Graphic Novels/Comics

"A complete guide to the history, form and contexts of the genre, Autobiographical comics helps readers explore the increasingly popular genre of graphic life writing. In an accessible and easy-to-navigate format, the book covers such topics as: the history and rise of autobiographical comics; cultural contexts; key texts including Maus, Robert Crumb, Persepolis, Fun home, and American splendor; and important theoretical and critical approaches to autobiographical comics. Autobiographical comics includes a glossary of crucial critical terms, annotated guides to further reading and online resources and discussion questions to help students and readers develop their understanding of the genre and pursue independent study"--Back cover.

"Since the graphic novel rose to prominence half a century ago, it has become one of the fastest growing literary/artistic genres, generating interest from readers globally. The Cambridge Companion to the Graphic Novel examines the evolution of comic books into graphic novels and the distinct development of this art form both in America and around the world. This Companion also explores the diverse subgenres often associated with it, such as journalism, fiction, historical fiction, autobiography, biography, science fiction and fantasy. Leading scholars offer insights into graphic novel adaptations of prose works and the adaptation of graphic novels to films; analyses of outstanding graphic novels, like Maus and The Walking Man; an overview which distinguishes the international graphic novel from its American counterpart; and analyses of how the form works and what it teaches"-- Provided by publisher.

Comic Book Encyclopedia is the multiverse of comic legend and lore for every comic-book fan, and for everyone who wants to understand the characters, history, and universal appeal of this world.

Comics: An Introduction provides a clear and accessible introduction to the Comics form - including graphic narratives and a range of other genres - with sections explaining key terms, history, theories and major themes. The book uses a variety of examples to show the rich history as well as the current cultural relevance and significance of Comics. Taking a broadly global approach, Harriet Earle discusses the history and development of the form internationally, as well as how to navigate comics as a new way of reading. Earle also pushes beyond the book to lay out the ways that fans engage with their comics of choice - and how this can affect the industry. Two final chapters take a close-up look at how Comics can work for social change and political comment. Chapters on Journalism and Life Writing looks at how the coming together of word and image give us new ways to discuss our world and ourselves. A glossary and further reading section help those new to Comics solidify their understanding and further their exploration of this dynamic and growing field.

Heroes and superheroes provides insight into more than 130 of the most popular and studied graphic novels. These essays look beyond the pop culture aspects of the medium to show the wide range of literary themes and artistic styles used to convey beliefs and conflicts, some harking back to ancient times. They challenge the researcher to see beyond the panels of a comic book, and show readers how the themes of ancient literary tradition are still alive in the literature of graphic novels.

This three volume set covers over 215 well-regarded works of the independent and underground genre of graphic novels, summarizing plots and analyzing the works in terms of their literary integrity and overall contribution to the graphic novel landscape.

This book provides both students and scholars with a critical and historical introduction to the graphic novel. Jan Baetens and Hugo Frey explore this exciting form of visual and literary communication, showing readers how to situate and analyze graphic novels since their rise to prominence half a century ago. Several key questions are addressed: What is the graphic novel? How do we read graphic novels as narrative forms? Why is page design and publishing format so significant? What theories are developing to explain the genre? How is this form blurring the categories of high and popular literature? Why are graphic novelists nostalgic for the old comics? The authors address these and many other questions raised by the genre. Through their analysis of the works of many well-known graphic novelists - including Bechdel, Clowes, Spiegelman and Ware - Baetens and Frey offer significant insights for future teaching and research on the graphic novel

Graphic Novels presents an accessible, entertaining, and highly illustrated guide to the diversity of contemporary comics in book form. Featuring striking graphics and explanatory extracts from a wide range of graphic novels, the book examines the specific language of the comics medium; the history and pioneers of the form; recent masterpieces from Art Spiegelman's Maus to Chris Ware's Jimmy Corrigan; the impact of Japanese manga and European albums translated into English; how artists have overcome prejudices towards the genre; and the ambitious range of themes and issues artists are addressing, including childhood, war and survival, politics, the future, sexuality, and the supernatural.

"This monograph provides an overview of the various aspects involved in selecting, acquiring and cataloging graphic novels and making them available to patrons"-- Provided by publisher.

An accessible introduction to the development and diversity of Japanese comics from 1945 to the present.

The volume contains two sections: "Theory and History," an explanation of comics as a medium and an overview of its evolution, and "Reviews and Commentary," a diverse examination of creators and works. The second section spans Will Eisner's pioneering efforts as well as the groundbreaking modern comics by the Hernandez brothers, Chris Ware and Alison Bechdel.

In 1993, Scott McCloud tore down the wall between high and low culture with the acclaimed international hit Understanding Comics, a massive comic book that explored the inner workings of the worlds most misunderstood art form. Now, McCloud takes comics to the next level, charting twelve different revolutions in how comics are created, read, and perceived today, and how they're poised to conquer the new millennium.

The Rough Guide to Graphic Novels is the ultimate companion to the expanding world of the 'literary comic book'. Written by comic industry insider Danny Fingeroth, it includes the mediums history, from sequential art in Egyptian tombs, through the superhero boom of the 1940s to the birth of the graphic novel movement and the latest online offerings.

Think comic books can't feature strong female protagonists? Think again! In The Spectacular Sisterhood of Superwomen you'll meet the most fascinating exemplars of the powerful, compelling, entertaining, and heroic female characters who've populated comic books from the very beginning. This spectacular sisterhood includes costumed crimebusters like Miss Fury, super-spies like Tiffany Sinn, sci-fi pioneers like Gale Allen, and even kid troublemakers like Little Lulu. With vintage art, publication details, a decade-by-decade survey of industry trends and women's roles in comics, and spotlights on iconic favorites like Wonder Woman and Ms. Marvel, The Spectacular Sisterhood of Superwomen proves that not only do strong female protagonists belong in comics, they've always been there.

Praised throughout the cartoon industry by such luminaries as Art Spiegelman, Matt Groening, and Will Eisner, this innovative comic book provides a detailed look at the history, meaning, and art of comics and cartooning.

"Over the past century, fans have elevated comics from the back pages of newspapers into one of our most celebrated forms of culture, from Fun Home, the Tony Award-winning musical based on Alison Bechdel's groundbreaking graphic memoir, to the dozens of superhero films that are annual blockbusters worldwide. What is the essence of comics' appeal? What does this art form do that others can't? Whether you've read every comic you can get your hands on or you're just starting your journey, [this book] has something for you. Author Hillary Chute chronicles comics culture, explaining underground comics (also known as "comix") and graphic novels, analyzing their evolution, and offering fascinating portraits of the creative men and women behind them. Chute reveals why these works--a blend of concise words and striking visuals--are an extraordinarily powerful form of expression that stimulates us intellectually and emotionally."--Dust jacket.

The Allied victory in World War II relied on far more than courageous soldiers. Americans on the home front constantly supported the war effort in the form of factory work, war bond purchases, salvage drives, and morale-rallying efforts. Motivating these men, women, and children to keep doing their bit during the war was among the conflict's most urgent tasks. One of the most overlooked aspects of these efforts involved a surprising initiative--comic book propaganda.

This collection of new essays examines more than five decades of Justice League comics and related titles. The contributors discuss how the Vietnam War was addressed in Justice League comics, how the Cold War transformed the roles of superheroes in the DC universe and how the post-9/11 political climate affected a crossover character.

The decolonization of Algeria represents a turning point in world history, marking the end of France's colonial empire, the birth of the Algerian republic, and the appearance of the Third World and pan-Arabism. The Algerian war of national liberation therefore constitutes an inescapable reference for today's global citizen. Students and educators must recognize the broader implications of the Algerian War and adopt innovative pedagogical practices to identify and learn from historical misrepresentation. These objectives are imperative given the West's misunderstanding and mischaracterization of Islam and the Muslim-majority world.

"Offers pedagogical techniques for teaching the nonfiction graphic novel Fun Home by Alison Bechdel in college courses in literature, women's and gender studies, and art, including considerations of autobiography theory, queer theory, psychoanalysis, literary and historical allusions, and the work's musical adaptation. Gives syllabus suggestions for undergraduate and graduate course"-- Provided by publisher.

"Through case studies of the work of Alison Bechdel, Matt Kindt, Lynda Barry, Carla Speed McNeil, Chris Ware, and Randall Munroe, this monograph argues that paying attention to comics helps us understand the future of the book"-- Provided by publisher.

"As teachers, we're always looking for new ways to help our students engage with texts. James Bucky Carter and the contributors to this collection have found an effective approach: use graphic novels! Carter and his contributors tap into the growing popularity of graphic novels in this one-of-a-kind guidebook. Each chapter presents practical suggestions for the classroom as it pairs a graphic novel with a more traditional text or examines connections between multiple sources. These creative pairings open up a double world of possibilities--in words and images--to all kinds of learners, from reluctant readers and English language learners to gifted students and those who are critically exploring relevant social issues."--Page 4 of cover.

Billy Batson discovers a secret in a forgotten subway tunnel. There the young man meets a wizard who offers a precious gift: a magic word that will transform the newsboy into a hero. When Billy says, 'Shazam!,' he becomes Captain Marvel, the World's Mightiest Mortal, one of the most popular comic book characters of the 1940s. This book tells the story of that hero and the writers and artists who created his magical adventures. The saga of Captain Marvel is also that of artist C.C. Beck and writer Otto Binder, one of the most innovative and prolific creative teams working during the Golden Age of comics in the United States.

Presents a history of comic books / graphic novels, an argument for valuing the genre / medium, and several chapters devoted to examining all subgenres of comics / graphic novels.

Superman, Batman, Daredevil, and Wonder Woman are iconic cultural figures that embody values of order, fairness, justice, and retribution. Comic Book Crime digs deep into these and other celebrated characters, providing a comprehensive understanding of crime and justice in contemporary American comic books. This is a world where justice is delivered, where heroes save ordinary citizens from certain doom, where evil is easily identified and thwarted by powers far greater than mere mortals could possess. Nickie Phillips and Staci Strobl explore these representations and show that comic books, as a historically important American cultural medium, participate in both reflecting and shaping an American ideological identity that is often focused on ideas of the apocalypse, utopia, retribution, and nationalism.

"This book is intended to be both an introduction to comics as well as a text for specific, ready-to-use activities that instructors can immediate use"-- Provided by publisher.

"Highlights the use and focus of comics by librarians and library workers who practice critical librarianship"-- Provided by publisher.

Book about cartoons, picture books, comics, and animation in mainland China.

"This book explores how comics function to make meanings in the manner of a language. It outlines a framework for describing the resources and practices of comics creation and readership, using an approach that is compatible with similar descriptions of linguistic and multimodal communication. The approach is based largely on the work of Michael Halliday, drawing also on the pragmatics of Paul Grice, the Text World Theory of Paul Werth and Joanna Gavins, and ideas from art theory, psychology and narratology. This brings a broad Hallidayan framework of multimodal analysis to comics scholarship, and plays a part in extending that tradition of multimodal linguistics to graphic narrative"-- Publisher's website.

"The early 1970s saw the birth of the modern comic book shop. Its rise was due in large part to a dynamic entrepreneur, Phil Seuling. His direct market model allowed shops to get comics straight from the publishers, bypassing middlemen. Stores could better customize their offerings and independent publishers could now access national distribution. In this way, shops opened up a space for quirky ideas to gain an audience and helped transform small-press series, from Teenage Mutant Ninja Turtles to Bone, into media giants. Comic Shop is the first book to trace the history of these cultural icons. Dan Gearino brings us from their origins to the present day, when the rise of digital platforms has the industry at a crossroads even as sales are robust. He spends a year with stores around the country, with a spotlight on The Laughing Ogre in Columbus, Ohio. Along the way he interviews those who shaped comics retailing from the early days, including many pioneering women, top creators, and shop owners who continue to push the industry in new directions. A guide to forty of the most interesting shops around the United States and Canada is a bonus for fans"-- Provided by publisher.

Critical Approaches to Comics offers students a deeper understanding of the artistic and cultural significance of comic books and graphic novels by introducing key theories and critical methods for analyzing comics.

"In the 1950s, comics meant POW! BAM! superheroes, family-friendly gags, and Sunday funnies, but in the 1960s, inspired by these strips and the satire of MAD magazine, a new generation of creators set out to subvert the medium, and with it, American culture. Their "comix," spelled that way to distinguish the work from their dime-store contemporaries, presented tales of taboo sex, casual drug use, and a transgressive view of society. Embraced by hippies and legions of future creatives, this subgenre of comic books and strips was printed on out-of-date machinery, published in zines and underground newspapers, and distributed in head shops, in porno stores, and on street corners. Comix often ran afoul of the law, but that would not stop them from casting cultural ripples for decades to come, eventually moving the entire comics form beyond the gutter and into fine-art galleries. Author Brian Doherty weaves together the stories of R. Crumb, Art Spiegelman, Trina Robbins, Spain Rodriguez, Harvey Pekar, and Howard Cruse, among many others, detailing the complete narrative history of this movement that came to define “cool.” Via dozens of new interviews and archival research, Doherty chronicles the scenes that sprang up around the country in the 1960s and ’70s and the rivalries, ideological battles, and conflicts that flourished. Beginning with the artists’ origin stories and following them through successes, including Spiegelman’s Pulitzer Prize winning Maus and the feminist collective Wimmen’s Comix, and through strife, from S. Clay Wilson’s spiral into alcoholism to Disney’s war on the Air Pirates comix collective to Crumb’s uneasy relationship with success as social mores turned against his often-shocking use of sexual and racial imagery, and concluding with an examination of these creators’ legacies, Dirty Pictures is the essential exploration of a truly American art form that recontextualized the way people thought about war, race, sex, gender, and expression."-- Provided by publisher.

An illustrated history of Canadian micro-publisher Drawn & Quarterly.

Some of the most acclaimed books of the twenty-first century are autobiographical comics by women. Aline Kominsky-Crumb is a pioneer of the autobiographical form, showing women's everyday lives, especially through the lens of the body. Phoebe Gloeckner places teenage sexuality at the center of her work, while Lynda Barry uses collage and the empty spaces between frames to capture the process of memory. Marjane Satrapi's Persepolis experiments with visual witness to frame her personal and historical narrative, and Alison Bechdel's Fun Home meticulously incorporates family documents by hand to re-present the author's past.

In our culture, which depends increasingly on images for instruction and recreation, it is important to ask how words and images make meaning when they are combined. Comics, one of the most widely read media of the twentieth century, serves as an ideal for focusing an investigation on the word-and-image question.

"Latinx Superheroes in Mainstream Comics offers the first thorough exploration of Latino/a superheroes in mainstream comic books, TV shows, and movies"--Provided by publisher.

Multicultural Comics: From Zap to Blue Beetle is the first comprehensive look at comic books by and about race and ethnicity. The thirteen essays tease out for the general reader the nuances of how such multicultural comics skillfully combine visual and verbal elements to tell richly compelling stories that gravitate around issues of race, ethnicity, gender, and sexuality within and outside the U.S. comic book industry. Among the explorations of mainstream and independent comic books are discussions of the work of Adrian Tomine, Grant Morrison, and Jessica Abel as well as Marv Wolfman and Gene Colan's The Tomb of Dracula; Native American Anishinaabe-related comics; mixed-media forms such as Kerry James Marshall's comic-book/community performance; DJ Spooky's visual remix of classic film; the role of comics in India; and race in the early Underground Comix movement. The collection includes a "one-stop shop" for multicultural comic book resources, such as archives, websites, and scholarly books. Each of the essays shows in a systematic, clear, and precise way how multicultural comic books work in and of themselves and also how they are interconnected with a worldwide tradition of comic-book storytelling.

The roster of Muslim superheroes in the comic book medium has grown over the years, as has the complexity of their depictions. Muslim Superheroes tracks the initial absence, reluctant inclusion, tokenistic employment, and then nuanced scripting of Islamic protagonists in the American superhero comic book market and beyond.

Account of how comic book heroes have helped their creators and fans alike explore and express a wealth of paranormal experiences ignored by mainstream science. Delving deeply into the work of major figures in the field--from Jack Kirby's cosmic superhero sagas and Philip K. Dick's futuristic head-trips to Alan Moore's sex magic and Whitley Strieber's communion with visitors--Kripal shows how creators turned to science fiction to convey the reality of the inexplicable and the paranormal they experienced in their lives. Expanded consciousness found its language in the metaphors of sci-fi--incredible powers, unprecedented mutations, time-loops and vast intergalactic intelligences--and the deeper influences of mythology and religion that these in turn drew from; the wildly creative work that followed caught the imaginations of millions. Moving deftly from Cold War science and Fredric Wertham's anticomics crusade to gnostic revelation and alien abduction, Kripal spins out a hidden history of American culture, rich with mythical themes and shot through with an awareness that there are other realities far beyond our everyday understanding.

In The Origins of Comics: From William Hogarth to Winsor McCay, Thierry Smolderen presents a cultural landscape whose narrative differs in many ways from those presented by other historians of the comic strip. Rather than beginning his inquiry with the popularly accepted "sequential art" definition of the comic strip, Smolderen instead wishes to engage with the historical dimensions that inform that definition. His goal is to understand the processes that led to the twentieth-century comic strip, the highly recognizable species of picture stories that he sees crystallizing around 1900 in the United States.

"Regarding Frames: Thinking with Comics in the Twenty-first Century explores the ways that literary comics engage readers in the mutual construction of meaning. Kwa draws from a wide range of philosophical, critical, and theoretical texts to analyze the visual and verbal narrative strategies that artists use. She examines the work of comic artists Gabrielle Bell, Michael DeForge, Kevin Huizenga, Laura Park, and Dash Shaw who construct their particular visions of the world"-- Provided by publisher.

These 15 essays investigate comic books and graphic novels, beginning with the early development of these media. The essays also place the work in a cultural context, addressing theory and terminology, adaptations of comic books, the superhero genre, and comic books and graphic novels that deal with history and nonfiction.

"THEY ARE THE TWO TITANS OF THE COMIC BOOK INDUSTRY--the Coke and Pepsi of superheroes--and for more than 50 years, Marvel and DC have been locked in an epic battle for spandex supremacy. At stake is not just sales, but cultural relevancy and the hearts of millions of fans. Slugfest, the first book to chronicle the history of this epic rivalry into a single, in-depth narrative, is the story of the greatest corporate rivalry never told. Complete with interviews with the major names in the industry, Slugfest reveals the arsenal of schemes the two companies have employed in their attempts to outmaneuver the competition, whether it be stealing ideas, poaching employees, planting spies, or launching price wars. The feud has never completely disappeared, and it simmers on a low boil to this day. With DC and Marvel characters becoming global icons worth billions, if anything, the stakes are higher now than ever before."--Amazon.com.

As a form of popular literature, superhero narratives have closely mirrored and molded social trends and changes, influencing and reflecting political, social, and cultural events. This study provides a decade by decade chronicle of American history from 1938 to 2010 through the lens of superhero comics.

Superwomen investigates how and why female superhero characters have become more numerous but are still not-at-all close to parity with their male counterparts; how and why they have become a flashpoint for struggles over gender, sexuality, race, and disability; what has changed over time and why in terms of how these characters have been written, drawn, marketed, purchased, read, and reacted to; and how and why representations of superheroes matter, particularly to historically underrepresented and stereotyped groups.

In the years between World War II and the emergence of television as a mass medium, American popular culture as we know it was first created--in the pulpy, boldly illustrated pages of comic books. No sooner had this new culture emerged than it was beaten down by church groups, community bluestockings, and a McCarthyish Congress--only to resurface with a crooked smile on its face in Mad magazine.

By demonstrating the ways in which comic books (and graphic novels) both reflect upon, and expand the boundaries of literature, Rocco Versaci demonstrates that comics have earned the right to be taken just as seriously as any other literary form.

"Explores how superhero comics, with their creative fusions of fantasy and realism, provide a flexible visual form for engaging issues of disability and intersectional identity (race, class, gender, sexuality) as well as for imagining and valuing different physical and cognitive ways of being in the world"--Provided by publisher.

Comics As Art: We Told You So tells of Fantagraphics Books' key role in helping build and shape an art movement around a discredited, ignored and fading expression of Americana the way insiders share the saga with one another other: in anecdotal form, in the words of the people who lived it and saw it happen. Comics historian and critic Tom Spurgeon and longtime Comics Journal editor Michael Dean assemble an all-star cast of industry figures, critics, cartoonists, art objects, curios, and groundbreaking publications to bring you a detailed account of Fantagraphics' first 40 years.

This practical guide to writing comic books covers all the essentials--from crafting an effective outline and formatting a script to composing a winning synopsis when pitching the product to publishers. The author also provides commentary on real-world examples of outlines, scripts, and synopses from the Savannah College of Art and Design (SCAD) faculty, alumni, and staff, showing what does and doesn't work.

A course on comic creation--for college classes or for independent study--that centers on storytelling and concludes with making a finished comic. With chapters on lettering, story structure, and panel layout, the fifteen lessons offered--each complete with homework, extra-credit activities and supplementary reading suggestions--provide a solid introduction for people interested in making their own comics.

"Published in partnership with the Library of Congress, Drawn to Purpose: American Women Illustrators and Cartoonists presents an overarching survey of women in American illustration, from the late nineteenth into the twenty-first century. Martha H. Kennedy brings special attention to forms that have heretofore received scant notice--cover designs, editorial illustrations, and political cartoons--and reveals the contributions of acclaimed cartoonists and illustrators, along with many whose work has been overlooked. Featuring over 250 color illustrations, including eye-catching original art from the collections of the Library of Congress, Drawn to Purpose provides insight into the personal and professional experiences of eighty women who created these works. Included are artists Roz Chast, Lynda Barry, Lynn Johnston, and Jillian Tamaki. The artists' stories, shaped by their access to artistic training, the impact of marriage and children on careers, and experiences of gender bias in the marketplace, serve as vivid reminders of social change during a period in which the roles and interests of women broadened from the private to the public sphere. The vast, often neglected, body of artistic achievement by women remains an important part of our visual culture. The lives and work of the women responsible for it merit much further attention than they have received thus far. For readers who care about cartooning and illustration, Drawn to Purpose provides valuable insight into this rich heritage." --Amazon.

In Making Comics, McCloud focuses his analysis on the art form itself, exploring the creation of comics, from the broadest principles to the sharpest details (like how to accentuate a character's facial muscles in order to form the emotion of disgust rather than the emotion of surprise.) And he does all of it in his inimitable voice and through his cartoon stand-in narrator, mixing dry humor and legitimate instruction. McCloud shows his reader how to master the human condition through word and image in a brilliantly minimalistic way. Comic book devotees as well as the most uninitiated will marvel at this journey into a once-underappreciated art form.

Step-by-step lessons teach comics writing hopefuls everything they'll need to take their ideas from script to dynamic sequential art. The book's complete coverage exposes the most effective methods for crafting comic scripts, showcases insights from Bendis's fellow creators, reveals business secrets all would-be comics writers must know, and challenges readers with exercises to jumpstart their own graphic novel writing success.

Presents guidance for creating graphic novels, beginning with establishing characters and continuing through storytelling, drawing technique, composition, inking, coloring, lettering, and strategies for getting the finished product published.

Conceived as a case study, The Algerian War in French-Language Comics: Postcolonial Memory, History, and Subjectivity argues that comics provide an alternative to textbook representations of the Algerian War in France because they draw from many of the same source materials yet produce narratives that are significantly different. This book demonstrates that although comics rely on conventional vectors of memory transmission like national education, the family, and mainstream media, they can also create new and productive dialogues using these same vectors in ways unavailable to traditional textbooks. From this perspective, these comics are an effective and alternative way to develop a more inclusive social consciousness.

The Art of Comics is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art.

Grand in its scope, Asian Comics dispels the myth that, outside of Japan, the continent is nearly devoid of comic strips and comic books. Relying on his fifty years of Asian mass communication and comic art research, during which he traveled to Asia at least seventy-eight times and visited many studios and workplaces, John A. Lent shows that nearly every country had a golden age of cartooning and has experienced a recent rejuvenation of the art form.

Black Women in Sequence takes readers on a search for women of African descent in comics subculture. From the 1971 appearance of the Skywald Publications character "the Butterfly" - the first Black female superheroine in a comic book - to contemporary comic books, graphic novels, film, manga, and video gaming, a growing number of Black women are becoming producers, viewers, and subjects of sequential art. As the first detailed investigation of Black women's participation in comic art, Black Women in Sequence examines the representation, production, and transnational circulation of women of African descent in the sequential art world. In this groundbreaking study, which includes interviews with artists and writers, Deborah Whaley suggests that the treatment of the Black female subject in sequential art says much about the place of people of African descent in national ideology in the United States and abroad.

A Brief History of Comic Book Movies traces the meteoric rise of the hybrid art form of the comic book film. These films trace their origins back to the early 1940s, when the first Batman and Superman serials were made. The serials, and later television shows in the 1950s and 60s, were for the most part designed for children. But today, with the continuing rise of Comic-Con, they seem to be more a part of the mainstream than ever, appealing to adults as well as younger fans. This book examines comic book movies from the past and present, exploring how these films shaped American culture from the post-World War II era to the present day, and how they adapted to the changing tastes and mores of succeeding generations.

In the summer of 2000 "X-Men" surpassed all box office expectations and ushered in an era of unprecedented production of comic book film adaptations. This trend, now in its second decade, has blossomed into Hollywood's leading genre. From superheroes to Spartan warriors, "The Comic Book Film Adaptation" offers the first dedicated study to examine how comic books moved from the fringes of popular culture to the center of mainstream film production.

Illustration has been an integral part of human history. Particularly before the advent of media such as photography, film, television, and now the Internet, illustrations in all their variety had been the primary visual way to convey history. The comic book, which emerged in its modern form in the 1930s, was another form of visual entertainment that gave readers, especially children, a form of escape. As World War II began, however, comic books became a part of propaganda as well, providing information and education for both children and adults. This book looks at how specific comic books of the war genre have been used to display patriotism, adventure through war stories, and eventually to tell of the horrors of combat from World War II through the current conflicts in Iraq and Afghanistan in the first decade of the twenty-first century.

This book is the follow-up to Thierry Groensteen's groundbreaking The System of Comics, in which the leading French-language comics theorist set out to investigate how the medium functions, introducing the principle of iconic solidarity, and showing the systems that underlie the articulation between panels at three levels: page layout, linear sequence, and nonsequential links woven through the comic book as a whole. He now develops that analysis further, using examples from a very wide range of comics, including the work of American artists such as Chris Ware and Robert Crumb. He tests out his theoretical framework by bringing it up against cases that challenge it, such as abstract comics, digital comics and shojo manga, and offers insightful reflections on these innovations.

Many introductions to comics scholarship books begin with an anecdote recounting the author’s childhood experiences reading comics, thereby testifying to the power of comics to engage and impact youth, but comics and power are intertwined in a numbers of ways that go beyond concern for children’s reading habits. Comics and Power presents very different methods of studying the complex and diverse relationship between comics and power. Divided into three sections, its 14 chapters discuss how comics interact with, reproduce, and/or challenge existing power structures – from the comics medium and its institutions to discourses about art, subjectivity, identity, and communities. The contributors and their work, as such, represent a new generation of comics research that combines the study of comics as a unique art form with a focus on the ways in which comics – like any other medium – participate in shaping the societies of which they are part.

Comics and the U.S. South offers a wide-ranging and long overdue assessment of how life and culture in the United States South is represented in serial comics, graphic novels, newspaper comic strips, and webcomics. Diverting the lens of comics studies from the skyscrapers of Superman's Metropolis or Chris Ware's Chicago to the swamps, back roads, small towns, and cities of the U.S. South, this collection critically examines the pulp genres associated with mainstream comic books alongside independent and alternative comics. Some essays seek to discover what Captain America can reveal about southern regionalism and how slave narratives can help us reread Swamp Thing; others examine how creators such as Walt Kelly (Pogo), Howard Cruse (Stuck Rubber Baby), Kyle Baker (Nat Turner), and Josh Neufeld (A.D.: New Orleans after the Deluge) draw upon the unique formal properties of the comics to question and revise familiar narratives of race, class, and sexuality; and another considers how southern writer Randall Kenan adapted elements of comics form to prose fiction. With essays from an interdisciplinary group of scholars, Comics and the U.S. South contributes to and also productively reorients the most significant and compelling conversations in both comics scholarship and in southern studies.

What if fairy-tale characters lived in New York City? What if a superhero knew he was a fictional character? What if you could dispense your own justice with one hundred untraceable bullets? These are the questions asked and answered in the course of the challenging storytelling in Fables, Tom Strong, and 100 Bullets, the three twenty-first-century comics series that Karin Kukkonen considers in depth in her exploration of how and why the storytelling in comics is more than merely entertaining.

The Thing. Daredevil. Captain Marvel. The Human Fly. Drawing on DC and Marvel comics from the 1950s to the 1990s and marshaling insights from three burgeoning fields of inquiry in the humanities--disability studies, death and dying studies, and comics studies-- Jose Alaniz seeks to redefine the contemporary understanding of the superhero. Beginning in the Silver Age, the genre increasingly challenged and complicated its hypermasculine, quasi-eugenicist biases through such disabled figures as Ben Grimm/The Thing, Matt Murdock/Daredevil, and the Doom Patrol.

As there has yet to be any substantial scrutiny of the complex confluences a more sustained dialogue between disability studies and comics studies might suggest, Disability in Comic Books and Graphic Narratives aims through its broad range of approaches and focus points to explore this exciting subject in productive and provocative ways.

The global circulation of comics, manga, and other such visual mediums between North America and Asia produces transnational meanings no longer rooted in a separation between "Asian" and "American." Drawing New Color Lines explores the culture, production, and history of contemporary graphic narratives that depict Asian Americans and Asians.

This essay collection examines the theory and history of graphic narrative as one of the most interesting and versatile forms of narrative beyond traditional literary texts. Analyzing a wide range of texts, genres, and narrative strategies from both theoretical and historical perspectives, its various contributors offer state-of-the-art research on graphic narrative in the context of an increasingly postclassical and transmedial narratology.

Funnybooks is the story of the most popular American comic books of the 1940s and 1950s, those published under the Dell label. For a time, "Dell Comics Are Good Comics" was more than a slogan--it was a simple statement of fact. Many of the stories written and drawn by people like Carl Barks (Donald Duck, Uncle Scrooge), John Stanley (Little Lulu), and Walt Kelly (Pogo) repay reading and rereading by educated adults even today, decades after they were published as disposable entertainment for children.

Despite the growing importance of heroines across literary culture—and sales figures that demonstrate both young adult and adult females are reading about heroines in droves, particularly in graphic novels, comic books, and YA literature—few scholarly collections have examined the complex relationships between the representations of heroines and the changing societal roles for both women and men. In Heroines of Comic Books and Literature: Portrayals in Popular Culture, editors Maja Bajac-Carter, Norma Jones, and Bob Batchelor have selected essays by award-winning contributors that offer a variety of perspectives on the representations of heroines in today’s society.

In the wake of the Charlie Hebdo attacks, this collection—which gathers scholars in the fields of race, ethnicity, and humor—seems especially urgent. Inspired by Denmark’s Muhammad cartoons controversy, the contributors inquire into the role that racial and ethnic stereotypes play in visual humor and the thin line that separates broad characterization as a source of humor from its power to shock or exploit. The authors investigate the ways in which humor is used to demean or give identity to racial, national, or ethnic groups and explore how humor works differently in different media, such as cartoons, photographs, film, video, television, and physical performance. This is a timely and necessary study that will appeal to scholars across disciplines.

A noted comics artist himself, Santiago García follows the history of the graphic novel from early nineteenth-century European sequential art, through the development of newspaper strips in the United States, to the development of the twentieth-century comic book and its subsequent crisis. He considers the aesthetic and entrepreneurial innovations that established the conditions for the rise of the graphic novel all over the world. García not only treats the formal components of the art, but also examines the cultural position of comics in various formats as a popular medium. Typically associated with children, often viewed as unedifying and even at times as a threat to moral character, comics art has come a long way. With such examples from around the world as Spain, France, Germany, and Japan, García illustrates how the graphic novel, with its increasingly global and aesthetically sophisticated profile, represents a new model for graphic narrative production that empowers authors and challenges longstanding social prejudices against comics and what they can achieve.

Though not a graphic novel, this highly illustrated nonfiction book explores how we came to view sex, gender and sexuality in the ways that we do. Barker and Scheele show how these ideas get tangled up with our culture and our understanding of biology, psychology and sexology; and how these views have been disputed and challenged. Each page focuses on a specific aspect of the subject.

Many Jewish artists and writers contributed to the creation of popular comics and graphic novels, and in The Quest for Jewish Belief and Identity in the Graphic Novel, Stephen E. Tabachnick takes readers on an engaging tour of graphic novels that explore themes of Jewish identity and belief.

Distinguishing the graphic novel from other types of comic books has presented problems due to the fuzziness of category boundaries. Against the backdrop of prototype theory, the author establishes the graphic novel as a genre whose core feature is complexity, which again is defined by seven gradable subcategories: 1) multilayered plot and narration, 2) multireferential use of color, 3) complex text-image relation, 4) meaning-enhancing panel design and layout, 5) structural performativity, 6) references to texts/media, and 7) self-referential and metafictional devices.

Despite their commercial appeal and cross-media reach, superheroes are only recently starting to attract sustained scholarly attention. This groundbreaking collection brings together essays and book excerpts by major writers on comics and popular culture.

In the age of digital media, superheroes are no longer confined to comic books and graphic novels. Their stories are now featured in films, video games, digital comics, television programs, and more. In a single year alone, films featuring Batman, Spider-Man, and the Avengers have appeared on the big screen. Popular media no longer exists in isolation, but converges into complex multidimensional entities. As a result, traditional ideas about the relationship between varying media have come under striking revision. Although this convergence is apparent in many genres, perhaps nowhere is it more persistent, more creative, or more varied than in the superhero genre. Superhero Synergies: Comic Book Characters Go Digital explores this developing relationship between superheroes and various forms of media, examining how the superhero genre, which was once limited primarily to a single medium, has been developed into so many more.

This edition of Thierry Groensteen's The System of Comics makes available in English a groundbreaking work on comics by one of the medium's foremost scholars. In this book, originally published in France in 1999, Groensteen explains clearly the subtle, complex workings of the medium and its unique way of combining visual, verbal, spatial, and chronological expressions.

This collection highlights the diverse ways comics and graphic novels are used in English and literature classrooms, whether to develop critical thinking or writing skills, paired with a more traditional text, or as literature in their own right. From fictional stories to non-fiction works such as biography/memoir, history, or critical textbooks, graphic narratives provide students a new way to look at the course material and the world around them. Graphic novels have been widely and successfully incorporated into composition and creative writing classes, introductory literature surveys, and upper-level literature seminars, and present unique opportunities for engaging students’ multiple literacies and critical thinking skills, as well as providing a way to connect to the terminology and theoretical framework of the larger disciplines of rhetoric, writing, and literature.

This close look at Wonder Woman’s history portrays a complicated heroine who is more than just a female Superman with a golden lasso and bullet-deflecting bracelets. The original Wonder Woman was ahead of her time, advocating female superiority and the benefits of matriarchy in the 1940s. At the same time, her creator filled the comics with titillating bondage imagery, and Wonder Woman was tied up as often as she saved the world. In the 1950s, Wonder Woman begrudgingly continued her superheroic mission, wishing she could settle down with her boyfriend instead, all while continually hinting at hidden lesbian leanings. While other female characters stepped forward as women’s lib took off in the late 1960s, Wonder Woman fell backwards, losing her superpowers and flitting from man to man. Ms. magazine and Lynda Carter restored Wonder Woman’s feminist strength in the 1970s, turning her into a powerful symbol as her checkered past was quickly forgotten. Exploring this lost history adds new dimensions to the world’s most beloved female character, and Wonder Woman Unbound delves into her comic book and its spin-offs as well as the myriad motivations of her creators to showcase the peculiar journey that led to Wonder Woman’s iconic status.

First appearing in 1963, The Uncanny X-Men had a rough start, lasting until 1970 when the comic book was canceled due to low sales. Following a relaunch in 1975, however, it found new popularity thanks to intricate scripting by Chris Claremont and the artwork of John Byrne. Within a few years, The Uncanny X-Men was one of Marvel Comics’ best-selling series and over the decades it became one of the most successful and popular franchises in comic book history. Spin-off titles, mini-series, multimedia adaptations, and a massively expanded cast of characters followed. One of the reasons for the success of X-Men is its powerful “mutant metaphor,” which enhances the stories with cultural significance and the exploration of themes such as societal prejudice and discrimination. In X-Men and the Mutant Metaphor: Race and Gender in the Comic Books, Joseph J. Darowski thoroughly analyzes The Uncanny X-Men, providing its historical background and dividing the long-running series into distinct eras.