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Chung-Hao Ku

’s Other Voices, Other Rooms ([1948] 2004) , the protagonists are so susceptible to the backward temporalities of return and the gothic that their adolescences become non-transitional. 1 In Love’s discussion of backward affects, “adolescent feelings

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Ann Miller, Patricia Mainardi, Karin Kukkonen, Viviane Alary, Jaqueline Berndt, Tony Venezia, and Jennifer Anderson Bliss


Graphic Details: Confessional Comics by Jewish Women – Communities of Experience? One-day symposium, JW3, Jewish Community Centre for London, 12 November 2014


Thierry Smolderen, The Origins of Comics: From William Hogarth to Winsor McCay, trans. Bart Beaty and Nick Nguyen

Julia Round, Gothic in Comics and Graphic Novels: A Critical Approach

François-Emmanuel Boucher, Sylvain David and Maxime Prévost, eds, Mythologies du superhéros: Histoire, physiologie, géographie, intermédialités

Dan Mazur and Alexander Danner, Comics: A Global History, 1968 to the Present

Annessa Ann Babic, ed., Comics as History, Comics as Literature: Roles of the Comic Book in Scholarship, Society, and Entertainment

Jane Tolmie, ed., Drawing from Life: Memory and Subjectivity in Comic Art

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Alex Link

community of readers’, 37 itself an ‘appropriation of earlier press strategies, sensationalist stories, and the Gothic tradition’. 38 The Ripper is a ‘collage-creature’ persisting in what Moore calls ‘Idea Space’. He is a cultural category, and not some

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Lise Tannahill, Eliza Bourque Dandridge, and Rachel Mizsei Ward

elsewhere in English), as well as an introduction by the editors presented in both French and English. ‘L’Œuvre’ features chapters on Dave McKean, the Gothic in comics, the Polish comic Osiedle Swoboda [The Swoboda District] and the changing identities of

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Ronald de Rooy

’s Inferno: An Animated Epic , dir. Victor Cook and Mike Disa, 2010. On the graphic novel by Christos Gage and Diego Latorre, Dante’s Inferno (La Jolla, CA: Wildstorm Productions, 2010) as a hybrid between fantasy and gothic, see Nicola Paladin, ‘Effetti

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Nick Nguyen, Philippe Kaenel, Michael Kelly, Charles Forsdick, Rikke Platz Cortsen, Sylvain Rheault, Hugo Frey, and Mark Nixon

of the book is dedicated to ‘Space and Comics Theory’. This theoretical section opens with Julia Round’s analysis of three well-known comics, From Hell, The Invisibles and The Walking Dead , in which she uses Gothic theory to analyse how landscape

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Pogo, Pop and Politics

Robert Benayoun on Comics and Roy Lichtenstein

Gavin Parkinson

innovation in Pogo was heralded by the Gothic script used at the end of May 1950 for Deacon Mushrat’s pronouncements: Kelly, Pogo , 124. For more on the creative uses of word balloons and lettering in the strip, see Breslin, ‘Foreword’, in Kelly, Pogo

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J. Brandon Colvin

People are bad at recognizing liars. Data culled from several psychological experiments demonstrates that even the most well trained individuals – government agents, police officers, and so on – can barely succeed at a 50 percent rate. Lying and deception, however, are fundamental narrative elements in several film genres – particularly the detective film and the female gothic, genres that peaked in popularity in 1940s Hollywood. Considering their real-life lack of proficiency, how do viewers successfully spot deception in such films? Drawing on findings from a handful of experiments, this article brings cognitive psychological concepts to bear on two 1940s films: Out of the Past (1947) and Secret Beyond the Door (1948). The article claims that filmmakers, particularly actors, exaggerate, simplify, and emphasize deception cues to selectively achieve narrative clarification or revelation. This process reveals not only how viewers recognize deception, but how actors stylize real-life behavior in service of narrative and aesthetic priorities.

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Mirko M. Hall

that key characteristics of the gothic and dark wave scenes—such as the sense of “individual pessimism and collective melancholy” and the accompanying ideals of “death, decay, loyalty, love, purity, and simplicity”—can easily be channeled through an

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Patricia Mainardi

and huge beasts, contemporary beauties and Gothic monuments will furnish the most bizarre and varied digest of our epoch at two sous. There, now you have the authentic Magasin pittoresque . 25 An article in Le Temps complained that “no system