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| comics about culture and society: Comic Book Nation Bradford W. Wright, 2003-10-17 A history of comic books from the 1930s to 9/11. |
| comics about culture and society: Comics & Culture Anne Magnussen, Hans-Christian Christiansen, 2000 Comics have become important elements in the culture of the 20th century, not only has the genre been recognized as a medium and an art form in its own right; it has also inspired other means of communication from text books to interactive media. In 13 articles, Comics and Culture offers an introduction to the field of comics research written by scholars from Europe and the USA. The articles span a great variety of approaches including general discussions of the aesthetics and definition of comics, comparisons of comics with other media, analyses of specific comics and genres, and discussions of the cultural status of comics in society. One way to characterize this book is to focus on the contributors. Recognized and established research with important publications to their credit form one group: Donald Ault, Thierry Groensteen, M. Thomas Inge, Pascal Lefvre and Roger Sabin. Another group is from the new generation of researches represented by PhD students: Hans-Christian Christiansen |
| comics about culture and society: Pulp Empire Paul S. Hirsch, 2024-06-05 Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism. As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda. Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race. |
| comics about culture and society: Comic Book Culture Ron Goulart, 2000 A history of American comic books told almost entirely through reprinted comic book covers. |
| comics about culture and society: Comics as a Nexus of Cultures Mark Berninger, Jochen Ecke, Gideon Haberkorn, 2010-03-10 These essays from various critical disciplines examine how comic books and graphic narratives move between various media, while merging youth and adult cultures and popular and high art. The articles feature international perspectives on comics and graphic novels published in the U.S., Canada, Great Britain, Portugal, Germany, Turkey, India, and Japan. Topics range from film adaptation, to journalism in comics, to the current manga boom. |
| comics about culture and society: Of Comics and Men Jean-Paul Gabilliet, 2013-03-25 Originally published in France and long sought in English translation, Jean-Paul Gabilliet's Of Comics and Men: A Cultural History of American Comic Books documents the rise and development of the American comic book industry from the 1930s to the present. The book intertwines aesthetic issues and critical biographies with the concerns of production, distribution, and audience reception, making it one of the few interdisciplinary studies of the art form. A thorough introduction by translators and comics scholars Bart Beaty and Nick Nguyen brings the book up to date with explorations of the latest innovations, particularly the graphic novel. The book is organized into three sections: a concise history of the evolution of the comic book form in America; an overview of the distribution and consumption of American comic books, detailing specific controversies such as the creation of the Comics Code in the mid-1950s; and the problematic legitimization of the form that has occurred recently within the academy and in popular discourse. Viewing comic books from a variety of theoretical lenses, Gabilliet shows how seemingly disparate issues—creation, production, and reception—are in fact connected in ways that are not necessarily true of other art forms. Analyzing examples from a variety of genres, this book provides a thorough landmark overview of American comic books that sheds new light on this versatile art form. |
| comics about culture and society: Comic Books and American Cultural History Matthew Pustz, 2012-02-23 A highly original collection of essays, demonstrating how comic books can be used as primary sources in the teaching and understanding of American history. |
| comics about culture and society: Comics as History, Comics as Literature Annessa Ann Babic, 2013-12-11 This anthology hosts a collection of essays examining the role of comics as portals for historical and academic content, while keeping the approach on an international market versus the American one. Few resources currently exist showing the cross-disciplinary aspects of comics. Some of the chapters examine the use of Wonder Woman during World War II, the development and culture of French comics, and theories of Locke and Hobbs in regards to the state of nature and the bonds of community. More so, the continual use of comics for the retelling of classic tales and current events demonstrates that the genre has long passed the phase of for children’s eyes only. Additionally, this anthology also weaves graphic novels into the dialogue with comics. |
| comics about culture and society: The Comics World Benjamin Woo, Jeremy Stoll, 2021-07-29 Contributions by Bart Beaty, T. Keith Edmunds, Eike Exner, Christopher J. Galdieri, Ivan Lima Gomes, Charles Hatfield, Franny Howes, John A. Lent, Amy Louise Maynard, Shari Sabeti, Rob Salkowitz, Kalervo A. Sinervo, Jeremy Stoll, Valerie Wieskamp, Adriana Estrada Wilson, and Benjamin Woo The Comics World: Comic Books, Graphic Novels, and Their Publics is the first collection to explicitly examine the production, circulation, and reception of comics from a social-scientific point of view. Designed to promote interdisciplinary dialogue about theory and methods in comics studies, this volume draws on approaches from fields as diverse as sociology, political science, history, folklore, communication studies, and business, among others, to study the social life of comics and graphic novels. Taking the concept of a “comics world”—that is, the collection of people, roles, and institutions that “produce” comics as they are—as its organizing principle, the book asks readers to attend to the contexts that shape how comics move through societies and cultures. Each chapter explores a specific comics world or particular site where comics meet one of their publics, such as artists and creators; adaptors; critics and journalists; convention-goers; scanners; fans; and comics scholars themselves. Through their research, contributors demonstrate some of the ways that people participate in comics worlds and how the relationships created in these spaces can provide different perspectives on comics and comics studies. Moving beyond the page, The Comics World explores the complexity of the lived reality of the comics world: how comics and graphic novels matter to different people at different times, within a social space shared with others. |
| comics about culture and society: Comics and Stuff Henry Jenkins, 2020-04-14 Considers how comics display our everyday stuff—junk drawers, bookshelves, attics—as a way into understanding how we represent ourselves now For most of their history, comics were widely understood as disposable—you read them and discarded them, and the pulp paper they were printed on decomposed over time. Today, comic books have been rebranded as graphic novels—clothbound high-gloss volumes that can be purchased in bookstores, checked out of libraries, and displayed proudly on bookshelves. They are reviewed by serious critics and studied in university classrooms. A medium once considered trash has been transformed into a respectable, if not elite, genre. While the American comics of the past were about hyperbolic battles between good and evil, most of today’s graphic novels focus on everyday personal experiences. Contemporary culture is awash with stuff. They give vivid expression to a culture preoccupied with the processes of circulation and appraisal, accumulation and possession. By design, comics encourage the reader to scan the landscape, to pay attention to the physical objects that fill our lives and constitute our familiar surroundings. Because comics take place in a completely fabricated world, everything is there intentionally. Comics are stuff; comics tell stories about stuff; and they display stuff. When we use the phrase “and stuff” in everyday speech, we often mean something vague, something like “etcetera.” In this book, stuff refers not only to physical objects, but also to the emotions, sentimental attachments, and nostalgic longings that we express—or hold at bay—through our relationships with stuff. In Comics and Stuff, his first solo authored book in over a decade, pioneering media scholar Henry Jenkins moves through anthropology, material culture, literary criticism, and art history to resituate comics in the cultural landscape. Through over one hundred full-color illustrations, using close readings of contemporary graphic novels, Jenkins explores how comics depict stuff and exposes the central role that stuff plays in how we curate our identities, sustain memory, and make meaning. Comics and Stuff presents an innovative new way of thinking about comics and graphic novels that will change how we think about our stuff and ourselves. |
| comics about culture and society: How Comics Reflect Society Björn Saemann, 2011-02-15 Master's Thesis from the year 2011 in the subject Didactics for the subject English - Literature, Works, grade: 1,5, University of Hildesheim (Institut für englische Sprache und Literatur ), language: English, abstract: American superhero-comics have been around for over 70 years now. In that period not only the genre and its medium matured but also the social, cultural and political environment changed. This paper hypothesizes that superhero comics change over time to stay relevant and that the observant reader can make conclusions about the time during which a comic was written by analyzing it. The first part of this paper gives a short summary of the history of superhero comics from the creation of Superman in 1939 to the Modern Age of Comics. It explains how the superhero comic originated in the late 1930s, blossomed in the 1940s, struggled in the 1950s and reinvented itself in the 1960s. Events like the introduction of the Comic Book Code and the death of Gwen Stacy will be presented and it will be explained why they had an immense impact on the comic-book culture. Also, the definition of the term superhero will be discussed. Afterwards, the essay focuses on the different kinds of comic-book revisionism and the different reasons for it. This and the chapters before help to understand how the comic book industry works and how innovations in comic books are introduced and why they happen. The main part of the essay continues to prove the hypothesis on the example of three superheroes that have all existed since the Golden Age of Comics: Wonder Woman, Captain America and Batman. Each of those superheroes will provide an example for a different kind of social change: With the help of Wonder Woman, the change of the women's role and the change of feminism will be examined. Captain America is a great example of a superhero created out of a social and political need and of the struggle that arises when this need is fulfilled. He also poses as an example for how comics comment on political changes. Finally, the Batman comics are used to illustrate the power Dr. Frederic Wertham's book Seduction of the Innocent had over society and over comics itself. That chapter also discusses what the changes, made to Batman comics in reaction to the accusation of homosexuality, say about the reputation of homosexuals in the 1950s. The last part of this essay gives an example for the possibilities to use this topic in school, in English as a foreign language or history classes. |
| comics about culture and society: Superman on the Couch Danny Fingeroth, 2004-01-01 Why are so many of the superhero myths tied up with loss, often violent, of parents or parental figures? What is the significance of the dual identity? What makes some superhuman figures good and others evil? Why are so many of the prime superheroes white and male? How has the superhero evolved over the course of the 20th and early 21st centuries? And how might the myths be changing? Why is it that the key superhero archetypes - Superman, Batman, Wonder Woman, Spider-Man, the X-Men - touch primal needs and experiences in everyone? Why has the superhero moved beyond the pages of comics into other media? All these topics, and more, are covered in this lively and original exploration of the reasons why the superhero - in comic books, films, and TV - is such a potent myth for our times and culture.> |
| comics about culture and society: Reading Comics Mila Bongco, 2014-04-04 This study explores how the definition of the medium, as well as its language, readership, genre conventions, and marketing and distribution strategies, have kept comic books within the realm of popular culture. Since comics have been studied mostly in relation to mass media and its influence on society, there is a void in the analysis of the critical issues related to comics as a distinct genre and art form. By focusing on comics as narratives and investigating their formal and structural aspects, as well as the unique reading process they demand, this study presents a unique contribution to the current literature on comics, and helps clarify concepts and definitions useful in studying the medium. (Ph.D. dissertation, University of Alberta, 1995; revised with new preface, bibliography, and index) |
| comics about culture and society: Batman and the Multiplicity of Identity Jeffrey A. Brown, 2018-12-12 Concentrating primarily on contemporary depictions of Batman in the comic books, this book analyzes why Batman is so immensely popular right now in America and globally, and how the fictional Dark Knight reveals both new cultural concerns and longstanding beliefs about American values. The organizing premise is that while Batman is perceived as a very clearly defined character, he is open to a wide range of interpretations and depictions in the comics (what Henry Jenkins refers to as multiplicities), each of which allows access to different cultural issues. The idea of Batman functions as an anchoring point out of which multiple Batmen, or Batman-like characters, can occupy different positions: Grim Batman, Gay Batman, Female Batman, Black Batman, Cute Batman, and so on. Each iteration opens up a discussion of different cultural issues pertinent to modern society, such as sexuality, ethnicity, feminism and familial relationships. |
| comics about culture and society: Fredric Wertham and the Critique of Mass Culture Bart Beaty, 2005 This book is a re-examination of the critic whose Congressional testimony sparked the Comics Code. Bart Beaty traces the evolution of Wertham's attitudes toward popular culture and reassesses his place in the debate about pop culture's effects on youth and society. When The Seduction of the Innocent was published in 1954, Wertham (1895-1981) became instantly known as an authority on child psychology. Although he had published several books before Seduction, its sharp criticism of popular culture in general--and comic books in particular--made it a touchstone for debate about issues of censorship, child protection, and freedom of speech. This book reinterprets his intellectual legacy and challenges notions about his alleged cultural conservatism. Drawing upon Wertham's published works as well as his unpublished private papers, correspondence, and notes, Beaty reveals a man whose opinions, life, and career offer more subtlety of thought than previously assumed. In particular, the book examines Wertham's change of heart in the 1970s, when he began to claim that comics could be a positive influence in American society. |
| comics about culture and society: Drawing the Line Lucy Shelton Caswell, Jared Gardner, 2017 Drawing the Line: Comics Studies and INKS, 1994-1997 collects some of the most important essays from INKS: Cartoon and Comic Art Studies, the first peer-reviewed scholarly journal devoted exclusively to comics studies. |
| comics about culture and society: Society Is Nix Peter Maresca, 2012-08-01 Mit dose kids, society is nix! So said the Inspector about the Katzenjammer kids, but he could have been speaking of all comic strips in their formative years at the turn of the last century. From the very first color Sunday supplement, comics were a driving force in newspaper sales, even though their crude and often offensive content placed them in a whirl of controversy. Sunday comics presented a wild parody of the world and the culture that surrounded them. Society didn't stand a chance. These are the origins of the American comic strip, born at a time when there were no set styles or formats, when artistic anarchy helped spawn a new medium. Here are the earliest offerings from known greats like R. F. Outcault, George McManus, Winsor McCay, and George Herriman, along with the creations of more than fifty other superb cartoonists; over 150 Sunday comics dating from 1895 to 1915. |
| comics about culture and society: The Tea Dragon Society K. O'Neill, 2017-10-18 From the award-winning author of Princess Princess Ever After comes The Tea Dragon Society, a charming all-ages book that follows the story of Greta, a blacksmith apprentice, and the people she meets as she becomes entwined in the enchanting world of tea dragons. After discovering a lost tea dragon in the marketplace, Greta learns about the dying art form of tea dragon care-taking from the kind tea shop owners, Hesekiel and Erik. As she befriends them and their shy ward, Minette, Greta sees how the craft enriches their lives--and eventually her own. |
| comics about culture and society: Disguised as Clark Kent Danny Fingeroth, 2007-09-30 Many of the creators of famous comic-book superheroes were from a Jewish background. In this work, Danny Fingeroth, a former editor of Spider-Man and other famous lines for Marvel Comics, reflects on the phenomenon of the Jewish elements that, consciously or not, went into the creation of todays icons. |
| comics about culture and society: The Comic Book in America Mike Benton, 1989 Traces the development of the comic book, looks at publishers and genres, and discusses industry trends. |
| comics about culture and society: Nelvana of the Northern Lights Adrian Dingle, 2014 First appearing in 1941, Nelvana was tasked with protecting Canada's northern lands. Using the powers of the northern lights, Nelvana could fly at incredibly fast speeds, become invisible, and even turn to dry ice! She used her great powers to ward off Nazi invaders, shady fur traders, subterranean mammoth men, and interdimensional ether people. With the aid of her brother Tanero, a demigod cursed to appear as a Great Dane, and her sidekick Mountie Cpl. Keene, Nelvana was a steady force for good for six years before her adventures came to an end in 1947. Nelvana's complete adventures have been collected and reprinted in one single volume! -- Back cover. |
| comics about culture and society: EC Comics Qiana Whitted, 2019-03-08 2020 Eisner Award for Best Academic/Scholarly Work Entertaining Comics Group (EC Comics) is perhaps best-known today for lurid horror comics like Tales from the Crypt and for a publication that long outlived the company’s other titles, Mad magazine. But during its heyday in the early 1950s, EC was also an early innovator in another genre of comics: the so-called “preachies,” socially conscious stories that boldly challenged the conservatism and conformity of Eisenhower-era America. EC Comics examines a selection of these works—sensationally-titled comics such as “Hate!,” “The Guilty!,” and “Judgment Day!”—and explores how they grappled with the civil rights struggle, antisemitism, and other forms of prejudice in America. Putting these socially aware stories into conversation with EC’s better-known horror stories, Qiana Whitted discovers surprising similarities between their narrative, aesthetic, and marketing strategies. She also recounts the controversy that these stories inspired and the central role they played in congressional hearings about offensive content in comics. The first serious critical study of EC’s social issues comics, this book will give readers a greater appreciation of their legacy. They not only served to inspire future comics creators, but also introduced a generation of young readers to provocative ideas and progressive ideals that pointed the way to a better America. |
| comics about culture and society: The Comic Book Guide to Growing Food Joseph Tychonievich, 2021-02-02 The first graphic novel guide to growing a successful raised bed vegetable garden, from planning, prepping, and planting, to troubleshooting, care, and harvesting. “A fun read packed with practical advice, it’s the perfect resource for new gardeners, guiding you through every step to plant, grow, and harvest a thriving and productive food garden.”—Joe Lamp’l, founder and creator of the Online Gardening Academy Like having your own personal gardening mentor at your side, The Comic Book Guide to Growing Food is the story of Mia, an eager young professional who wants to grow her own vegetables but doesn't know where to start, and George, her retired neighbor who loves gardening and walks her through each step of the process. Throughout the book, cheat sheets sum up George's key facts and techniques, providing a handy quick reference for anyone starting their first vegetable garden, including how to find the best location, which vegetables are easiest to grow, how to pick out the healthiest plants at the store, when (and when not) to water, how to protect your plants from pests, and what to do with extra produce if you grow too much. If you are a visual learner, beginning gardener, looking for something new, or have struggled to grow vegetables in the past, you'll find this unique illustrated format ideal because many gardening concepts--from proper planting techniques to building raised beds--are easier to grasp when presented visually, step by step. Easy and entertaining, The Comic Book Guide to Growing Food makes homegrown vegetables fun and achievable. |
| comics about culture and society: Safe Area Goražde Joe Sacco, 2007 In late 1995 and early 1996, cartoonist/reporter Joe Sacco travelled four times to Gorazde, a UN-designated safe area during the Bosnian War, which had teetered on the brink of obliteration for three and a half years. Still surrounded by Bosnian Serb forces, the mainly Muslim people of Gorazde had endured heavy attacks and severe privation to hang on to their town while the rest of Eastern Bosnia was brutally 'cleansed' of its non-Serb population. But as much as SAFE AREA GORAZDE is an account of a terrible siege, it presents a snapshot of people who were slowly letting themselves believe that a war was ending and that they had survived. Since it was first published in 2000, SAFE AREA GORAZDE has been recognized as one of the absolute classics of graphic non-fiction. We are delighted to publish it in the UK for the first time, to stand beside Joe Sacco's other books on the Cape list - PALESTINE, THE FIXER and NOTES FROM A DEFEATIST. |
| comics about culture and society: Super-History Jeffrey K. Johnson, 2012-04-03 In the less than eight decades since Superman's debut in 1938, comic book superheroes have become an indispensable part of American society and the nation's dominant mythology. They represent America's hopes, dreams, fears, and needs. As a form of popular literature, superhero narratives have closely mirrored trends and events in the nation. This study views American history from 1938 to 2010 through the lens of superhero comics, revealing the spandex-clad guardians to be not only fictional characters but barometers of the place and time in which they reside. Instructors considering this book for use in a course may request an examination copy here. |
| comics about culture and society: The Yellow Kid R. F. Outcault, 2009-09-16 The comic strip that started it all, the American comic strip that laid the groundwork for an art form. This precocious kid from the barrio of Brooklyn took the US by storm in the late 1800s and coined the termed 'yellow journalism'. Collected here is the entire run along with dozens of never-before-collected images by Outcault. Also included is the extraordinarily rare strip Pore Lil Mose. |
| comics about culture and society: British Comics James Chapman, 2011-12-01 Arguing that British comics are distinct from their international counterparts, a unique showcase of the major role they have played in the imaginative lives of British youth—and some adults. In this entertaining cultural history of British comic papers and magazines, James Chapman shows how comics were transformed in the early twentieth century from adult amusement to imaginative reading matter for children. Beginning with the first British comic, Ally Sloper—known as “A Selection, Side-splitting, Sentimental, and Serious, for the Benefit of Old Boys, Young Boys, Odd Boys generally, and even Girls”—British Comics goes on to describe the heyday of comics in the 1950s and ’60s, when titles such as School Friend and Eagle sold a million copies a week. Chapman also analyzes the major genres, including schoolgirl fantasies and sports and war stories for boys; the development of a new breed of violent comics in the 1970s, including the controversial Action and 2000AD; and the attempt by American publisher, Marvel, to launch a new hero for the British market in the form of Captain Britain. Considering the work of important contemporary comic writers such as Alan Moore, Grant Morrison, Ian Edginton, Warren Ellis, and Garth Ennis, Chapman’s history comes right up to the present and takes in adult-oriented comics such as Warrior, Crisis, Deadline,and Revolver, and alternative comics such as Viz. Through a look at the changing structure of the comic publishing industry and how comic publishers, writers, and artists have responded to the tastes of their consumers, Chapman ultimately argues that British comics are distinctive and different from American, French, and Japanese comics. An invaluable reference for all comic collectors and fans in Britain and beyond, British Comics showcases the major role comics have played in the imaginative lives of readers young and old. |
| comics about culture and society: Comic Books Incorporated Shawna Kidman, 2019-04-30 Comic Books Incorporated tells the story of the US comic book business, reframing the history of the medium through an industrial and transmedial lens. Comic books wielded their influence from the margins and in-between spaces of the entertainment business for half a century before moving to the center of mainstream film and television production. This extraordinary history begins at the medium’s origin in the 1930s, when comics were a reviled, disorganized, and lowbrow mass medium, and surveys critical moments along the way—market crashes, corporate takeovers, upheavals in distribution, and financial transformations. Shawna Kidman concludes this revisionist history in the early 2000s, when Hollywood had fully incorporated comic book properties and strategies into its business models and transformed the medium into the heavily exploited, exceedingly corporate, and yet highly esteemed niche art form we know so well today. |
| comics about culture and society: Comic strips and consumer culture, 1890-1945 GORDON IAN, 1998-04-17 Drawing on comic strip characters such as Buster Brown, Winnie Winkle, and Superman, Ian Gordon shows how, in addition to embellishing a wide array of goods with personalities, comic strips themselves increasingly promoted consumerist values and upward mobility. |
| comics about culture and society: Comics and Pop Culture Barry Keith Grant, Scott Henderson, 2019-12-13 It is hard to discuss the current film industry without acknowledging the impact of comic book adaptations, especially considering the blockbuster success of recent superhero movies. Yet transmedial adaptations are part of an evolution that can be traced to the turn of the last century, when comic strips such as “Little Nemo in Slumberland” and “Felix the Cat” were animated for the silver screen. Representing diverse academic fields, including technoculture, film studies, theater, feminist studies, popular culture, and queer studies, Comics and Pop Culture presents more than a dozen perspectives on this rich history and the effects of such adaptations. Examining current debates and the questions raised by comics adaptations, including those around authorship, style, and textual fidelity, the contributors consider the topic from an array of approaches that take into account representations of sexuality, gender, and race as well as concepts of world-building and cultural appropriation in comics from Modesty Blaise to Black Panther. The result is a fascinating re-imagination of the texts that continue to push the boundaries of panel, frame, and popular culture. |
| comics about culture and society: Soulfinder Douglas Ernst, 2020-11-07 |
| comics about culture and society: Heroines of Comic Books and Literature Maja Bajac-Carter, Norma Jones, Bob Batchelor, 2014-03-14 Despite the growing importance of heroines across literary culture—and sales figures that demonstrate both young adult and adult females are reading about heroines in droves, particularly in graphic novels, comic books, and YA literature—few scholarly collections have examined the complex relationships between the representations of heroines and the changing societal roles for both women and men. In Heroines of Comic Books and Literature: Portrayals in Popular Culture, editors Maja Bajac-Carter, Norma Jones, and Bob Batchelor have selected essays by award-winning contributors that offer a variety of perspectives on the representations of heroines in today’s society. Focused on printed media, this collection looks at heroic women depicted in literature, graphic novels, manga, and comic books. Addressing heroines from such sources as the Marvel and DC comic universes, manga, and the Twilight novels, contributors go beyond the account of women as mothers, wives, warriors, goddesses, and damsels in distress. These engaging and important essays situate heroines within culture, revealing them as tough and self-sufficient females who often break the bounds of gender expectations in places readers may not expect. Analyzing how women are and have been represented in print, this companion volume to Heroines of Film and Television will appeal to scholars of literature, rhetoric, and media as well as to broader audiences that are interested in portrayals of women in popular culture. |
| comics about culture and society: Comic Book Geographies Jason Dittmer, 2014 Comic Book Geographies is a volume that brings together scholars from the discipline of geography and the field of comics studies to consider the multiple ways in which space is both constitutive of, and produced through, comic books. Senior scholars contribute their thoughts alongside a range of fresh talent from both fields, providing for a potent mix of perspectives. Together, these chapters reframe debates about comic books by highlighting their unique spatialities and the way that those spatialities are shot through by a range of relationships to time. Examples are drawn from a wide range of geographical contexts, from post-9/11 American superhero comics to the Franco-Belgian tradition and from comics intended for mass consumption to the spoken-word performances of Alan Moore. As a truly interdisciplinary engagement, with scholars coming from geography, literature, history, and beyond, Comic Book Geographies brings together perspectives on comic books that have too long been working in isolation. |
| comics about culture and society: Handbook of Research on the Impact of Culture and Society on the Entertainment Industry Gulay Ozturk, 2014 This reference provides a review of the academic and popular literature on the relationship between communications and media studies, cinema, advertising, public relations, religion, food tourism, art, sports, technology, culture, marketing, and entertainment practices-- |
| comics about culture and society: Starport George R.R. Martin, 2019-03-21 Law & Order meets Men in Black in this graphic novel adaptation of a TV pilot script by the author of A Game of Thrones. Ideal for fans of Saga. |
| comics about culture and society: Cairo G. Willow Wilson, M. K. Perker, 2007 In bustling modern-day Cairo, the lives of a drug runner, a down-on-his-luck journalist, an American expatriate, a young activist, an Israeli soldier, and a genie are interwoven as they navigate the city's streets and spiritual underworld to find a stolen hooka sought by a wrathful gangster-magician. |
| comics about culture and society: Comics & Ideology Matthew P. McAllister, Edward H. Sewell, Ian Gordon, 2001 Superman's role in romanticizing commercialism; sexual violence in Japanese manga comics; Wonder Woman as Americanized immigrant; reader's reactions to the gay superhero Northstar; Dilbert as a workplace revolutionary; the Punisher's invasion of Vietnam--these are a few of the issues that Comics & Ideology addresses. Focusing on the intersection of social power and comic art, essays in this book explore how images and narratives in comic books and comic strips may portray social groups and social issues. As a scholarly examination of a form known as 'the funnies' or 'funny books, ' this book argues that the themes and characterizations in comic art are often quite serious. Essays take diverse theoretical perspectives such as cultural studies, political economy, feminist criticism, queer studies, and mythic analysis, all focusing on the relationship of comics to issues of social division.--Publisher description. |
| comics about culture and society: How Comics Travel Katherine Kelp-Stebbins, 2022-03-18 Engages with comics as sites of struggle over representation by developing a new methodology of reading for difference in transnational contexts. |
| comics about culture and society: Access Guide to the Black Comic Book Community 2020-2021 Joseph Illidge, 2021-02-17 The questions of who, what, where, when, and why are the basic foundations of journalistic and research endeavors.The Access Guide To the Black Comic Book Community is a new sourcebook to provide answers for comic book fans, old and new. This handy reference guide is more than a directory of Black comic book creators and the stories they produce. It is a road map for the uninitiated and the veteran comic book reader alike, to find the publishers, stores and conventions that provide kinship, safe spaces, and promote an imaginative variety of experiences through comic books! |
| comics about culture and society: The Beast Hugh Goldring, 2018 'The Beast' is a graphic novel set against the backdrop of Canadian oil industry advertising. It tells the story of two creative millennials working in Edmonton on opposite sides of the energy debate. Important ideas about advertising, energy politics, and sustainability are raised as they grow to understand their relationship to their work, the climate, and each other.-- |
Using Superheroes to Visually and Critically Analyze Comics ...
find comics that represent cultures not often included in the comic book form, but also to inspire them to subsequently use these experiences to analyze society and to become creators of new …
The Golden Age of Comic Books: Representations of …
The “Modern Age” of comics represent our modern characterization of the genre; a successful part of commercial culture that is rarely relevant to the greater cultural discussion.
Comics About Culture And Society (2024) - archive.ncarb.org
Annessa Ann Babic,2013-12-11 This anthology hosts a collection of essays examining the role of comics as portals for historical and academic content while keeping the approach on an …
NACAE Comics in American C - Cartoon Studies
50's. Students will understand comics as a system that has been structured by three main ideological/cultural content divisions or publishing groupings: mainstream, underground, and …
Superhero Comics: Artifacts of the U.S. Experience
From a pedagogical perspective, superhero comics represent a unique opportunity to engage students through both analysis of content and context. Comics then elicit active participation …
The American Way: How Comic Books Reflect Our Culture
Three-plus decades later, the cultural revolution of the ’60s gave America a new, subversive kind of hero: Mickey Rat, a vulgar, hungover, womanizing reprobate who debuted in a story titled …
Comics, culture, and society contributions from sequential …
Comics, culture, and society contributions from sequential narratives for reader training Andrea Pereira dos Santos 1 André Roberto Custódio Neves 2 ABSTRACT
Comics About Culture And Society - origin-biomed.waters.com
In 13 articles, Comics and Culture offers an introduction to the field of comics research written by scholars from Europe and the USA.
Doing Social Sciences Via Comics and Graphic Novels. An …
Firstly, we briefly address the rollercoaster history of encounters between sociology and the sequential art. Secondly, we reconstruct the dynamics and processes which lead to the …
Comics and Power - Cambridge Scholars Publishing
The above description of comics research historiography indicates two major strands in comics research that to some extent are also regionally defined: an Anglo-Saxon focus on comics, …
A cultural history through the comics of Donald Duck and …
This paper aims to explore how some of these changes in soci-ety during Disney's first 100 years have been reflected in the Duck family comics—examining how these characters and …
Comics About Culture And Society (PDF) - archive.ncarb.org
Comics About Culture And Society: Comic Book Culture Ron Goulart,2000 A history of American comic books told almost entirely through reprinted comic book covers Comic Book Nation …
Reflections of Use of Comics in Social Studies Education …
According to Witty's research, comics are a popular genre in all segments of society because they are easy to read, fluent, readable in short amounts of time, and easily accessible.
Pop Culture and Class Conflict in the Marvel Cinematic …
In doing so, the MCU transforms its working class heroes into enforcers of capitalism, who are heavily militarized like US police forces. Notwithstanding Spider-Man’s working- class roots …
Strategics Sectors | Culture & Society Panorama Telling …
Comics, especially those for children, have been around in the Arab world for over 70 years. But re-cent years have witnessed a sudden rise in the num-ber of comics that target adult …
call-4-papers-070221 - IASS-AIS
In the face of this criticism, we contend that a semiotic approach to comics studies always has and can continue to engender a thorough and critical engagement with comic books’ social, …
Book notes: Comics, Culture, and Religion: Faith Imagined by …
The volume stands out in its inclusivity of a myriad of religions (Christianity, Islam, Judaism, Hinduism, Japanese religions, and Zoroastrianism), whilst also utilising philosophical and …
Comics About Culture And Society - archive.ncarb.org
Comics About Culture And Society: Comics & Culture Anne Magnussen,Hans-Christian Christiansen,2000 Comics have become important elements in the culture of the 20th century …
The Indigenous Superheroes: Comics, Culture, And …
The social consciousness of society has made comics an indelible part of Kerala’s cultural vocabulary. Cinema is another form of art that is closely associated with our culture.
Quadrinhos, cultura e sociedade contribuições das narrativas ...
produção de sentidos e ressignificação até preconceitos contra este tipo de suporte midiático. Objetivo: Este artigo tem como objetivo averiguar as contribuições das narrativas sequenciais …
Using Superheroes to Visually and Critically Analyze Comics ...
find comics that represent cultures not often included in the comic book form, but also to inspire them to subsequently use these experiences to analyze society and to become creators of …
The Golden Age of Comic Books: Representations of …
The “Modern Age” of comics represent our modern characterization of the genre; a successful part of commercial culture that is rarely relevant to the greater cultural discussion.
Comics About Culture And Society (2024) - archive.ncarb.org
Annessa Ann Babic,2013-12-11 This anthology hosts a collection of essays examining the role of comics as portals for historical and academic content while keeping the approach on an …
NACAE Comics in American C - Cartoon Studies
50's. Students will understand comics as a system that has been structured by three main ideological/cultural content divisions or publishing groupings: mainstream, underground, and …
Superhero Comics: Artifacts of the U.S. Experience
From a pedagogical perspective, superhero comics represent a unique opportunity to engage students through both analysis of content and context. Comics then elicit active participation …
The American Way: How Comic Books Reflect Our Culture
Three-plus decades later, the cultural revolution of the ’60s gave America a new, subversive kind of hero: Mickey Rat, a vulgar, hungover, womanizing reprobate who debuted in a story titled …
Comics, culture, and society contributions from sequential …
Comics, culture, and society contributions from sequential narratives for reader training Andrea Pereira dos Santos 1 André Roberto Custódio Neves 2 ABSTRACT
Comics About Culture And Society - origin …
In 13 articles, Comics and Culture offers an introduction to the field of comics research written by scholars from Europe and the USA.
Doing Social Sciences Via Comics and Graphic Novels. An …
Firstly, we briefly address the rollercoaster history of encounters between sociology and the sequential art. Secondly, we reconstruct the dynamics and processes which lead to the …
Comics and Power - Cambridge Scholars Publishing
The above description of comics research historiography indicates two major strands in comics research that to some extent are also regionally defined: an Anglo-Saxon focus on comics, …
A cultural history through the comics of Donald Duck and …
This paper aims to explore how some of these changes in soci-ety during Disney's first 100 years have been reflected in the Duck family comics—examining how these characters and …
Comics About Culture And Society (PDF) - archive.ncarb.org
Comics About Culture And Society: Comic Book Culture Ron Goulart,2000 A history of American comic books told almost entirely through reprinted comic book covers Comic Book Nation …
Reflections of Use of Comics in Social Studies Education …
According to Witty's research, comics are a popular genre in all segments of society because they are easy to read, fluent, readable in short amounts of time, and easily accessible.
Pop Culture and Class Conflict in the Marvel Cinematic …
In doing so, the MCU transforms its working class heroes into enforcers of capitalism, who are heavily militarized like US police forces. Notwithstanding Spider-Man’s working- class roots …
Strategics Sectors | Culture & Society Panorama Telling …
Comics, especially those for children, have been around in the Arab world for over 70 years. But re-cent years have witnessed a sudden rise in the num-ber of comics that target adult …
call-4-papers-070221 - IASS-AIS
In the face of this criticism, we contend that a semiotic approach to comics studies always has and can continue to engender a thorough and critical engagement with comic books’ social, …
Book notes: Comics, Culture, and Religion: Faith Imagined by …
The volume stands out in its inclusivity of a myriad of religions (Christianity, Islam, Judaism, Hinduism, Japanese religions, and Zoroastrianism), whilst also utilising philosophical and …
Comics About Culture And Society - archive.ncarb.org
Comics About Culture And Society: Comics & Culture Anne Magnussen,Hans-Christian Christiansen,2000 Comics have become important elements in the culture of the 20th century …
The Indigenous Superheroes: Comics, Culture, And …
The social consciousness of society has made comics an indelible part of Kerala’s cultural vocabulary. Cinema is another form of art that is closely associated with our culture.
Quadrinhos, cultura e sociedade contribuições das narrativas ...
produção de sentidos e ressignificação até preconceitos contra este tipo de suporte midiático. Objetivo: Este artigo tem como objetivo averiguar as contribuições das narrativas sequenciais …
