Understanding the Sequential Art of Comic Strips and Comic Books and Their Descendants in the Early Years of the New Millennium

2004 ◽  
Vol 27 (2) ◽  
pp. 210-217 ◽  
Author(s):  
Garyn G. Roberts
Keyword(s):  
Comic Books ◽  
Early Years ◽  
Sequential Art ◽  
Comic Strips ◽  
New Millennium

scholarly journals Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia

2014 ◽  
Vol 6 (1) ◽  
pp. 58-72 ◽  
Author(s):  
Sean A Guynes
Keyword(s):  
Comic Books ◽  
Comic Book ◽  
Natural World ◽  
Sequential Art ◽  
Comic Strips ◽  
Word And Image ◽  
American Tradition ◽  
The Individual ◽  
Common Device ◽  
Peircean Semiotics

Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.

A Curse is Born – Context and Background

2017 ◽  
pp. 11-20
Author(s):  
Marisa C. Hayes
Keyword(s):  
Early Years ◽  
Culturally Specific ◽  
Video Films ◽  
New Millennium

This chapter discusses the context and background of Ju-on: The Grudge (2002), starting with a synopsis of the film. Takashi Shimizu's Ju-on franchise was a principal instigator that drove the dissemination of contemporary Japanese horror to global success during the early years of the new millennium. Capitalising on the supernatural folklore that permeates Japan's theatrical and screen legacies, this wave of horror represented a new cinematic export that seamlessly merged the Japanese vengeful ghost tradition with the influence of transnational horror. J-horror brought culturally specific references that were sometimes lost on international audiences, but they also delighted with fresh motifs, aesthetics, and storylines. The chapter then looks at the journey of the Ju-on franchise from television to V-cinema, or direct to video films, to the big screen.

scholarly journals Superheroines and superstereotypes?

2021 ◽  
Vol 8 (1) ◽  
pp. 91-105
Author(s):  
Maxine De Wulf Helskens ◽  
Frederik Dhaenens ◽  
Sarah Van Leuven
Keyword(s):  
Textual Analysis ◽  
Comic Books ◽  
Gender Representation ◽  
Remarkable Increase ◽  
Race And Sexuality ◽  
Intersectional Theory ◽  
New Millennium

Since the new millennium, there has been a remarkable increase in audio-visual adaptations of superhero comic books (Garcia-Escriva, 2018). Whereas these adaptations used to include predominantly male superheroes, they have started to feature more female superheroes (Curtis & Cardo, 2018). An increase, however, does not imply diverse and rounded representations, since women in superhero movies tend to be depicted in stereotypical and sexualized ways (Kaplan, Miller & Rauch, 2016). Even though previous research has addressed the films and series' politics of gender representation, there is a need for research that looks at televised female superheroes from a queer postfeminist and intersectional lens. Therefore, this study conducted a textual analysis, informed by queer postfeminist and intersectional theory, to explore how leading female superheroes in the Arrowverse series Arrow and Supergirl are represented. We concluded that female superheroes who assume a central role in the series are represented in a rather empowered manner, but that there are still improvements possible with regard to the representation of race and sexuality.

The Last Historic TV Star?

2016 ◽  
pp. 141-157 ◽  
Author(s):  
Martha Evans
Keyword(s):  
Social Media ◽  
20Th Century ◽  
21St Century ◽  
Early Years ◽  
Shared Experience ◽  
Traditional Media ◽  
Media Events ◽  
New Millennium

History and the live broadcasting of ceremonial events have been linked throughout the 20th century. Events in the 21st century, however, especially since 9/11, suggest that the study of “media events” – those mesmerising broadcasts that have the power to historicise events instantly – cannot be limited to pre-planned, hegemonic and celebratory occasions (as was the case with Dayan and Katz's 1992 book Media Events: The Live Broadcasting of History). Instead, it must be extended to include the spontaneous live broadcasting of historical tragedies. More than this, in the early years of the new millennium, critics predicted that non-integrative broadcasts (of terror, war and disaster) would upstage traditional media events. This chapter examines Nelson Mandela's funeral broadcast, and its implications for media events theory. It argues that, contrary to expectations of media events' waning fate, in the age of social media, we should not be too hasty to dismiss audience desire for shared experience and the possibilities of integrative events.

Narrative Illustration: The Story of the Comics

2020 ◽  
pp. 88-97
Author(s):  
M. C. Gaines
Keyword(s):  
Comic Books ◽  
Historical Context ◽  
Comic Strip ◽  
American Institute ◽  
Comic Strips ◽  
Graphic Arts ◽  
Wonder Woman ◽  
Cave Paintings ◽  
Educational Importance ◽  
Selection Of

This chapter contains a 1942 article written by publisher M.C. Gaines about the exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts (AIGA) by Jessie Gillespie Willing, which first opened at the National Arts Club, NY. It was the first known touring exhibit to show comics in art historical context with ancestors like Japanese scrolls, Mayan Panels, and cave paintings alongside contemporary comic strips and comic books. This may have been the first exhibit to include a wide selection of comic books including More Fun, Superman, and Wonder Woman #1. Gaines opines on the educational importance of comics in reply to the decency movements that were attempting to censor comics in this era. Images: Caniff exhibit 1946, Fred Cooper cartoon 1942.

Comics in Colonial Africa

2021 ◽  
Author(s):  
Christophe Cassiau-Haurie
Keyword(s):  
South Africa ◽  
Comic Books ◽  
First World War ◽  
World War ◽  
Comic Strips ◽  
The First World War ◽  
Graphic Narratives ◽  
Belgian Congo ◽  
First World

Comic books did not appear in Africa until the arrival of the Europeans and the methodical integration of their civilization at the expense of preexisting civilizations. However, prior to their arrival, there did exist, among many peoples—particularly the Bamum people—a culture of the image. The end of the First World War corresponds to a stronger Western presence on the continent. Therefore, one finds some comic panels and strips in newspapers intended for an audience of Europeans and literate Africans. The 1940s and 1950s—and even earlier in South Africa and Madagascar—mark the appearance of some of the first publications aimed at youth on the continent. Many contained comic strips, but these were often reproductions of stories that had already appeared in Europe. Examples include Kisito, a Catholic youth magazine (1954), and Ibalita (1957). Local missionaries also used graphic narratives to instruct, to arouse interest in particular vocations, and to evangelize. This is particularly true in the Belgian colonies. In fact, it was probably in the Belgian Congo that one of the first comic books appeared on the continent (Les 100 aventures de la famille Mbumbulu, 1956), while the first comic series (Matabaro) was born in 1954 in Ruanda-Urundi. The case of Egypt is of particular interest: it has an old tradition of publishing newspapers, magazines, and journals, including journals for children like Sindibad created in 1952.

Type in pictures. Comic book lettering in contemporary American comics. An overview

2020 ◽  
Vol 60 (2) ◽  
pp. 162-186
Author(s):  
Michał Wolski
Keyword(s):  
Main Part ◽  
Comic Books ◽  
Book Industry ◽  
Comic Book ◽  
Early Years ◽  
Methodological Framework ◽  
Text And Image ◽  
History Of ◽  
European Counterpart

This paper focuses on the issue of comic book lettering in mainstream American comics with an aim to introduce theoretical and methodological framework for further analysis of comic book typography. First, it addresses numerous aspects of relations between text and image in comics and presents the brief history of lettering in American comic book industry, as it grew apart from its European counterpart in the early years of development and became much more institutionalized, in no part because of the works of Will Eisner, Gaspar Saladino and especially Richard Starkins, who introduced an affordable means of using the digital typography in early 90s' comic books. In its main part the paper presents the classification of usage of lettering in comics' communicates, which distinguishes the diegetic (graphic, verbal and mental) and non-diegetic (meta- or paratextual and narrative) communicates. This analysis was based on the research sample of over 700 comic book issues, mostly from the Ultimate Marvel imprint (2000–2015) In the final paragraphs, the author critically examines functions of comic book typography and outlines three possible fields of further study.

scholarly journals A STUDY OF THE LANDSCAPE INDUSTRY IN NORTHERN NEW JERSEY IN THE NEW MILLENNIUM

HortScience ◽  
2006 ◽  
Vol 41 (3) ◽  
pp. 494E-494
Author(s):  
Madeline Flahive DiNardo ◽  
Joel Flagler
Keyword(s):  
Growth Rate ◽  
New Jersey ◽  
Interest Rates ◽  
Service Industry ◽  
Early Years ◽  
Business Growth ◽  
Average Growth ◽  
Average Decrease ◽  
Low Interest Rates ◽  
New Millennium

In a 1998-99 survey of the landscape service industry in northern New Jersey, professionals predicted an average growth rate of 41% for the years 1998–2003. How close did their prediction come to the growth rate experienced by the industry? In 1999, top issues facing the industry were labor, political recognition, access to capital and regulations. How did events during the early years of the new millennium effect the industry? Landscape professionals (159) participating in a 2005 study of the industry reported an average business growth rate of 38% from 1998–2003. The terrorist attacks of 11 Sept. 2001 had consequences for 45% of the businesses; 49 experienced an average decrease in sales of 17%. Drought conditions in 2002 with state mandated water use restrictions effected 100 of the participants' businesses; 51% of whom lost an average of 21% in sales. The drought was followed by a rainy spring season in 2003. The rains hindered 57 of the businesses, 22 reporting a 3% average decrease in sales. There were events that had positive impacts on 48% of the businesses. Low interest rates, building construction and renovation and expansion of services were cited as opportunities for growth. The participants ranked environmental regulations, pesticide regulations, the availability of labor, labor regulations and vehicles/equipment as the top issues/challenges facing the industry in 2005. The landscape professionals predict an average business growth rate of 26% for 2005–2010.

scholarly journals Representation of the soviet era in national comics

2021 ◽  
Vol 1 (24) ◽  
pp. 185-192
Author(s):  
Tatiyana I. Erokhina ◽  
◽  
Evgeni S. Zheltov ◽  
Keyword(s):  
Functional Analysis ◽  
Mass Culture ◽  
Comic Books ◽  
Comic Book ◽  
Visual Images ◽  
Historical Events ◽  
Comic Strips ◽  
Soviet Culture ◽  
Modern Mass ◽  
Controversial Nature

The article studies representation of the soviet era images in the national comics culture. Paying attention to the popularity and relevance of soviet culture in contemporary mass culture, the authors emphasize the controversial nature of showing the «Soviet past». Analyzing the peculiarities of representation, which is a polysemantic concept and can pursue different goals, the authors focus on the «spectacular» function of representation typical of modern mass culture. The article givess a thorough analysis of national comics in which the representation of the soviet era is most obvious; moreover, the comic strips creators claim it is a deliberate technique. The authors of the article note that the representation of the soviet era can be featured in the plot of a comic book, with references to historical events or historical chronotope of the soviet era. The soviet era can be represented in the system of recognizable characters with possible prototypes in soviet culture. National comic books, addressed to the russian reader, can actualize the visual images of the soviet era. Analyzing various techniques and ways of showing the Soviet era in comics, the authors offer a functional analysis of representation, noting that resorting to the soviet era can serve different purposes and have both positive and negative connotations. The article examines different functions of the soviet era representation connected both with nostalgic trends in society and with ironic perception of the soviet past.

For a Few Comic Strips More: Reinterpreting the Spaghetti Western through the Comic Book

2016 ◽  
Author(s):  
William Grady
Keyword(s):  
Comic Books ◽  
Comic Book ◽  
Comic Strips ◽  
Bande Dessinee ◽  
Spaghetti Westerns ◽  
Bounty Hunter ◽  
The Impact

In Christopher Frayling's book Spaghetti Westerns (1981), he highlights how the character of the Spaghetti Western has since become subsumed into later Western comic books, evidenced through the Lee Van Cleef-like bounty hunter featured in Morris and Goscinny's bande dessinée (French comic) Lucky Luke: The Bounty Hunter (1972). Drawing upon this relationship, this chapter will take a similar approach to Frayling, who mediates between comic book influences upon the Spaghetti Western and the later reciprocal impact of these Westerns upon the comic book. It begins by demystifying some of the tacit references to the comic-like qualities of the Italian Westerns. This provides context for the exploration of the impact of these films upon the Western comic book, primarily achieved through a case study of the bande dessinée series, Blueberry (1963–2005), by Jean-Michel Charlier and Jean Giraud. In a collection that looks to map the relocation and appropriation of the Spaghetti Western, the chapter reinterprets these Italian productions through the comic book.

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