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The past decade has seen the medium of comics reach unprecedented heights of critical acclaim and commercial success - and that new prominence has led to increasing interest within the academy as well. Comics & Media, a special issue of the journal Critical Inquiry, reflects that, using the successful Comics: Philosophy and Practice conference held at the University of Chicago in 2012 as a springboard for a larger set of scholarly essays on comics, animation, film, digital games, and media ecologies. Essays from prominent scholars range across such topics as media archaeology, theories of the image, popular forms, the history of aesthetics, and transmedia dynamics in nineteenth-, twentieth-, and early twenty-first-century contexts, all supported by full-color reproductions of the work of the artists under consideration, including such prominent figures as R. Crumb and Art Spiegelman.Seeking to expand the reach of fields such as media studies and comics studies by seeking out the crossover between different media practices and different disciplines, such as literary theory, art history, film studies, and digital humanities, Comics & Media also highlights the tensions - and connections - between "new" and "old" media throughout. The most substantial scholarly exploration of comics yet, Comics & Media offers an up-to-date take on a burgeoning field and suggests countless avenues for future inquiry.
2 274 kr
Skickas inom 3-6 vardagar
Some of the most acclaimed books of the twenty-first century are autobiographical comics by women. Aline Kominsky-Crumb is a pioneer of the autobiographical form, showing women's everyday lives, especially through the lens of the body. Phoebe Gloeckner places teenage sexuality at the center of her work, while Lynda Barry uses collage and the empty spaces between frames to capture the process of memory. Marjane Satrapi's Persepolis experiments with visual witness to frame her personal and historical narrative, and Alison Bechdel's Fun Home meticulously incorporates family documents by hand to re-present the author's past. These five cartoonists move the art of autobiography and graphic storytelling in new directions, particularly through the depiction of sex, gender, and lived experience. Hillary L. Chute explores their verbal and visual techniques, which have transformed autobiographical narrative and contemporary comics. Through the interplay of words and images, and the counterpoint of presence and absence, they express difficult, even traumatic stories while engaging with the workings of memory.Intertwining aesthetics and politics, these women both rewrite and redesign the parameters of acceptable discourse.
299 kr
Skickas inom 7-10 vardagar
Some of the most acclaimed books of the twenty-first century are autobiographical comics by women. Aline Kominsky-Crumb is a pioneer of the autobiographical form, showing women's everyday lives, especially through the lens of the body. Phoebe Gloeckner places teenage sexuality at the center of her work, while Lynda Barry uses collage and the empty spaces between frames to capture the process of memory. Marjane Satrapi's Persepolis experiments with visual witness to frame her personal and historical narrative, and Alison Bechdel's Fun Home meticulously incorporates family documents by hand to re-present the author's past. These five cartoonists move the art of autobiography and graphic storytelling in new directions, particularly through the depiction of sex, gender, and lived experience. Hillary L. Chute explores their verbal and visual techniques, which have transformed autobiographical narrative and contemporary comics. Through the interplay of words and images, and the counterpoint of presence and absence, they express difficult, even traumatic stories while engaging with the workings of memory.Intertwining aesthetics and politics, these women both rewrite and redesign the parameters of acceptable discourse.
309 kr
Skickas inom 7-10 vardagar
In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima’s Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman’s first “Maus” story about his immigrant family’s survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa’s inaugural work of “atomic bomb manga,” the comic book Ore Wa Mita (“I Saw It”)—a title that alludes to Goya’s famous Disasters of War etchings.Chute explains how the form of comics—its collection of frames—lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.