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"Comic, The."
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Autobiographical Comics
A troubled childhood in Iran. Living with a disability. Grieving for a dead child. Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth.
InAutobiographical Comics: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre. The book considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles.
Drawing on concepts from several disciplinary fields--including semiotics, literary and narrative theory, art history, and psychology--El Refaie shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. For example, the requirement to produce multiple drawn versions of one's self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. The comics medium also offers memoirists unique ways of representing their experience of time, their memories of past events, and their hopes and dreams for the future. Furthermore, autobiographical comics creators are able to draw on the close association in contemporary Western culture between seeing and believing in order to persuade readers of the authentic nature of their stories.
eBook
The end of the world
\"From the imagination of legendary animator and two-time Oscar nominee Don Hertzfeldt comes a hilarious fever-dream vision of the apocalypse. Created during sleepless nights while he worked on his animated films, The End of the World was illustrated entirely on Post-It notes over the course of several years, slowly taking shape from all the deleted scenes, bad dreams, and abandoned ideas that were too strange to make it to the big screen, including essential early material that was later developed into the animated classic World of Tomorrow. Hertzfeldt's visually striking work transcends its unusual nature and taps into the deeply human, universal themes of mortality, identity, memory, loss, and parenthood . . . with the occasional monstrous biting eel descending from the sky.\"--Provided by publisher.
Book
Super Bodies
An examination of the art in superhero comics and how
style influences comic narratives. For many, the idea of
comic book art implies simplistic four-color renderings of stiff
characters slugging it out. In fact, modern superhero comic books
showcase a range of complex artistic styles, with diverse
connotations. Leading comics scholar Jeffrey A. Brown assesses six
distinct approaches to superhero illustration-idealism, realism,
cute, retro, grotesque, and noir-examining how each visually
represents the superhero as a symbolic construct freighted with
meaning.
Whereas comic book studies tend to focus on text and narrative,
Super Bodies gives overdue credit to the artwork, which is
not only a principal source of the appeal of comic books but also
central to the values these works embody. Brown argues that
superheroes are to be taken not as representations of people but as
iconic types, and the art conveys this. Even the most realistic
comic illustrations are designed to suggest not persons but
ideas-ideas about bodies and societies. Thus the appearance of
superheroes both directly and indirectly influences the story being
told as well as the opinions readers form concerning justice,
authority, gender, puberty, sexuality, ethnicity, violence, and
other concepts central to political and cultural life.
eBook
Show Me Where It Hurts
In Show Me Where It Hurts , Monica Chiu argues that
graphic pathography-long-form comics by and about subjects who
suffer from disease or are impaired-re-vitalizes and re-visions
various negatively affected corporeal states through hand-drawn
images. By the body and for the body, the medium is subversive and
reparative, and it stands in contradistinction to clinical accounts
of illness that tend to disembody or objectify the subject.
Employing affect theory, spatial theory, vital materialism, and
approaches from race and ethnic studies, women and gender studies,
disability studies, and comics studies, Chiu provides readings of
recently published graphic pathography. Chiu argues that these
kinds of subjective graphic stories, by virtue of their narrative
and descriptive strengths, provide a form of resistance to the
authoritative voice of biomedicine and serve as a tool to foster
important change in the face of social and economic inequities when
it comes to questions of health and healthcare. Show Me Where
It Hurts reads what already has been manifested on the comics
page and invites more of what demands expression.
Pathbreaking and provocative, this book will appeal to scholars
and students of the medical humanities, comics studies, race and
ethnic studies, disability studies, and women and gender
studies.
eBook
Guardians of the galaxy : tomorrow's heroes omnibus
\"A thousand years from now, Vance Astro, Yondu, Martinex and Charlie-27 will rise to free the enslaved planet Earth -- as the Guardians of the Galaxy! Soon, Captain America, Doctor Strange, the Thing, the Hulk and more join the time-spanning heroes in the war to reclaim the future! Threats arise from other worlds -- as well as new allies Nikki and the uncanny Starhawk! But when Guardians and Avengers join forces in the present day, will even the combined might of two millennia be enough to stop the deranged demigod Michael Korvac? Plus: the Silver Surfer, Ms. Marvel, Spider-Man and Adam Warlock!\"-- Amazon.com description.
Book
Transnational perspectives on graphic narratives : comics at the crossroads
This book brings together an international group of scholars who chart and analyze the ways in which comic book history and new forms of graphic narrative have negotiated the aesthetic, social, political, economic, and cultural interactions that reach across national borders in an increasingly interconnected and globalizing world.
eBook
Why can't philosophers laugh?
\"This book analyzes Western and Chinese philosophical texts to determine why laughter and the comic have not been a major part of philosophical discourse. Katrin Froese maintains that many philosophical accounts of laughter try to unearth laughter's purpose, thereby rendering it secondary to the intentional and purposive aspects of human nature that impel us to philosophize. Froese also considers texts that take laughter and the comic as starting points, attempting to philosophize out of laughter rather than merely trying to unearth reasons for laughter. The book proposes that continuously unraveling philosophical assumptions through the comic and laughter may be necessary to live well\"--Page 4 of cover.
Book
Marvel Comics in the 1970s
Marvel Comics in the 1970s
explores a forgotten chapter in the story of the rise of
comics as an art form. Bridging Marvel's dizzying
innovations and the birth of the underground comics scene in the
1960s and the rise of the prestige graphic novel and postmodern
superheroics in the 1980s, Eliot Borenstein reveals a generation of
comic book writers whose work at Marvel in the 1970s established
their own authorial voice within the strictures of corporate
comics.
Through a diverse cast of heroes (and the occasional
antihero)-Black Panther, Shang-Chi, Deathlok, Dracula, Killraven,
Man-Thing, and Howard the Duck-writers such as Steve Gerber, Doug
Moench, and Don McGregor made unprecedented strides in exploring
their characters' inner lives. Visually, dynamic action was still
essential, but the real excitement was taking place inside their
heroes' heads. Marvel Comics in the 1970s highlights the
brilliant and sometimes gloriously imperfect creations that laid
the groundwork for the medium's later artistic achievements and the
broader acceptance of comic books in the cultural landscape
today.
eBook