Search Results

You are looking at 1 - 10 of 66 items for :

  • "comic book" x
  • Refine by Access: All content x
  • Refine by Content Type: All x
Clear All Modify Search
Restricted access

A Transtextual Hermeneutic Journey

Horst Rosenthal's Mickey au camp de Gurs (1942)

Yaakova Sacerdoti

that illuminates all the ways in which one text, the hypertext, can modify a previous text, the hypotext. 17 Horst Rosenthal wrote and drew what seems to be the earliest comic book about the Holocaust, Mickey . 18 Focusing on three out of Genette

Open access

Black October

Comics, Memory, and Cultural Representations of 17 October 1961

Claire Gorrara

obfuscation of the events by the French state has led individuals and groups to seek alternative routes for recognition. This article will explore one of these alternative routes: Octobre noir , a comic book collaboration between writer Didier Daeninckx and

Restricted access

Guillaume Lecomte

Although non-fiction works constitute an essential and exciting part of comic book production, and have received both critical praise and attention, they are conspicuous by their absence from screen(s) in the midst of the numerous film adaptations

Restricted access

Gazing at Medusa

Adaptation as Phallocentric Appropriation in Blue Is the Warmest Color

Marion Krauthaker and Roy Connolly

will show. Taking Blue Is the Warmest Color as an example, 7 we explore how auctorial choices in adaptations can lead to radical shifts in female representations and thoroughly alter statements on womanhood. While Julie Maroh’s comic book (2010) acts

Restricted access

“Let Us Be Giants”

Masculinity Nostalgia and Military Edutainment in South Asian War Comics

Tehmina Pirzada

remained sporadic due to the dearth of local publishers and limited readership. An interest in creating Pakistan's “softer” image, especially after 9/11, however, led to a demand for diversified storytelling, enabling indie illustrators and comic book

Full access

Carl Plantinga

comic book graphics. Slowed down like this, they better resemble the frames and pages of the comics, with their stylized virile posing and capacity to capture the high moments of the action. It also highlights and emphasizes the fighting, further

Restricted access

Imagining Multicultural London

Containment and Excess in Snatch

Rachel Garfield

Snatch (Guy Ritchie, 2000) is a comic-book gangster film that can be seen to represent the backlash against perceived notions of political correctness in what is effectively a public-schoolboy fantasy of working-class life in East London. However, the film also delineates the limits of this backlash in its depiction of minorities as either contained or excess. This is highlighted through the comic-book genre itself as well as the characterization. Thus, this article explores the tension between the genre, representation and Jewish identity.

Restricted access

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

CONFERENCE REVIEW

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

BOOK REVIEWS

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

Restricted access

Comic Art and Commitment

An Interview with Morvandiau

Ann Miller and Morvandiau

This interview with political cartoonist and comics artist Morvandiau focuses mainly on his 2007 comic book D'Algérie. After the murder in 1994 of his Uncle Jean, a père blanc ['white father'] in Tizi Ouzou, along with three of his fellow priests, followed by the failed suicide of his father, a Pied-noir, eight years later, Morvandiau decided to carry out research into his family and its links with France's colonial adventure. Through the resources of the comic art medium, he was able to give form to a story which is both personal and public (Figures 1-2). The subtle and sober portrayal of his search for identity is contextualised by a highly absorbing panorama of political events. In the interview, he explains some of the aesthetic choices that he made, and discusses the challenges of working from documentary material, and how he drew on the resources of the medium to tackle issues of individual and collective identity.

Restricted access

Armelle Blin-Rolland

This article aims to compare the narrative techniques employed through the combination of text and image in Tardi's adaptations of Le Der des ders and Voyage au bout de la nuit . Le Der des ders is a classic format bande dessinée, and Voyage is a cross-media work where Tardi's uncaptioned illustrations are juxtaposed with Céline's text. We argue that both Le Der des ders and Voyage constitute successful adaptations in their use of the specificity of the media, respectively comic book and illustration. We will look at the narrative use of text and image in Le Der des ders in terms of complementarity, and in terms of fragmentation with regard to Voyage. In Le Der des ders, text and image form one narrative; in Voyage, on the other hand, there is a binary narrative: the text, and, juxtaposed with it, confronting it, its visual version.