioench. The US Postal Service, when not busy not delivering mail, spends a great deal of time . orking out ways to raise more money. It is almost certain that postal rates will be up by another 3/ per ounce for first class mail by this time next year. The Postal Service also laid out $5 million to Leo Burnett Co., a Chicago ad agency, apparently to find a way to plug renting of post office boxes -- indications are that some attempt may be made to phase out mail delivery iri favor of having everyone rent PO boxes. Jack Kirby is being taken off Jimmy Olsen to work on a top secret project (a new book). It would seem that JO is not selling as well as might be expected, but maybe this is a case /here a major change is being made in a comic that is selling well. -
A History of Underground Comics Is “The Only Serious Attempt So Far to Chronicle This Bizarre Period in Comic History” —San Jose Mercury
A History of A Preview Underground Seriously funny! Seriously! More than 1,000 illus- Comics trations–many unique to this book! Where the un- by Mark J. Estren derground comics came from–how they developed —where they went–who created them–who tried to destroy them! First-person comments by cartoonists including Robert Crumb, Gilbert Shelton, Art Spiegelman, S. Clay Wilson, Trina Robbins, Jay Lynch and many others! Sex! Drugs! Rock ‘n’ roll! Politics! Feminism! Violence! Censorship! Ecology! Plus some stuff that isn’t funny! The 20th-anniversary edition of A History of Underground Comics is “the only serious attempt so far to chronicle this bizarre period in comic history” —San Jose Mercury “Estren’s book is one of the best studies of comic art in print.” – Seattle Times “A long, loving, yet still perceptive look at the artwork, the philosophies and the satire.” – Santa Barbara News-Press “A generous genealogy of this warped genre.” – Swank Mark James Estren, depicted in the De- nis Kitchen strip to the right, won the Pulitzer for A History of Underground Comics while still a graduate student. Dr. Estren (he holds two PhDs) has worked as a journalist for CBS and ABC News, the Washington Post, Philadelphia Inquirer and Miami Herald, and ran Financial News Network. He was editor of High Technology Business magazine and of the books In Tune with America and Pro- fessionally Speaking, and was a major con- tributor to In a Word: A Dictionary of Words That Don’t Exist, but Ought To. Estren has been a venture capitalist, orchestra conduc- tor, psychologist and herpetologist. -
Lowbrow Art : the Unlikely Defender of Art History's Tradition Joseph R
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2013 Lowbrow art : the unlikely defender of art history's tradition Joseph R. Givens Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Givens, Joseph R., "Lowbrow art : the unlikely defender of art history's tradition" (2013). LSU Master's Theses. 654. https://digitalcommons.lsu.edu/gradschool_theses/654 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. LOWBROW ART: THE UNLIKELY DEFENDER OF ART HISTORY’S TRADITION A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Joseph R. Givens M.S., Arkansas State University, 2005 May 2013 I dedicate this work to my late twin brother Joshua Givens. Our shared love of comics, creative endeavors, and mischievous hijinks certainly influenced my love of Lowbrow Art. ii ACKNOWLEDGEMENTS I would like to thank Professor Darius Spieth. Without his open mind and intellectual guidance, a thesis on this marginalized movement would not have been possible. I want to express my gratitude to Robert and Suzanne Williams who have patiently answered all of my inquiries without hesitation. -
Justin Green Y El Surgimiento Del Cómic Autobiográfico
Justin Green y el surgimiento del cómic autobiográfico IRENE COSTA MENDIA Irene Costa Mendia (1985) es licenciada en Historia del arte en la UPV-EHU. Centra su investigación para la tesis doctoral en torno a los cómics autobiográficos. Ha escrito reseñas y artículos en los fanzines La Gallina Vasca , RumblE!! , en la revista online Mamajuana , en las páginas web Tebeosfera y I’m the mocker y en el boletín cultural Anelier . RESUMEN El siguiente artículo estudia los orígenes del cómic autobiográfico. El objetivo del estudio es contextualizar la aparición de este tipo de cómic en el seno de la cultura del comix underground . Describir un panorama sociocultural y determinar los diferentes factores que posibilitaron el desarrollo de la autobiografía en el cómic. Nos centraremos en la obra de Justin Green, Binky Brown conoce a la Virgen María (considerada la primera obra autobiográfica en la historia del cómic estadounidense) y en las reacciones que causó en los dibujantes de la época. Partimos de la premisa de que, en un contexto de persecución y censura que se cebaba, especialmente, en los cómics, unos autores supieron combinar la sátira con los principios contestatarios heredados de la contracultura, aventurándose a romper tabúes, entre los que se encontraba la autobiografía. ABSTRACT This paper studies the origins of autobiographical comic. The aim of the study is to contextualize the emergence of this type of comic in the bosom of the culture of the underground comix . Describing a cultural landscape and specifying the different factors that enabled the development of autobiography in the comic. We will focus on the work of Justin Green, Binky Brown Meets the Holy Virgin Mary (considered the first autobiographical work in the history of the American comics) and in the reactions it caused in the draftsmen of that time. -
![Robert Crumb [Job Description]](https://docslib.b-cdn.net/cover/5231/robert-crumb-job-description-7695231.webp)
Robert Crumb [Job Description]
ROBERT CRUMB [JOB DESCRIPTION] “QUOTE TK.” Thoughts List: Thing TK Thing TK Thing TK e might deny it, but when Robert Crumb sensibility was appealing to the late-’60s crowd, specifically to published Zap Comix number 1, in 1968, those frequenting the head shops and hippie boutiques that he invented a new form of art as surely were sprouting up and looking for something to sell next to as Marcel Duchamp did in 1913 when the bongs and beads. When these stores bit, Crumb inadver- he presented the “ready-made” sculp- tently opened up a distribution door for hundreds of artists. Hture to the world. Duchamp used a familiar object—a bicy- Crumb was the first to conceive of the comic book not cle wheel—and imbued it with new meaning by changing its as a genre but as a medium for anything. He found an audi- context, placing the wheel in an art exhibition. Crumb, mean- ence hungry for picture stories that related to their own expe- while, took the familiar mid-century comic book and messed riences. Underground comics fed the need, and the impact of with it, stripping it of its patriotic superheroes and huggable, his moves changed the medium forever. Without Crumb there funny animals and filling the pages instead with psychedelic might be no Art Spiegelman and no Maus, no Lynda Barry and psychologically charged imagery. and The Good Times Are Killing Me, no Gilbert Hernandez Underground comic books existed before 1968, but none and Love and Rockets. had the potency or popularity of Zap Comix. -
Jayskip-SEED.Pdf
Skip Williamson and Jay Lynch, head cartoonists of “Bijou Funnies”, were interviewed by Scorpio on his WGLD-FM progressive-rock show. Following is a part of their conversation. SCORPIO: Why “Bijou Funnies”? Where did you get that name? JAY: We used to do the “Mirror” and we just decided to change the name of the “Mirror” to “Bijou” and then we just decided to do comic books. Bijou’s a good name, you know, movie theaters are called that. SKIP: It’s a very comic book-type title. J: I wanna do one called “Wampus Comics”, that’s another good name, “Wampus”. SC: What is the theme, the plot of “Bijou Funnies”? What are the main characters? J: Well, I do Nard & Pat, Skip does Snappy Sammy Smoot and Crumb does Mr. Natural. SK: It really depends on the individual artist. See, there’s no editorial policy or anything like that. The idea is that we are a display area for cartoonists who want to do work and there are no real restrictions. We ask them to contribute and they do, and whatever they come up with we generally publish. SC: Why does it say “Adults Only”? J: Well, comic books have always been considered in this country as children’s entertainment, but in Italy they have “Fumetti Comics” which are photographs with balloons coming out of them; they have adult comics in Japan… SK: In France they have “Barbella” which the movie was based on. J: … and they’re certainly not something that was intended for children, although I’m sure it wouldn’t hurt the children to see it, it’s probably very healthy.