protective space of the flat, where, after the overwhelming emotions of the past few hours, he had taken refuge? At all events, the panel has become an echo chamber, where the ‘DONG’, from being a physical disturbance, has taken on psychic resonance. Once
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Dissenting Voices?
Controlling Children’s Comics under Franco
Rhiannon McGlade
everyday life in the post-war period, part of the urban landscape, creating a common space and a possibility for social exchange’. 21 The particular brand of graphic humour found in tebeos of the 1940s and 1950s ‘evoked an unofficial but no less real
Maggie Gray, Kees Ribbens, Sebastian Domsch, and Dyfrig Jones
single contribution has the space to do its multiplicity justice. But for those purposes, there are other monographs or collections to consult; 20 the present collection has a rather different aim and succeeds in providing fascinating glimpses into a
From Pioneer of Comics to Cultural Myth
Castelao in Galician Graphic Biography
David Miranda-Barreiro
. Sarry and Xoán Balboa ( Figure 3 ). The comic follows the typical cradle-to-grave biographical formula, but because of the limited space deployed to tell the reader about Castelao’s life, it is also heavily dependent on selection, which is obviously a
Raphaël Baroni
representing storytelling scenarios, narrators, characters, temporalities, or spaces that could not exist in the actual world’. 6 Thus, while Richardson considers that conventionalised nonmimetic elements that we find in popular culture (for example, in fairy
Hugo Frey and Laurike in ‘t Veld
Falk that the present show is segregated from the masterpieces of French and European history, set up in the student district at a small exhibition space on the left bank. However, the same commentary also testifies to his hope that comics might one day
Introduction
Mise en abyme
Laurence Grove, Anne Magnussen, and Ann Miller
find models for the architecture of the Baroque spaces inhabited by Osvaldo. Most strikingly, the comic shows the crazed Osvaldo enacting the fantasy, invented by Romantic poets, that Ribera had painted with the blood of saints, by substituting the
Ekaterina Tikhonyuk and Mark McKinney
’ attention to its own performativity, which in turn had the potential to encourage the audience to process Krokodil' s graphic satire critically, be it cartoons ridiculing Western capitalism (Chapter 6), cartoons glorifying the success of the Soviet space
Fresh off the Boat and Off to the Presses
The Origins of Argentine Comics between the United States and Europe (1907–1945)
Amadeo Gandolfo and Pablo Turnes
Herald ); it was printed in black and white (while originally colour had been a fundamental part of its appeal); and unlike its US version, it shared the space of the page with other strips, which diminished its impact. 25 Paradoxically, the decision to
El Perdón y la furia and José de Ribera's Journey from Faith to Magic
Historical Fiction by Altarriba and Keko
Francisca Lladó
of Osvaldo's body, the foreshortening that brings his head to the foreground and his feet to the background, help create the feeling of space turned upside down.] 33 The dramatic pose is echoed on page 11 where colour reproductions of the Furies