Introduction: From Comic Strips to Graphic Novels

Keyword(s):  
Author(s):  
Ilan Stavans

“The letterless canon” argues that Jewish literature from the mid-twentieth century onward is not restricted to fiction, poetry, and theater. The book as a tool for the dissemination of knowledge has undergone a metamorphosis. Along the way, the border between high-brow and popular culture has been erased. Comic strips like Superman and graphic novels can be viewed as literary artifacts. Indeed we should consider the work of Will Eisner (A Contract with God), Art Spiegelman (Maus), and Alison Bechdel (Fun House), each of whom offers different contributions. There is also the matter of stand-up comedy, film scripts, and television shows which examine, from a Jewish perspective, gender, racial, and class issues.


Author(s):  
Monica Chiu ◽  
Jeanette Roan

Asian American graphic narratives typically produce meaning through arrangements of images, words, and sequences, though some forgo words completely and others offer an imagined “before” and “after” within the confines of a single panel. Created by or featuring Asian Americans or Asians in a US or Canadian context, they have appeared in a broad spectrum of formats, including the familiar mainstream genre comics, such as superhero serials from DC or Marvel Comics; comic strips; self-published minicomics; and critically acclaimed, award-winning graphic novels. Some of these works have explicitly explored Asian American issues, such as anti-Asian racism, representations of history, questions of identity, and transnationalism; others may feature Asian or Asian American characters or settings without necessarily addressing established or familiar Asian American issues. Indeed, many works made by Asian American creators have little or no obvious or explicit Asian American content at all, and some non-Asian American creators have produced works with Asian American representations, including racist stereotypes and caricatures. The earliest representations of Asians in comics form in the United States were racist representations in the popular press, generally in single-panel caricatures that participated in anti-immigration discourses. However, some Asian immigrants in the early to mid-20th century also used graphic narratives to show and critique the treatment of Asians in the United States. In the realm of mainstream genre comics, Asian Americans have participated in the industry in a variety of different ways. As employees for hire, they created many well-known series and characters, generally not drawing, writing, or editing content that is recognizably Asian American. Since the 2010s, though, Asian American creators have reimagined Asian or Asian American versions of legacy characters like Superman and the Hulk and created new heroes like Ms. Marvel. In the wake of an explosion of general and scholarly interest in graphic novels in the 1990s, many independent Asian American cartoonists have become significant presences in the contemporary graphic narrative world.


Author(s):  
Laura Vazquez

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article. The Spanish word “historietas,” like the English word “comics,” refers to a broad and heterogeneous body of work. A comic strip, a comic series, and a graphic novel are obviously not the same thing. One term can hide genres as diverse as gag cartoons, caricatures, illustrations, figurative narration, and narrative figuration. While comic strips and historietas often share a metonymic perspective, they represent two distinct practices. Comic strips published in newspapers and magazines are part of a hybrid genre similar to cartoons and historietas. Comic strips and cartoons both feature stand-alone stories. Comic strips and historietas both present their plots in a sequential graphic narrative. Historietas differ from comic strips and cartoons by appearing in adventure magazines, graphic novels, and serials that vary in content and publication format, each adhering to its own production conditions and genre rules. Graphic humor in Argentina has historically been tied to the political and economic elite. Even so, graphic humorists were able to surreptitiously convey subversive messages through their drawings and words. To work in the professional print industry has long been defined as having one foot in media business and the other in public interest. Due to the types of publications featuring historietas, their circulation, and their readership, historieta artists (historietistas) enjoyed a comparatively greater degree of autonomy in communicating social and political criticism. For graphic humor, its comedy or realism is connected to the type of commentary that appears in the opinion page of the daily news. Such is the case with magazines like Tía Vicenta, Humor Registrado, Satiricón, and Hortensia. The central characteristics of political humor link a historieta to the social and cultural conventions of its time. Graphic humor can be read in light of the ways it is unavoidably intertextual and metacommunicational, conditioned by existing discourse. Starting in the 1960s, realist and adventure historietas cultivated stylistic voics in tune with emerging forms of reflexive irony and the historieta’s unique visual properties. Playful experimentation in the textual and graphic dimensions of the historieta resulted in strongly political tales with elements of novelty and improvisation. Historietas written by Héctor Oesterheld and drawn by Alberto Breccia are paradigmatic of this tension between historietas and politics. Their narrative and aesthetic innovations highlight how historietas can be organized as ideological discourse, intervening alongside popular culture in the debates and dilemmas of the time.


Author(s):  
Kees Ribbens

This chapter presents an overview of the development of historical narratives combining visual and textual elements in comic strips and graphic novels. History comics developed strongly during the 1940s and 1950s and became popular, in particular among young readers in Western Europe and North America. Having gained increased cultural respectability, comics more recently also obtained an adult audience. Two internationally renowned educational comics from the Anne Frank House, published in the first decade of the twenty-first century, illustrate how comics are nowadays capable of representing sensitive topics from recent history, in particular World War II and the Holocaust. Yet, combining fact and fiction requires a balanced way of (re)presenting, involving discussions among historians and others on what may be possible and desirable in this specific war of making history public.


2019 ◽  
Vol 12 (2) ◽  
pp. 114-126
Author(s):  
Mark McKinney ◽  
Jennifer Howell ◽  
Ross William Smith ◽  
David Miranda Barreiro

David Kunzle, Cham: The Best Comic Strips and Graphic Novelettes, 1839–1862 (Jackson: University Press of Mississippi, 2019). 566 pp. ISBN: 978-1-4968-1618-4 ($90)Tatiana Prorokova and Nimrod Tal, eds, Cultures of War in Graphic Novels: Violence, Trauma, and Memory (New Brunswick, NJ: Rutgers University Press, 2018). 237 pp. ISBN: 978-0-8135-9095-0 ($29.95)Stephen E. Tabachnick, ed., The Cambridge Companion to The Graphic Novel (Cambridge: Cambridge University Press, 2017). 244 pp. ISBN: 978-1-107-51971-8 (£21.99)Louie Dean Valencia-García, Antiauthoritarian Youth Culture in Francoist Spain: Clashing with Fascism (London: Bloomsbury Academic, 2018). 248 pp. ISBN: 978-1-350-03847-9 ($114)


Author(s):  
Ian Gordon

Comics studies is an emerging field of scholarship. Some scholars in the field have even started to think of it in disciplinary terms. There are, however, no graduate programs of study in the field or anything yet established that can be considered a canon of works. Indeed comics studies at times seems to consist of fiefdoms grouped around objects of study like graphic novels, superhero comic books, comic strips and extreme ouliers like editorial cartoons. This chapter offers some initial observations on works that have shaped the field to date through a small study of citation rates of authors working in the field.


2014 ◽  
Vol 7 (1) ◽  
pp. 112-126
Author(s):  
Ian Hague ◽  
Nancy Pedri ◽  
José Alaniz ◽  
Stefano Ascari ◽  
Silke Horstkotte

Daniel Stein and Jan-Noël Thon, eds, From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic NarrativeBarbara Postema, Making Sense of Fragments: Narrative Structure in ComicsShane Denson, Christina Meyer and Daniel Stein, eds., Transnational Perspectives on Graphic Narratives: Comics at the CrossroadsMélanie Van Der Hoorn, Bricks and Balloons: Architecture in Comic Strip FormThomas Hausmanninger, Verschwörung und Religion: Aspekte der Postsäkularität in den franco-belgischen Comics [Conspiracy and Religion: Aspects of Post-Secularity in Franco-Belgian Comics]


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