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Rethinking the ‘Memorable Panel’ from Pierre Sterckx to Olivier Josso Hamel

Benoît Crucifix

his own pages. By redrawing these fetishised panels into his own work, Josso Hamel seeks to understand his own fascination for these particular fragments: ‘Des images précises m’emplissent d’un souffle pénétrant. Pourquoi Figure 1 Olivier Josso Hamel

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The Art of Braiding

A Clarification

Thierry Groensteen

therefore stable, remain visible, available for a second reading in order, for example, to check a detail. The panels may, then, be apprehended simultaneously, and they may also enter into dialogue with each other across the page; they lend themselves to

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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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The Bunker and the Desert

On the Motif of the Cube-panel in Inside Mœbius

Renaud Chavanne

self-evident ‘code’ that has enhanced its own plausibility by dressing itself up in learned terminology. Thus, the inventory of the ‘code’ of comics resources invariably includes the panel, the speech balloon, the multiframe, the inter-frame space

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Narrative Markers in Pablo Picasso’s Tragicomic Strip The Dream and Lie of Franco

Michael Schuldiner

various comic strips. No doubt Picasso was also familiar with the alleluias , the old popular religious prints that presented their stories in three bands of three panels using a comic strip format. 2 Further, as Adam Gopnick points out, ‘propaganda

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Tactics and strategies to survive ‘student engagement’, or joining the Soil Society and other stories

A panel discussion

Jacqui Close

panel of current and former students 1 was brought together by the organisers with the broad remit to reflect on their experience of engagement. This opened up the opportunity advocated by proponents to discuss a richer form of student engagement, which

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The Future of Museums

Recover and Reimagine (A Conversation)

Craig Barker, Helena Robinson, James L. Flexner, Anna Lawrenson, and Alex Burchmore

The following conversation took place on 18 May 2021 during a panel discussion to coincide with marking the six months since the opening of the Chau Chak Wing Museum at the University of Sydney, along with the annual occurrence of International

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The Graphical Epistemology of Comics via Jeff Lemire's Gideon Falls

Jörn Ahrens

’. 12 Due to its pictorial architecture and narrative structure, consisting of drawn panels positioned next to and/or below one another on the surface of the page, the comic inherently exhibits the procedures through which it realises its

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The Artist is Absent, or The Birth of Seven Documented Performances by Yan Xing

Meiling Cheng, Andy Campbell, Hendrik Folkerts, Amelia Jones, and Xing Yan

), three performers (Campbell, Cheng, and Hendrik Folkerts), an audience member (Amelia Jones), and the artist (Yan Xing). The first installment of Yan's performance series took place via Zoom in the guise of a quasi-improvised panel discussion, which was

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Gauguin and Van Gogh Meet the Ninth Art

Postmodernism and Myths about Great Artists

Matthew Screech

-existing with genuinely existing people; 19 and imaginary reconstructions interspersed among real events. 20 Gauguin et Van Gogh, like our other albums, implements such techniques with a device specific to comics: sequenced panels. Thierry Groensteen studies