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Drawn&Quarterly
DRAWN & QUARTERLY spring 2012 catalogue EXCERPT FROM GUY DELISLE’S JERUSALEM EXCERPT FROM GUY DELISLE’S JERUSALEM EXCERPT FROM GUY DELISLE’S JERUSALEM CANADIAN AUTHOR GUY DELISLE JERUSALEM Chronicles from the Holy City Acclaimed graphic memoirist Guy Delisle returns with his strongest work yet, a thoughtful and moving travelogue about life in Israel. Delisle and his family spent a year in East Jerusalem as part of his wife’s work with the non-governmental organiza- tion Doctors Without Borders. They were there for the short but brutal Gaza War, a three-week-long military strike that resulted in more than 1000 Palestinian deaths. In his interactions with the emergency medical team sent in by Doctors Without Borders, Delisle eloquently plumbs the depths of the conflict. Some of the most moving moments in Jerusalem are the in- teractions between Delisle and Palestinian art students as they explain the motivations for their work. Interspersed with these simply told, affecting stories of suffering, Delisle deftly and often drolly recounts the quotidian: crossing checkpoints, going ko- sher for Passover, and befriending other stay-at-home dads with NGO-employed wives. Jerusalem evinces Delisle’s renewed fascination with architec- ture and landscape as political and apolitical, with studies of highways, villages, and olive groves recurring alongside depictions of the newly erected West Bank Barrier and illegal Israeli settlements. His drawn line is both sensitive and fair, assuming nothing and drawing everything. Jerusalem showcases once more Delisle’s mastery of the travelogue. “[Delisle’s books are] some of the most effective and fully realized travel writing out there.” – NPR ALSO AVAILABLE: SHENZHEN 978-1-77046-079-9 • $14.95 USD/CDN BURMA CHRONICLES 978-1770460256 • $16.95 USD/CDN PYONGYANG 978-1897299210 • $14.95 USD/CDN GUY DELISLE spent a decade working in animation in Europe and Asia. -
Arthur Suydam: “Heroes Are What We Aspire to Be”
Ro yThomas’’ BXa-Ttrta ilor od usinary Comiics Fanziine DARK NIGHTS & STEEL $6.95 IN THE GOLDEN & SILVER AGES In the USA No. 59 June 2006 SUYDAM • ADAMS • MOLDOFF SIEGEL • PLASTINO PLUS: MANNING • MATERA & MORE!!! Batman TM & ©2006 DC Comics Vol. 3, No. 59 / June 2006 ™ Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editors Emeritus Jerry Bails (founder) Contents Ronn Foss, Biljo White, Mike Friedrich Writer/Editorial: Dark Nights & Steel . 2 Production Assistant Arthur Suydam: “Heroes Are What We Aspire To Be” . 3 Eric Nolen-Weathington Interview with the artist of Cholly and Flytrap and Marvel Zombies covers, by Renee Witterstaetter. Cover Painting “Maybe I Was Just Loyal” . 14 Arthur Suydam 1950s/60s Batman artist Shelly Moldoff tells Shel Dorf about Bob Kane & other phenomena. And Special Thanks to: “My Attitude Was, They’re Not Bosses, They’re Editors” . 25 Neal Adams Richard Martines Golden/Silver Age Superman artist Al Plastino talks to Jim Kealy & Eddy Zeno about his long Heidi Amash Fran Matera and illustrious career. Michael Ambrose Sheldon Moldoff Bill Bailey Frank Motler Jerry Siegel’s European Comics! . 36 Tim Barnes Brian K. Morris When Superman’s co-creator fought for truth, justice, and the European way—by Alberto Becattini. Dennis Beaulieu Karl Nelson Alberto Becattini Jerry Ordway “If You Can’t Improve Something 200%, Then Go With The Thing John Benson Jake Oster That You Have” . 40 Dominic Bongo Joe Petrilak Modern legend Neal Adams on the late 1960s at DC Comics. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
Studies in Literature and Culture: the Graphic Novel
NACAE National Association of Comics Art Educators Studies in Literature and Culture: The Graphic Novel • REQUIRED TEXTS: Chynna Clugston-Major, Blue Monday: Absolute Beginners (Oni Press) Will Eisner, A Contract with God and Other Tenement Stories (DC Comics) Mike Gold (Ed.), The Greatest 1950s Stories Ever Told (DC Comics) Harold Gray, Little Orphan Annie: The Sentence (Pacific Comics Club) Jason Lutes, Jar of Fools (Drawn & Quarterly) Scott McCloud, Understanding Comics (Harper-Perennial) Frank Miller and David Mazzuchelli, Batman: Year One (DC Comics) Art Spiegelman, Maus: A Survivor’s Tale (Vol. I) (Pantheon) James Sturm, The Revival (Bear Bones Press) You will also need the following: • A notebook. I would like you to keep track of major points which come up in my lectures and also in our class discussions. • A folder or binder for reserve readings and class handouts. I would suggest you make copies of the reserve readings available at the library. I will also give you a number of photocopied handouts which include directed-reading questions and material which supplements the primary readings for the course. • GRADES ––Attendance and class participation (including short response papers and reading quizzes): 25% ––Writing Assignment/Mini-comic project: 25% ––Midterm exam: 25% ––Final exam: 25% * Your papers must be turned in on time! I will deduct a full grade for each day a paper is late. If you have any questions about your papers or the assigned paper topics, please see me during my office hours or by appointment. I will be glad to talk with you about our readings and about your essays. -
Apatoons.Pdf
San Diego Sampler #3 Summer 2003 APATOONS logo Mark Evanier Cover Michel Gagné 1 Zyzzybalubah! Contents page Fearless Leader 1 Welcome to APATOONS! Bob Miller 1 The Legacy of APATOONS Jim Korkis 4 Who’s Who in APATOONS APATOONers 16 Suspended Animation Special Edition Jim Korkis 8 Duffell's Got a Brand New Bag: San Diego Comicon Version Greg Duffell 3 “C/FO's 26th Anniversary” Fred Patten 1 “The Gummi Bears Sound Off” Bob Miller 4 Assorted Animated Assessments (The Comic-Con Edition) Andrew Leal 10 A Rabbit! Up Here? Mark Mayerson 11 For All the Little People David Brain 1 The View from the Mousehole Special David Gerstein 2 “Sometimes You Don’t Always Progress in the Right Direction” Dewey McGuire 4 Now Here’s a Special Edition We Hope You’ll REALLY Like! Harry McCracken 21 Postcards from Wackyland: Special San Diego Edition Emru Townsend 2 Ehhh .... Confidentially, Doc - I AM A WABBIT!!!!!!! Keith Scott 5 “Slices of History” Eric O. Costello 3 “Disney Does Something Right for Once” Amid Amidi 1 “A Thought on the Powerpuff Girls Movie” Amid Amidi 1 Kelsey Mann Kelsey Mann 6 “Be Careful What You Wish For” Jim Hill 8 “’We All Make Mistakes’” Jim Hill 2 “Getting Just the Right Voices for Hunchback's Gargoyles …” Jim Hill 7 “Animation vs. Industry Politics” Milton Gray 3 “Our Disappearing Cartoon Heritage” Milton Gray 3 “Bob Clampett Remembered” Milton Gray 7 “Coal Black and De Sebben Dwarfs: An Appreciation” Milton Gray 4 “Women in Animation” Milton Gray 3 “Men in Animation” Milton Gray 2 “A New Book About Carl Barks” Milton Gray 1 “Finding KO-KO” Ray Pointer 7 “Ten Tips for Surviving in the Animation Biz” Rob Davies 5 Rob Davies’ Credits List Rob Davies 2 “Pitching and Networking at the Big Shows” Rob Davies 9 Originally published in Animation World Magazine, AWN.com, January 2003, pp. -
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
Art Spiegelman's Experiments in Pornography
ORE Open Research Exeter TITLE Art Spiegelman’s ‘Little Signs of Passion’ and the Emergence of Hard-Core Pornographic Feature Film AUTHORS Williams, PG JOURNAL Textual Practice DEPOSITED IN ORE 20 August 2018 This version available at http://hdl.handle.net/10871/33778 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Art Spiegelman’s ‘Little Signs of Passion’ and the emergence of hard-core pornographic feature film Paul Williams In 1973 Bob Schneider and the underground comix1 creator Art Spiegelman compiled Whole Grains: A Book of Quotations. One of the aphorisms included in their book came from D. H. Lawrence: ‘What is pornography to one man is the laughter of genius to another’.2 Taking a cue from this I will explore how Spiegelman’s comic ‘Little Signs of Passion’ (1974) turned sexually explicit subject matter into an exuberant narratological experiment. This three-page text begins by juxtaposing romance comics against hard-core pornography,3 the former appearing predictable and artificial, the latter raw and shocking, but this initial contrast breaks down; rebutting the defenders of pornography who argued that it represented a welcome liberation from repressive sexual morality, ‘Little Signs of Passion’ reveals how hard-core filmmakers turned fellatio and the so-called money shot (a close-up of visible penile ejaculation) into standardised narrative conventions yielding lucrative returns at the box office. -
Graphic Narrative in Contemporary Literature & Art: Evolution of Comic Book to Graphic Novel
An Elective Course for Undergraduate and Graduate Students of any discipline and for English Language Students GRAPHIC NARRATIVE IN CONTEMPORARY LITERATURE & ART: EVOLUTION OF COMIC BOOK TO GRAPHIC NOVEL ✓ Basic Requirements: Appropriate language skills required by the University. ➢ This course should be of interest to anyone concerned with verbal & visual communications, popular forms, mass culture, history and its representation, colonialism, politics, journalism, writing, philosophy, religion, mythology, mysticism, metaphysics, cultural exchanges, aesthetics, post-modernism, theatre, film, comic art, collections, popular art & culture, literature, fine arts, etc. ➢ This course may have a specific appeal to fans and/or to those who are curious about this vastly influential, widely popular, most complex and thought-provoking work of contemporary literature and art form, the ‘Comics’; however it does not presume a prior familiarity with graphic novels and/or comics, just an overall enthusiasm to learn new things from a new angle and an open mind. ✓ Prerequisites: ➢ FA489: ‘By consent’ selection of students. ➢ FA490: Upon successful completion of FA489. ✓ Co-requisites: ➢ FA489: Freshmen who graduated from a high school with an English curriculum or passed BU proficiency test with an A; & sophomore, junior, senior students. ➢ FA490: Successful completion of FA 489. ✓ No requisites: FA49V. ✓ Recommended Preparation: Reading all of the required readings and as many from the suggested reading list. Idea Description: Is ‘comics’ a form of both literature and art? Certainly the answer is “yes” but there are many people who reject the idea, yet many other people call those people old-school intellectuals. However, in recent years, many scholars, critics and faculty alike have accepted ‘comics’, often dubbed by many publishers as ‘graphic novel’, as a respected form of both literature and art. -
The Cyclops in the Odyssey, Ulysses, and Asterios Polyp: How Allusions Affect Modern Narratives and Their Hypotexts
THE CYCLOPS IN THE ODYSSEY, ULYSSES, AND ASTERIOS POLYP: HOW ALLUSIONS AFFECT MODERN NARRATIVES AND THEIR HYPOTEXTS by DELLEN N. MILLER A THESIS Presented to the Department of English and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts December 2016 An Abstract of the Thesis of Dellen N. Miller for the degree of Bachelor of Arts in the Department of English to be taken December 2016 Title: The Cyclops in The Odyssey, Ulysses, and Asterios Polyp: How Allusions Affect Modern Narratives and Their Hypotexts Approved: _________________________________________ Paul Peppis The Odyssey circulates throughout Western society due to its foundation of Western literature. The epic poem thrives not only through new editions and translations but also through allusions from other works. Texts incorporate allusions to add meaning to modern narratives, but allusions also complicate the original text. By tying two stories together, allusion preserves historical works and places them in conversation with modern literature. Ulysses and Asterios Polyp demonstrate the prevalence of allusions in books and comic books. Through allusions to both Polyphemus and Odysseus, Joyce and Mazzucchelli provide new ways to read both their characters and the ancient Greek characters they allude to. ii Acknowledgements I would like to sincerely thank Professors Peppis, Fickle, and Bishop for your wonderful insight and assistance with my thesis. Thank you for your engaging courses and enthusiastic approaches to close reading literature and graphic literature. I am honored that I may discuss Ulysses and Asterios Polyp under the close reading practices you helped me develop. -
The Cambridge History of the Graphic Novel Edited by Jan Baetens , Hugo Frey , Stephen E
Cambridge University Press 978-1-107-17141-1 — The Cambridge History of the Graphic Novel Edited by Jan Baetens , Hugo Frey , Stephen E. Tabachnick Index More Information 659 Index (À Suivre) see also Adèle Blanc- Sec (Tardi) ; Corto anime, Japanese Maltese (Pratt) adaptations of Tezuka’s works, 597 – 598 comics as literature, 252 – 253 , 266 – 267 Akira (Otomo), 331 – 332 , 546 , 598 retelling of genre i ction, 251 – 252 , 253 Astro Boy (Tezuka), 324 , 326 , 333 The World of Edena cycle (Moebius), domestication of, 333 264 – 266 foreignization strategies and, 331 – 333 (L’)Association, 69 subtitles and foreignization, 326 Abdelrazaq, Leila transculturation of texts, 326 Baddawi , 416 – 417 arabesque romanticism, 26 – 27 , 30 , 32 Abel, Robert W., 372 Archie , 103 , 305 , 357 – 358 , 469 Abirached, Zeina art brut, 136 , 140 – 141 A Game for Swallows: to Die, to Leave, to Atwood, Margaret, 492 Return , 415 – 416 author–artist teams Abouet, Marguerite complete author remit of graphic Aya de Yopugon , 601 novels, 54 Adams, Jef , 398 , 400 creative output, 11 Adèle Blanc- Sec (Tardi) Moore and Gibbons, 226 – 227 narrative structure, 260 – 261 negative capability, 201 noir tradition in, 258 rise in, 219 otherness in, 258 – 260 on Sandman (Gaiman), 345 – 346 urban environment of, 258 – 260 Töpf er’s embodiment of, 32 – 33 and World War I, 261 – 262 authorship adult comic strips see also Barbarella (Forest) ; auterist model, 219 Grove Press of comix, 159 – 160 debates over, 133 – 134 creative expression and underground in France, 134 – 135 , 263 comics, 156 – 157 , 158 , 161 – 162 , 269 , 304 inl uence of Barbarella on, 135 – 136 Daniel Clowes’ author– reader relationship, scholarship on, 6 – 7 366 – 368 Adult Comics (Sabin), 5 , 6 , 380 Eisner’s portrait of the artist at work, Aldama, F. -
By Lee A. Breakiron REVIEWING the REVIEW
REHEAPA Summer Solstice 2010 By Lee A. Breakiron REVIEWING THE REVIEW Belying its name, the first issue of the fanzine The Howard Review (THR) contained no reviews, but only because its editor and publisher, Dennis McHaney, had wanted to hold it to 24 pages while including Howard’s story “The Fearsome Touch of Death” and Glenn Lord’s “The Fiction of Robert E. Howard: A Checklist.” McHaney had sent a list of the published works to Lord, who added the unpublished works. “Fearsome” had not been reprinted since its appearance in Weird Tales in February, 1930, and it was de rigueur at the time for any REH fanzine to feature some unpublished or unreprinted material by Howard. Lord had provided the material and permission required, as he was to do for so many fanzines, magazines, and books published during the Howard Boom of the 1970s. In the issue’s editorial, McHaney states that his zine “will be strictly devoted to Robert E. Howard, and will only review new material by others if that material is directly related to R.E.H., or one of his creations,” including pastiches. It would also “contain fiction and poetry by Howard, including obscure, out-of-print items as well as unpublished pieces.” [1, p. 3] And so began one of the better known fanzines of the period, produced by the longest active contributor to Howard fandom, given that he is still active. Marked by continual experimentation and improvement in format and style, THR reflected its creator’s interest and skill in graphic design and his drive to constantly hone those skills and utilize the best technology available. -
Bloodstar Free Ebook
FREEBLOODSTAR EBOOK Ian Douglas | 355 pages | 30 Nov 2012 | Voyager | 9780061894763 | English | United States Richard Corben Bloodstar Just recently picked some of this up to check out the difference of a dominate satvia strain, and I gotta say, wow! It was a much different feeling then you would get from a much more Indica dominated strain. You felt great, but you Bloodstar felt enhanced in what you where doing with anxiety, depression and worry set aside for focus. Had no need or want to eat anything even a few hours Bloodstar using the product. Not silly stoned, but more of eased stoned. Best way to explain it is residing in water temperature perfect hot tub. The smoke itself isn't harsh at Bloodstar, more like clean, crisp AAA pipe tobacco. Fantastic strain for those looking for a buzz, but Bloodstar a buzz so dominate Bloodstar adheres you to the couch. Help other customers find trustworthy businesses and make good decisions. To reward a company that has done right by you. Giving public feedback is the best way to get companies to listen To help companies make improvements in their products and services. People reply on consumer reviews and posting reviews is a way Bloodstar giving back. Help other patients find trustworthy strains and get Bloodstar sense Bloodstar how a particular strain might help them. A great way to share information, contribute to collective knowledge and giving back to the cannabis community. A great review should include flavor, aroma, effect, and Bloodstar health ailments. The Blood Bloodstar. Strain Information. BloodstarFocusUplifting. May Relieve.