Roger Sabin – författare

It's now over twenty years since punk pogo-ed its way into our consciousness. Punk Rock So What?brings together a new generation of academics, writers and journalists to provide the first comprehensive assessment of punk and its place in popular music history, culture and myth. The contributors, who include Suzanne Moore, Lucy OBrien, Andy Medhurst, Mark Sinker and Paul Cobley, challenge standard views of punk prevalent since the 1970s. They: * re-situate punk in its historical context, analysing the possible origins of punk in the New York art scene and Manchester clubs as well as in Malcolm McClarens brain* question whether punk deserves its reputation as an anti-fascist, anti-sexist movement which opened up opportunities for women musicians and fans alike. * trace punks long-lasting influence on comics, literature, art and cinema as well as music and fashion, from films such as Sid and Nancy and The Great Rock n Roll Swindle to work by contemporary artists such as Gavin Turk and Sarah Lucas.* discuss the role played by such key figures as Johnny Rotten, Richard Hell, Malcolm McClaren, Mark E. Smith and Viv Albertine. Punk Rock Revisited kicks over the statues of many established beliefs about the meaning of punk, concluding that, if anything, punk was more culturally significant than anybody has yet suggested, but perhaps for different reasons.

It's now over twenty years since punk pogo-ed its way into our consciousness. Punk Rock So What?brings together a new generation of academics, writers and journalists to provide the first comprehensive assessment of punk and its place in popular music history, culture and myth. The contributors, who include Suzanne Moore, Lucy OBrien, Andy Medhurst, Mark Sinker and Paul Cobley, challenge standard views of punk prevalent since the 1970s. They: * re-situate punk in its historical context, analysing the possible origins of punk in the New York art scene and Manchester clubs as well as in Malcolm McClarens brain* question whether punk deserves its reputation as an anti-fascist, anti-sexist movement which opened up opportunities for women musicians and fans alike. * trace punks long-lasting influence on comics, literature, art and cinema as well as music and fashion, from films such as Sid and Nancy and The Great Rock n Roll Swindle to work by contemporary artists such as Gavin Turk and Sarah Lucas.* discuss the role played by such key figures as Johnny Rotten, Richard Hell, Malcolm McClaren, Mark E. Smith and Viv Albertine. Punk Rock Revisited kicks over the statues of many established beliefs about the meaning of punk, concluding that, if anything, punk was more culturally significant than anybody has yet suggested, but perhaps for different reasons.

In a society where a comic equates with knockabout amusement for children, the sudden pre-eminence of adult comics, on everything from political satire to erotic fantasy, has predictably attracted an enormous amount of attention.Adult comics are part of the cultural landscape in a way that would have been unimaginable a decade ago. In this first survey of its kind, Roger Sabin traces the history of comics for older readers from the end of the nineteenth century to the present. He takes in the pioneering titles pre-First World War, the underground 'comix' of the 1960s and 1970s, 'fandom' in the 1970s and 1980s, and the boom of the 1980s and 1990s (including 'graphic novels' and Viz.). Covering comics from the United States, Europe and Japan, Adult Comics addresses such issues as the graphic novel in context, cultural overspill and the role of women.By taking a broad sweep, Sabin demonstrates that the widely-held notion that comics 'grew up' in the late 1980s is a mistaken one, largely invented by the media. Adult Comics: An Introduction is intended primarily for student use, but is written with the comic enthusiast very much in mind.

In a society where a comic equates with knockabout amusement for children, the sudden pre-eminence of adult comics, on everything from political satire to erotic fantasy, has predictably attracted an enormous amount of attention.Adult comics are part of the cultural landscape in a way that would have been unimaginable a decade ago. In this first survey of its kind, Roger Sabin traces the history of comics for older readers from the end of the nineteenth century to the present. He takes in the pioneering titles pre-First World War, the underground 'comix' of the 1960s and 1970s, 'fandom' in the 1970s and 1980s, and the boom of the 1980s and 1990s (including 'graphic novels' and Viz.). Covering comics from the United States, Europe and Japan, Adult Comics addresses such issues as the graphic novel in context, cultural overspill and the role of women.By taking a broad sweep, Sabin demonstrates that the widely-held notion that comics 'grew up' in the late 1980s is a mistaken one, largely invented by the media. Adult Comics: An Introduction is intended primarily for student use, but is written with the comic enthusiast very much in mind.

From cops who are paragons of virtue, to cops who are as bad as the bad guys...from surly loners, to upbeat partners...from detectives who pursue painstaking investigation, to loose cannons who just want to kick down the door, the heroes and anti-heroes of TV police dramas are part of who we are. They enter our living rooms and tell us tall tales about the social contract that exists between the citizen and the police. Love them or loathe them--according to the ratings, we love them--they serve a function. They've entertained, informed and sometimes infuriated audiences for more than 60 years.This book examines Dragnet, Highway Patrol, Naked City, The Untouchables, The F.B.I., Columbo, Hawaii Five-O, Kojak, Starsky & Hutch, Hill Street Blues, Cagney & Lacey, Miami Vice, Law & Order, Homicide: Life on the Street, NYPD Blue, CSI, The Shield, The Wire, and Justified.It's time to take another look at the "perps," the "vics" and the boys and girls in blue, and ask how their representation intersects with questions of class, gender, sexuality, and "race." What is their socio-cultural agenda? What is their relation to genre and televisuality? And why is it that when a TV cop gives a witness his card and says, "call me," that witness always ends up on a slab?

Marie Duval: maverick Victorian cartoonist offers the first critical appraisal of the work of Marie Duval (Isabelle Émilie de Tessier, 1847–1890), one of the most unusual, pioneering and visionary cartoonists of the later nineteenth century.It discusses key themes and practices of Duval’s vision and production, relative to the wider historic social, cultural and economic environments in which her work was made, distributed and read, identifing Duval as an exemplary radical practitioner.The book interrogates the relationships between the practices and the forms of print, story-telling, drawing and stage performance.It focuses on the creation of new types of cultural work by women and highlights the style of Duval’s drawings relative to both the visual conventions of theatre production and the significance of the visualisation of amateurism and vulgarity.Marie Duval: maverick Victorian cartoonist establishes Duval as a unique but exemplary figure in a transformational period of the nineteenth century.