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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

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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

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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

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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

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Introduction

Comics and Adaptation

Armelle Blin-Rolland, Guillaume Lecomte, and Marc Ripley

narrative strategies and paratextual material, Lecomte proposes that Sattouf’s comic occupies a seemingly contradictory space that Pascal Lefèvre identifies with factual comics, which derive their sense of authenticity from a specific relational model that

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Harriet Kennedy, Elizabeth (Biz) Nijdam, Logan Labrune, and Chris Reyns-Chikuma

the technical elements of each individual approach to rendering disaster and violence. It is here that her concern with the space of the comics page and the role that this plays in chronicling time returns to the fore. The book’s ‘coda’ includes a

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The Art of Braiding

A Clarification

Thierry Groensteen

Unlike film, where images appear on the screen one at a time, each disappearing to give way to the next, comics is made up of a plurality of images that are co-present before the reader’s eyes. 1 They share a segmented space and, being printed and

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Perspectives on Cinema and Comics

Adapting Feature Films into French-Language Comics Serials during the Post-war Years

Alain Boillat

phases, such as the moment when one of Captain Thorpe’s men smashes open the door of the cabin where the ambassador and his daughter are staying. This is a key moment because it brings two spaces into contact with each other, which allows the romance to

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Thierry Groensteen

them more and more space in the journal. This shift of emphasis was not to the taste of everyone in the team. Luc Dellisse, in particular, was very hostile to US comics, whoever their author. The printer that I had chosen, Offpress, had the prime

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Looking Awry at Georgian Caricature

Lacan and the Satirists

David Morgan

‘cone’ of visual space (the visual space encapsulated by the device of single-point perspective), that subject, at the same moment, is itself captured within a separate field, or ‘cone’, of vision: that of the gaze of the Other: ‘What determines me, at