The Comic-Book Industry

2017 ◽  
Vol 1 (1) ◽  
pp. 81-103
Author(s):  
Jeffery Kahan
Keyword(s):  
Book Industry ◽  
Comic Book

Gender Differences in Clothing Worn in Current Popular Comic Books

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Kyle Landon Jossy
Keyword(s):  
Gender Differences ◽  
Content Analysis ◽  
Comic Books ◽  
Book Industry ◽  
Comic Book ◽  
Lower Body ◽  
Female Characters ◽  
Male And Female ◽  
Males And Females

This study looked at how males and females were portrayed, based on the amount of skin shown in the clothing worn.  A Content analysis was performed on a sample of 20 randomly selected popular comics from the last 3 years.  Both male and female characters were rated on how much skin they showed in three clothing categories; neck line, sleeve length, and lower body.  Results showed that in all 3 categories, women consistently wore more revealing clothing.  The findings demonstraetd that the comic book industry is comparable to other forms of media, in the sexualization of female characters, by having them wear more revealing clothing.

scholarly journals Humanizing a Superhero: An Empirical Test in the Comic Books Industry

2016 ◽  
Vol 9 (11) ◽  
pp. 189
Author(s):  
Michela Addis ◽  
Gabriele Troilo
Keyword(s):  
Content Analysis ◽  
Quantitative Study ◽  
Comic Books ◽  
Empirical Test ◽  
Book Industry ◽  
Comic Book ◽  
Secondary Data ◽  
Data Sources ◽  
Secondary Data Sources

<p>One of the most firmly-established and widespread marketing policies in the comic book industry is the humanization of superheroes as a strategy to achieve success, especially for characters populating the Marvel Universe. However, there is no clear evidence of how exactly artists actually and operatively create human superheroes, and whether those variables truly affect sales of comic books. To address those two issues we run a quali-quantitative study by interviewing experts, and regressing sales on a broad range of variables of comic books gathered through content analysis and secondary data sources. Our findings show that humanization is not as powerful as expected in driving sales of comic books.</p>

Comics Studies as Interdiscipline

2019 ◽  
pp. 655-670
Author(s):  
Dale Jacobs
Keyword(s):  
Reflective Practice ◽  
Media Studies ◽  
Book History ◽  
Comic Books ◽  
Book Industry ◽  
Comic Book ◽  
Comics Studies ◽  
Commercial Publishing ◽  
Ways Of Thinking

This chapter is a call for comics studies to become a fully interdisciplinary endeavor—an interdiscipline rather than an anti-discipline—and for that move toward interdisciplinarity to occur through reflective practice. The chapter proposes that one way this move might be accomplished is by incorporating methodologies and ways of thinking from the fields of book history and media studies into comics studies. Both book history and media studies demand that scholars be mindful of the commercial publishing contexts of comics, while additionally providing examples of hybrid methodologies that work toward interdisciplinarity in their own right. These questions of interdisciplinarity and methodology are approached through discussions of the 1976 Project, which involves examining a year of traditional output of the American comic book industry. The chapter details how book history and media studies might contribute to comics studies and addresses questions raised by and methodologies needed to examine seven comic books from August 1976.

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&#39; comic books. In its main part the paper presents the classification of usage of lettering in comics&#39; 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.

The Queen of Burlesque

2018 ◽  
pp. 101-123
Author(s):  
Christina M. Knopf
Keyword(s):  
Book Industry ◽  
Comic Book ◽  
Pop Culture ◽  
Political Satire ◽  
Gendered Politics ◽  
The Media

Bomb Queen is a satire of politics and pop culture, with the media and the comic industry itself as frequent targets. Its self-referential nature has led Roy T. Cook to call Bomb Queen a “metacomic.” Inspired by rhetorician Aaron Hess’s critique of political satire, this essay analyzes the use of parody and irony in Bomb Queen. This essay argues that Bomb Queen’s approach both criticizes and perpetuates the gendered politics of the comic book industry and the superhero genre.

scholarly journals Indian spooks: What Indian Comic Books Readers Are Afraid of

Politeja ◽  
2019 ◽  
Vol 16 (2(59)) ◽  
pp. 161-176
Author(s):  
Marcin Ciemniewski
Keyword(s):  
Popular Culture ◽  
Comic Books ◽  
Book Industry ◽  
Comic Book ◽  
Indian Literature ◽  
Adult Readers ◽  
Book Series ◽  
American Popular Culture ◽  
Local Languages

The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?

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