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Antonio Lázaro-Reboll

Any examination of the constitution of the Spanish field of comics between 1965 and 1975 requires a detailed contextualisation of wider historical, social and cultural processes across national borders and of the formation of comics cultures in

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Viviane Alary

It seems difficult to speak about comic art in Spain without considering what tebeos mean to Spaniards. This term is not simply a Spanish translation of bande dessinée. It refers to a special kind of comic strip aimed at children, which appeared in the late 1920s. Tebeos were the only available mass medium in Spain after the Civil War (1936-1939). In this contribution we want to analyse tebeos as an editorial, social and cultural phenomenon, with the aim of demonstrating that 'tebeo-culture' survived even after the collapse of the 'tebeo-industry' in the 1970s and 1980s. In addition, we will examine the question of the cultural legitimacy of comic art in Spanish society.

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The New Spanish Memory Comics

The Example of Cuerda de presas

Anne Magnussen

Since the end of the 1990s, more and more Spanish comics have focused on the recent Spanish past, including the memory of the Civil War (1936–1939) and the succeeding dictatorship. This article offers an analysis of a particular comics volume, Cuerda de presas (2005) by Jorge García and Fidel Martínez, and discusses the way in which it interprets the role of the past in Spanish society thirty years after the political transition to democracy. I argue that Cuerda de presas participates in the questioning of the dominant memory about the past. It does this by undermining narrative coherence and by pointing to the plural and unstable characteristics of memories. Charles Peirce's semiotics constitutes the framework for the analysis, according to which there is a dynamic relationship between Cuerda de presas and Spanish society.

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Satirical Panels against Censorship

A Battle That Raged during the Spanish Transition

Gerardo Vilches

In mid-1970s Spain, many new satirical magazines featured a strong political stance opposing Francisco Franco’s regime and in favour of democracy. Magazines with a significant amount of comics-based content constituted a space for political and social critics, as humour allowed them to go further than other media. However, legal authorities tried to censor and punish them. This article analyses the relationship between the Spanish satirical press and censorship and focuses on the difficulties their publishers and authors encountered in expressing their criticism of the country’s social changes. Various cartoonists have been interviewed, and archival research carried out. In-depth analysis of the magazines’ contents is used to gain an overview of a political and social period in recent Spanish history, in which the satirical press uniquely tackled several issues.

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Benjamin Fraser

(2007) in France, where it won recognition as one of the top twenty of the year – received two awards in Spain and has been translated into Dutch, English, Finnish, Italian and Japanese. 1 La Casa [The house], originally published in 2015, is yet

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Agatha Mohring

María y yo by Miguel and María Gallardo, Arrugas by Paco Roca and Una posibilidad entre mil by Cristina Durán and Miguel Ángel Giner Bou are contemporary Spanish graphic novels that can be considered pathographies. This article shows how they use the metaphor of the journey to deconstruct social representations and challenge preconceived ideas about autism, Alzheimer’s disease and cerebral palsy. By making readers travel to the unknown territory of differences and diseases, these works help them to discover and understand alterity. I also study how the authors use techniques specific to travel guides to explain these disorders, and interrogate the extent to which creating and reading those pathographies can have a curative dimension. This will lead to questioning the concept of the therapeutic journey.

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Tintin in the Movida Madrileña

Gender and Sexuality in the Punk Comic Book Zine Scene

Louie Dean Valencia-García

This article traces ways in which comic fanzines of the late 1970s and early 1980s transgressed against and conformed to accepted Spanish constructions of gender and sexuality of the day. Research is drawn from close readings of comics found in zines of the period, such as 96 Lágrimas, Ediciones moulinsart and Kaka de Luxe. Young Madrileños literally drew on images and tropes from a variety of sources, from punk musicians to Tintin in the Congo, making them their own. Through fanzines, often sold in Madrid’s Rastro, a Roma marketplace, young people became cultural producers, creating a culture that was postmodern and anti-fascist.

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The Representation of Traumatic Memory in Spanish Comics

Remembering the Civil War and Francoism in Panels

Juan Carlos Pérez García

The graphic representation of traumatic memory of war disasters constitutes a broad tradition that can be traced back to Francisco Goya. Comics, with the resources provided by their textual-visual narrative, have been part of that tradition especially since the 1950s. However, representing traumatic memory of war disasters is troublesome, in regard to the artists’ strategies and public reception – as shown by the conflicts between memory, history and myth posed in these works. This article develops a comparative study of traumatic memories in Spanish comics and presents an analysis of the modes of representation in works such as Carlos Giménez’s Paracuellos, Francisco Gallardo Sarmiento and Miguel Gallardo’s Un largo silencio, Antonio Altarriba and Kim’s El arte de volar and Paco Roca’s Los surcos del azar.

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Rafael Böcker Zavaro

This article sets out the results of research which aims to determine the characteristics of fishing development in the province of Tarragona, from the social, territorial and economic point of view, as well as the perspective of the public policies implemented for this sector. It considers the role played by the various social, economic and institutional agents, and the importance of sustainable and responsible management of fishing. The research method we have chosen is the case study. The comparative analysis of the seven fishing ports in the south of Catalonia is even more significant in that each one has different sales volumes. The techniques used for gathering information were: the semi-structured interview, non-participant observation and the use of secondary statistical and documentary sources.

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‘For He Bestirred Himself to Protect the Land from the Moors’

Depicting the Medieval Reconquista in Modern Spanish Graphic Novels

Iain A. MacInnes

The modern perception of Spain is indelibly linked to its medieval past and to the Reconquista . 1 The creation of Spain itself is connected in the modern popular consciousness with the ‘reconquest’ of 1492, the final expulsion of Muslims from the