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On the Graphic Novel - Santiago Garcia - Bog - University Press of Mississippi - Plusbog.dk

On the Graphic Novel - Santiago Garcia - Bog - University Press of Mississippi - Plusbog.dk

A noted comics artist himself, Santiago García follows the history of the graphic novel from early nineteenth-century European sequential art, through the development of newspaper strips in the US, to the development of the twentieth-century comic book. He considers the aesthetic and entrepreneurial innovations that established the conditions for the rise of the graphic novel all over the world.

DKK 312.00
1

Asian Comics - John A. Lent - Bog - University Press of Mississippi - Plusbog.dk

Asian Comics - John A. Lent - Bog - University Press of Mississippi - Plusbog.dk

Grand in its scope, Asian Comics dispels the myth that, outside of Japan, the continent is nearly devoid of comic strips and comic books. Relying on his fifty years of Asian mass communication and comic art research, during which he traveled to Asia at least seventy-eight times and visited many studios and workplaces, John A. Lent shows that nearly every country had a golden age of cartooning and has experienced a recent rejuvenation of the art form.As only Japanese comics output has received close and by now voluminous scrutiny, Asian Comics tells the story of the major comics creators outside of Japan. Lent covers the nations and regions of Bangladesh, Cambodia, China, Hong Kong, India, Indonesia, Korea, Malaysia, Myanmar, Nepal, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand, and Vietnam.Organized by regions of East, Southeast, and South Asia, Asian Comics provides 178 black-and-white illustrations and detailed information on comics of sixteen countries and regions—their histories, key creators, characters, contemporary status, problems, trends, and issues. One chapter harkens back to predecessors of comics in Asia, describing scrolls, paintings, books, and puppetry with humorous tinges, primarily in China, India, Indonesia, and Japan. The first overview of Asian comic books and magazines (both mainstream and alternative), graphic novels, newspaper comic strips and gag panels, plus cartoon/humor magazines, Asian Comics brims with facts, fascinating anecdotes, and interview quotes from many pioneering masters, as well as younger artists.

DKK 858.00
1

Asian Comics - John A. Lent - Bog - University Press of Mississippi - Plusbog.dk

Asian Comics - John A. Lent - Bog - University Press of Mississippi - Plusbog.dk

Grand in its scope, Asian Comics dispels the myth that, outside of Japan, the continent is nearly devoid of comic strips and comic books. Relying on his fifty years of Asian mass communication and comic art research, during which he traveled to Asia at least seventy-eight times and visited many studios and workplaces, John A. Lent shows that nearly every country had a golden age of cartooning and has experienced a recent rejuvenation of the art form.As only Japanese comics output has received close and by now voluminous scrutiny, Asian Comics tells the story of the major comics creators outside of Japan. Lent covers the nations and regions of Bangladesh, Cambodia, China, Hong Kong, India, Indonesia, Korea, Malaysia, Myanmar, Nepal, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand, and Vietnam.Organized by regions of East, Southeast, and South Asia, Asian Comics provides 178 black-and-white illustrations and detailed information on comics of sixteen countries and regions—their histories, key creators, characters, contemporary status, problems, trends, and issues. One chapter harkens back to predecessors of comics in Asia, describing scrolls, paintings, books, and puppetry with humorous tinges, primarily in China, India, Indonesia, and Japan. The first overview of Asian comic books and magazines (both mainstream and alternative), graphic novels, newspaper comic strips and gag panels, plus cartoon/humor magazines, Asian Comics brims with facts, fascinating anecdotes, and interview quotes from many pioneering masters, as well as younger artists.

DKK 312.00
1

Chester Brown - - Bog - University Press of Mississippi - Plusbog.dk

Chester Brown - - Bog - University Press of Mississippi - Plusbog.dk

The early 1980s saw a revolution in mainstream comics--in subject matter, artistic integrity, and creators'' rights--as new methods of publishing and distribution broadened the possibilities. Among those artists utilizing these new methods, Chester Brown (b. 1960) quickly developed a cult following due to the undeniable quality and originality of his Yummy Fur (1983-1994).Chester Brown: Conversations collects interviews covering all facets of the cartoonist''s long career and includes several pieces from now-defunct periodicals and fanzines. Brown was among a new generation of artists whose work dealt with decidedly nonmainstream subjects. By the 1980s comics were, to quote a by-now well-worn phrase, "not just for kids anymore," and subsequent censorious attacks by parents concerned about the more salacious material being published by the major publishers--subjects that routinely included adult language, realistic violence, drug use, and sexual content--began to roil the industry. Yummy Fur came of age during this storm and its often-offensive content, including dismembered, talking penises, led to controversy and censorship.With Brown''s highly unconventional adaptations of the Gospels, and such comics memoirs as The Playboy (1991/1992) and I Never Liked You (1991-1994), Brown gradually moved away from the surrealistic, humororiented strips toward autobiographical material far more restrained and elegiac in tone than his earlier strips. This work was followed by Louis Riel (1999-2003), Brown''s critically acclaimed comic book biography of the controversial nineteenth-century Canadian revolutionary, and Paying for It (2011), his best-selling memoir on the life of a john.

DKK 858.00
1

Comics as Culture - M. Thomas Inge - Bog - University Press of Mississippi - Plusbog.dk

Comics as Culture - M. Thomas Inge - Bog - University Press of Mississippi - Plusbog.dk

Comics and cartoons are ingrained in American life. One critic has called comic books “crude, unimaginative, banal, vulgar, ultimately corrupting.” They have been regarded with considerable suspicion by parents, educators, psychiatrists, and moral reformers. They have been investigated by governmental committees and subjected to severe censorship. Yet more than 200 million copies are sold annually. Upon even casual examination BLONDIE, ARCHIE, MARY WORTH, THE WIZARD OF ID, and SHOE—among the many comic strips—will be found to support some commonly accepted notion or standard of society. Why do comics both amuse and arouse controversy? Here is an attempt at an answer in a sharp-eyed comic-book lover’s probing look at this step-child genre. He finds comics both loved and hated, relished and sneered at. In their relying on dramatic conventions of character, dialogue, scene, gesture, compressed time, and stage devices, he finds the comics close to the drama but probably closer kin to

DKK 261.00
1

Comics and the U.S. South - - Bog - University Press of Mississippi - Plusbog.dk

Comics and the U.S. South - - Bog - University Press of Mississippi - Plusbog.dk

Comics and the U.S. South offers a wide-ranging and long overdue assessment of how life and culture in the United States South is represented in serial comics, graphic novels, newspaper comic strips, and webcomics. Diverting the lens of comics studies from the skyscrapers of Superman's Metropolis or Chris Ware's Chicago to the swamps, back roads, small towns, and cities of the U.S. South, this collection critically examines the pulp genres associated with mainstream comic books alongside independent and alternative comics. Some essays seek to discover what Captain America can reveal about southern regionalism and how slave narratives can help us reread Swamp Thing; others examine how creators such as Walt Kelly (Pogo), Howard Cruse (Stuck Rubber Baby), Kyle Baker (Nat Turner), and Josh Neufeld (A.D.: New Orleans after the Deluge) draw upon the unique formal properties of the comics to question and revise familiar narratives of race, class, and sexuality; and another considers how southern writer Randall Kenan adapted elements of comics form to prose fiction. With essays from an interdisciplinary group of scholars, Comics and the U.S. South contributes to and also productively reorients the most significant and compelling conversations in both comics scholarship and in southern studies.

DKK 832.00
1

Comics and the U.S. South - - Bog - University Press of Mississippi - Plusbog.dk

Comics and the U.S. South - - Bog - University Press of Mississippi - Plusbog.dk

Comics and the U.S. South offers a wide-ranging and long overdue assessment of how life and culture in the United States South is represented in serial comics, graphic novels, newspaper comic strips, and webcomics. Diverting the lens of comics studies from the skyscrapers of Superman's Metropolis or Chris Ware's Chicago to the swamps, back roads, small towns, and cities of the U.S. South, this collection critically examines the pulp genres associated with mainstream comic books alongside independent and alternative comics. Some essays seek to discover what Captain America can reveal about southern regionalism and how slave narratives can help us reread Swamp Thing; others examine how creators such as Walt Kelly (Pogo), Howard Cruse (Stuck Rubber Baby), Kyle Baker (Nat Turner), and Josh Neufeld (A.D.: New Orleans after the Deluge) draw upon the unique formal properties of the comics to question and revise familiar narratives of race, class, and sexuality; and another considers how southern writer Randall Kenan adapted elements of comics form to prose fiction. With essays from an interdisciplinary group of scholars, Comics and the U.S. South contributes to and also productively reorients the most significant and compelling conversations in both comics scholarship and in southern studies.

DKK 303.00
1

Life on the Press - Robert L. Gambone - Bog - University Press of Mississippi - Plusbog.dk

Life on the Press - Robert L. Gambone - Bog - University Press of Mississippi - Plusbog.dk

George Benjamin Luks (1867-1933) is renowned for the oil paintings, watercolors, and pastel drawings he created as an acclaimed member of the artists' collective known as the Ashcan School. His professional development came, however, from his apprenticeship as a newspaper and magazine artist. Luks spent his early career drawing cartoons, spot illustrations, political caricatures, and comic strips for the New York World and other papers. These early portraits and stories of street urchins, peddlers, shopkeepers, and other ordinary New Yorkers would all be revisited in his later painting. He achieved fame when he took over drawing Hogan's Alley for Joseph Pulitzer's New York World after the strip's originator Richard F. Outcault defected to William Randolph Hearst's New York Journal. Life on the Press: The Popular Art and Illustrations of George Benjamin Luks explores the roots of the artist's career drawing turn-of-the-twentieth-century New York City. The city's vital popular press served as a crucible in which a number of American artists honed their talents and learned how to communicate ideas to a broad popular audience. The resultant work, both popular and controversial, challenged notions of good art and proper subject matter. Robert L. Gambone's study brings Luks's early work to light and reveals the funny, often edgy, and sometimes prejudicial creations that formed the base upon which Luks built his later career.

DKK 307.00
1

Drawing France - Joel E. Vessels - Bog - University Press of Mississippi - Plusbog.dk

Drawing France - Joel E. Vessels - Bog - University Press of Mississippi - Plusbog.dk

In France, Belgium, and other Francophone countries, comic strips---called bande dessinee or ""BD"" in French---have long been considered a major art form capable of addressing a host of contemporary issues. Among French-speaking intelligentsia, graphic narratives were deemed worthy of canonization and critical study decades before the academy and the press in the United States embraced comics. The place that BD holds today, however, belies the contentious political route the art form has traveled. In Drawing France: French Comics and the Republic, author Joel E. Vessels examines the trek of BD from it being considered a fomenter of rebellion, to a medium suitable only for semi-literates, to an impediment to education, and most recently to an art capable of addressing social concerns in mainstream culture. In the mid-1800s, alarmists feared political caricatures might incite the ire of an illiterate working class. To counter this notion,proponents yoked the art to a particular articulation of ""Frenchness"" based on literacy and reason. With the post-World War II economic upswing, French consumers saw BD as a way to navigate the changes brought by modernization. After bande dessinee came to be understood as a compass for the masses, the government, especially Francois Mitterand's administration, brought comics increasingly into ""official"" culture. Vessels argues that BD are central to the formation of France's self-image and a self-awareness of what it means to be French.

DKK 849.00
1

Drawing France - Joel E. Vessels - Bog - University Press of Mississippi - Plusbog.dk

Drawing France - Joel E. Vessels - Bog - University Press of Mississippi - Plusbog.dk

In France, Belgium, and other Francophone countries, comic strips--called bande dessinee or ""BD"" in French--have long been considered a major art form capable of addressing a host of contemporary issues. Among French-speaking intelligentsia, graphic narratives were deemed worthy of canonization and critical study decades before the academy and the press in the United States embraced comics. The place that BD holds today, however, belies the contentious political route the art form has traveled. In Drawing France: French Comics and the Republic, author Joel E. Vessels examines the trek of BD from its being considered a fomenter of rebellion, to a medium suitable only for semi-literates, to an impediment to education, and most recently to an art capable of addressing social concerns in mainstream culture. In the mid-1800's, alarmists feared political caricatures might incite the ire of an illiterate working class. To counter this notion, proponents yoked the art to a particular articulation of ""Frenchness"" based on literacy and reason. With the post-World War II economic upswing, French consumers saw BD as a way to navigate the changes brought by modernization. After bande dessinee came to be understood as a compass for the masses, the government, especially Francois Mitterand's administration, brought comics increasingly into ""official"" culture. Vessels argues that BD are central to the formation of France's self-image and a self-awareness of what it means to be French.

DKK 303.00
1

Seth - - Bog - University Press of Mississippi - Plusbog.dk

Seth - - Bog - University Press of Mississippi - Plusbog.dk

Canadian cartoonist Gregory Gallant, (b. 1962), pen name Seth, emerged as a cartoonist in the fertile period of the 1980s, when the alternative comics market boomed. Though he was influenced by mainstream comics in his teen years and did his earliest comics work on Mister X, a mainstream-style melodrama, Seth remains one of the least mainstream-inflected figures of the alternative comics'' movement. His primary influences are underground comix, newspaper strips, and classic cartooning.These interviews, including one career-spanning, definitive interview between the volume editors and the artist published here for the first time, delve into Seth''s output from its earliest days to the present. Conversations offer insight into his influences, ideologies of comics and art, thematic preoccupations, and major works, from numerous perspectives--given Seth''s complex and multifaceted artistic endeavours. Seth''s first graphic novel, It''s a Good Life, If You Don''t Weaken, announced his fascination with the past and with earlier cartooning styles. Subsequent works expand on those preoccupations and themes. Clyde Fans, for example, balances present-day action against narratives set in the past. The visual style looks polished and contemplative, the narrative deliberately paced; plot seems less important than mood or characterization, as Seth deals with the inescapable grind of time and what it devours, themes which recur to varying degrees in George Sprott, Wimbledon Green, and The Great Northern Brotherhood of Canadian Cartoonists.

DKK 858.00
1

Jack Kent - Paul V. Allen - Bog - University Press of Mississippi - Plusbog.dk

Jack Kent - Paul V. Allen - Bog - University Press of Mississippi - Plusbog.dk

Jack Kent (1920-1985) had two distinct and successful careers: newspaper cartoonist and author of children''s books. For each of these he drew upon different aspects of his personality and life experiences. From 1950 to 1965 he wrote and drew King Aroo , a nationally syndicated comic strip beloved by fans for its combination of absurdity, fantasy, wordplay, and wit. The strip''s DNA was comprised of things Kent loved--fairytales, nursery rhymes, vaudeville, Krazy Kat , foreign languages, and puns. In 1968, he published his first children''s book, Just Only John , and began a career in kids'' books that would result in over sixty published works, among them such classics as The Fat Cat and There''s No Such Thing as a Dragon . Kent''s stories for children were funny but often arose from the dark parts of his life--an itinerant childhood, an unfinished education, two harrowing tours of duty in World War II, and a persistent lack of confidence--and tackled such themes as rejection, isolation, self-doubt, and the desire for transformation. Jack Kent: The Wit, Whimsy, and Wisdom of a Comic Storyteller illuminates how Kent''s life experiences informed his art and his storytelling in both King Aroo and his children''s books. Paul V. Allen draws from archival research, brand-new interviews, and in-depth examinations of Kent''s work. Also included are many King Aroo comic strips that have never been reprinted in book form.

DKK 231.00
1

Arguing Comics - - Bog - University Press of Mississippi - Plusbog.dk

Arguing Comics - - Bog - University Press of Mississippi - Plusbog.dk

When Art Spiegelman's Maus -a two-part graphic novel about the Holocaust-won a Pulitzer Prize in 1992, comics scholarship grew increasingly popular and notable. The rise of "serious" comics has generated growing levels of interest as scholars, journalists, and public intellectuals continue to explore the history, aesthetics, and semiotics of the comics medium. Yet those who write about the comics often assume analysis of the medium didn't begin until the cultural studies movement was underway. Arguing Comics: Literary Masters on a Popular Medium brings together nearly two dozen essays by major writers and intellectuals who analyzed, embraced, and even attacked comic strips and comic books in the period between the turn of the century and the 1960s. From e. e. cummings, who championed George Herriman's Krazy Kat , to Irving Howe, who fretted about Harold Gray's Little Orphan Annie , this volume shows that comics have provided a key battleground in the culture wars for over a century. With substantive essays by Umberto Eco, Marshall McLuhan, Leslie Fiedler, Gilbert Seldes, Dorothy Parker, Irving Howe, Delmore Schwartz, and others, this anthology shows how all of these writers took up comics-related topics as a point of entry into wider debates over modern art, cultural standards, daily life, and mass communication. Arguing Comics shows how prominent writers from the Jazz Age and the Depression era to the heyday of the New York Intellectuals in the 1950s thought about comics and, by extension, popular culture as a whole.

DKK 276.00
1

On the Graphic Novel - Santiago Garcia - Bog - University Press of Mississippi - Plusbog.dk

On the Graphic Novel - Santiago Garcia - Bog - University Press of Mississippi - Plusbog.dk

For the first time in English, an essential history of the narrative art form''s global riseA noted comics artist himself, Santiago García follows the history of the graphic novel from early nineteenth-century European sequential art, through the development of newspaper strips in the United States, to the development of the twentieth-century comic book and its subsequent crisis. He considers the aesthetic and entrepreneurial innovations that established the conditions for the rise of the graphic novel all over the world.García not only treats the formal components of the art, but also examines the cultural position of comics in various formats as a popular medium. Typically associated with children, often viewed as unedifying and even at times as a threat to moral character, comics art has come a long way. With such examples from around the world as Spain, France, Germany, and Japan, García illustrates how the graphic novel, with its increasingly global and aesthetically sophisticated profile, represents a new model for graphic narrative production that empowers authors and challenges longstanding social prejudices against comics and what they can achieve.Originally from Spain, SANTIAGO GARCÍA, Baltimore, Maryland, is a writer, critic, and translator of American comics into Spanish. BRUCE CAMPBELL, Minneapolis, Minnesota, is professor of Hispanic studies at St. John''s University/College of St. Benedict. He is the author of ¡Viva la historieta! Mexican Comics, NAFTA, and the Politics of Globalization (University Press of Mississippi).

DKK 858.00
1

Lalo Alcaraz - Hector D. Fernandez L’hoeste - Bog - University Press of Mississippi - Plusbog.dk

Lalo Alcaraz - Hector D. Fernandez L’hoeste - Bog - University Press of Mississippi - Plusbog.dk

Amid the controversy surrounding immigration and border control, the work of California cartoonist Lalo Alcaraz (b. 1964) has delivered a resolute Latino viewpoint. Of Mexican descent, Alcaraz fights for Latino rights through his creativity, drawing political commentary as well as underlining how Latinos confront discrimination on a daily basis. Through an analysis of Alcaraz's early editorial cartooning and his strips for La Cucaracha, the first nationally syndicated, political Latino daily comic strip, author Héctor D. Fernández L'Hoeste shows the many ways Alcaraz's art attests to the community's struggles. Alcaraz has proven controversial with his satirical, sharp commentary on immigration and other Latino issues. What makes Alcaraz's work so potent? Fernández L'Hoeste marks the artist's insistence on never letting go of what he views as injustice against Latinos, the fastest growing ethnic group in the United States. Indeed, his comics predict a key moment in the future of the United States--that time when a racial plurality will steer the country, rather than a white majority and its monocultural norms. Fernández L'Hoeste's study provides an accessible, comprehensive view into the work of a cartoonist who deserves greater recognition, not just because Alcaraz represents the injustice and inequity prevalent in our society, but because as both a US citizen and a member of the Latino community, his ability to stand in, between, and outside two cultures affords him the clarity and experience necessary to be a powerful voice.

DKK 311.00
1

A Charlie Brown Religion - Stephen J. Lind - Bog - University Press of Mississippi - Plusbog.dk

A Charlie Brown Religion - Stephen J. Lind - Bog - University Press of Mississippi - Plusbog.dk

Charles M. Schulz's Peanuts comic strip franchise, the most successful of all time, forever changed the industry. For more than half a century, the endearing, witty insights brought to life by Charlie Brown, Snoopy, Linus, and Lucy have caused newspaper readers and television viewers across the globe to laugh, sigh, gasp, and ponder. A Charlie Brown Religion explores one of the most provocative topics Schulz broached in his heartwarming work--religion. Based on new archival research and original interviews with Schulz's family, friends, and colleagues, author Stephen J. Lind offers a new spiritual biography of the life and work of the great comic strip artist. In his lifetime, aficionados and detractors both labeled Schulz as a fundamentalist Christian or as an atheist. Yet his deeply personal views on faith have eluded journalists and biographers for decades. Previously unpublished writings from Schulz will move fans as they begin to see the nuances of the humorist's own complex, intense journey toward understanding God and faith. "There are three things that I've learned never to discuss with people," Linus says, "Religion, politics, and the Great Pumpkin." Yet with the support of religious communities, Schulz bravely defied convention and dared to express spiritual thought in the "funny pages," a secular, mainstream entertainment medium. This insightful, thorough study of the 17,897 Peanuts newspaper strips, seventy-five animated titles, and global merchandising empire will delight and intrigue as Schulz considers what it means to believe, what it means to doubt, and what it means to share faith with the world.

DKK 303.00
1