Review of: The Comic Strip Art of Jack B. Yeats, Michael Connerty (2021) Cham: Palgrave Macmillan, 300 pp., ISBN 978-3-03076-892-8; ISBN 978-3-03076-893-5 (eBook), US$120.50
{"title":"The Comic Strip Art of Jack B. Yeats, Michael Connerty (2021)","authors":"R. Scully","doi":"10.1386/stic_00070_5","DOIUrl":"https://doi.org/10.1386/stic_00070_5","url":null,"abstract":"Review of: The Comic Strip Art of Jack B. Yeats, Michael Connerty (2021)\u0000 Cham: Palgrave Macmillan, 300 pp.,\u0000 ISBN 978-3-03076-892-8; ISBN 978-3-03076-893-5 (eBook), US$120.50","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42804825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Unstable Masks: Whiteness and American Superhero Comics, Sean Guynes and Martin Lund (eds) (2020) Columbus, OH: Ohio State University Press, 274 pp., ISBN 978-0-81421-418-3, h/bk, $99.95 ISBN 978-0-81425-563-6, p/bk, $29.95 ISBN 978-0-81427-750-8, e-book, $29.95
评论：《不稳定的面具：白人与美国超级英雄漫画》，Sean Guynes和Martin Lund（编辑）（2020）俄亥俄州哥伦布：俄亥俄州立大学出版社，274页，ISBN 978-0-81421-418-3，h/bk，$99.95 ISBN 9780-81425-563-6，p/bk，29.95 ISBN 78-0-81427-750-8，电子书，29.95美元
{"title":"Unstable Masks: Whiteness and American Superhero Comics, Sean Guynes and Martin Lund (eds) (2020)","authors":"Vincent Haddad","doi":"10.1386/stic_00081_5","DOIUrl":"https://doi.org/10.1386/stic_00081_5","url":null,"abstract":"Review of: Unstable Masks: Whiteness and American Superhero Comics, Sean Guynes and Martin Lund (eds) (2020)\u0000 Columbus, OH: Ohio State University Press, 274 pp.,\u0000 ISBN 978-0-81421-418-3, h/bk, $99.95\u0000 ISBN 978-0-81425-563-6, p/bk, $29.95\u0000 ISBN 978-0-81427-750-8, e-book, $29.95","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43662057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Readers of comics can easily call to mind images of musical notation they have seen on the page. It is a cliché of the medium that a speech balloon bearing a pair of quarter notes usually hovers near a singing bird, and it is no less common that floods of eighth, quarter, half and whole notes emanate from a turntable speaker or the bell of a saxophone drawn inside the panel borders. Yet the ways in which musical notation and musical expression take shape on the comics page are highly contextualized. For those comics that move beyond stereotypical depictions of musical sounds, how musical notes and emanations are depicted on the page are closely connected with the theme, critical aspirations and sociocultural context of a given work. Focusing on the representation of Black American jazz music in particular, and its transatlantic resonance in Europe (Germany, France and Spain) during the twentieth century, this article investigates three divergent manifestations of this phenomenon. By analysing innovative examples of musical representation from Berlin (Jason Lutes), Total Jazz (Blutch) and Montoliu Plays Tete (Gani Jakupi and Miquel Jurado), a basic typology is offered of mute, mutable and pedagogical representations of music in which comics form, audience reception and social context are interconnected.
漫画的读者可以很容易地想起他们在页面上看到的乐谱图像。一个带有两个四分音符的演讲气球通常在一只唱歌的鸟附近盘旋，这是一种陈词滥调，八分音符、四分音符、半音符和全音符的洪流从转盘扬声器或面板边界内的萨克斯管铃声中发出也同样常见。然而，乐谱和音乐表达在漫画页面上的形成方式是高度语境化的。对于那些超越了对音乐声音的刻板描述的漫画来说，页面上对音符和散发的描绘方式与特定作品的主题、批评愿望和社会文化背景密切相关。本文特别关注美国黑人爵士乐的表现，以及它在20世纪欧洲（德国、法国和西班牙）的跨大西洋共鸣，研究了这一现象的三种不同表现。通过分析柏林（Jason Lutes）、Total Jazz（Blutch）和Montoliu Plays Tete（Gani Jakupi和Miquel Jurado）的音乐表现的创新例子，提供了一种基本的音乐表现类型学，其中漫画形式、观众接受和社会背景是相互关联的。
{"title":"The shape of European jazz: On mute, mutable and pedagogical musical representations","authors":"Benjamin Fraser","doi":"10.1386/stic_00085_1","DOIUrl":"https://doi.org/10.1386/stic_00085_1","url":null,"abstract":"Readers of comics can easily call to mind images of musical notation they have seen on the page. It is a cliché of the medium that a speech balloon bearing a pair of quarter notes usually hovers near a singing bird, and it is no less common that floods of eighth, quarter, half and whole notes emanate from a turntable speaker or the bell of a saxophone drawn inside the panel borders. Yet the ways in which musical notation and musical expression take shape on the comics page are highly contextualized. For those comics that move beyond stereotypical depictions of musical sounds, how musical notes and emanations are depicted on the page are closely connected with the theme, critical aspirations and sociocultural context of a given work. Focusing on the representation of Black American jazz music in particular, and its transatlantic resonance in Europe (Germany, France and Spain) during the twentieth century, this article investigates three divergent manifestations of this phenomenon. By analysing innovative examples of musical representation from Berlin (Jason Lutes), Total Jazz (Blutch) and Montoliu Plays Tete (Gani Jakupi and Miquel Jurado), a basic typology is offered of mute, mutable and pedagogical representations of music in which comics form, audience reception and social context are interconnected.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45593431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is essentially an interview with artists and editors of the comics anthology This Quarantine Life, Steven Walker and Greg Follender from the Art Students League of New York. The interview centres on the journey from the inspiration to publish a lockdown-inspired comics anthology to the production process and catharsis associated with it. The interviewees discuss the challenges in both teaching and producing art during a pandemic, and dealing with isolation when one of the biggest and liveliest cities in the world locks down.
{"title":"Reflecting on This Quarantine Life, a year on: An interview with Steven Walker and Greg Follender","authors":"Antonija Cavcic","doi":"10.1386/stic_00067_7","DOIUrl":"https://doi.org/10.1386/stic_00067_7","url":null,"abstract":"This is essentially an interview with artists and editors of the comics anthology This Quarantine Life, Steven Walker and Greg Follender from the Art Students League of New York. The interview centres on the journey from the inspiration to publish a lockdown-inspired comics anthology to the production process and catharsis associated with it. The interviewees discuss the challenges in both teaching and producing art during a pandemic, and dealing with isolation when one of the biggest and liveliest cities in the world locks down.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41498651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyses the elements that contribute to the specific kind of humour central to the comic strip series Strange Planet, one that combines humorous components with everyday situations. We will examine the main strategies behind the comic disjunction that dominates the work of Nathan W. Pyle. On the one hand, the graphic representation of cuteness enhances the candid banality of its everyday themes. On the other hand, the verbal discourse approaches the everyday with cold neutrality of the enunciations, provoking an ironic effect. In order to understand how these concepts apply to narrative in comics the article employs theories of humour and academic work on cuteness. The article also looks at how the strip optimizes its distribution through the internet.
{"title":"Cuteness and everyday humour in Nathan W. Pyle’s Strange Planet","authors":"Greice Schneider, João Senna Teixeira","doi":"10.1386/stic_00090_1","DOIUrl":"https://doi.org/10.1386/stic_00090_1","url":null,"abstract":"This article analyses the elements that contribute to the specific kind of humour central to the comic strip series Strange Planet, one that combines humorous components with everyday situations. We will examine the main strategies behind the comic disjunction that dominates the work of Nathan W. Pyle. On the one hand, the graphic representation of cuteness enhances the candid banality of its everyday themes. On the other hand, the verbal discourse approaches the everyday with cold neutrality of the enunciations, provoking an ironic effect. In order to understand how these concepts apply to narrative in comics the article employs theories of humour and academic work on cuteness. The article also looks at how the strip optimizes its distribution through the internet.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44364453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hip-hop culture will officially turn 50 years old on 11 August 2023. This cultural movement began in a recreational room in The Bronx, New York City, and is now enjoyed throughout the world. In recognition of its upcoming half-century celebration, this article reviews the origins of hip-hop culture (e.g. hip-hop pioneers such as DJ Kool Herc, Keef Cowboy and Lovebug Starski) and the relationship its emceeing and graffiti elements have with comics culture. I begin with a brief review that demonstrates how graffiti predates hip-hop culture. This is illustrated through depictions of cave paintings, ancient Roman street art and ancient Mayan graffiti. I also highlight hobo graffiti and the graffiti from the Cholos and Bachutos gangs from twentieth-century Los Angeles, California. The introduction of the ‘Kilroy was here’ tag during the Second World War and the protest graffiti from a German anti-Nazi group are also depicted. I conclude the historical review of graffiti with an introduction to the early appearances of hip-hop-styled graffiti. Next, I present multiple historical influences on hip-hop emceeing. Examples include (but are not limited to) West African griots, enslaved Africans, Muhammad Ali, Millie Jackson, The Last Poets and Gil Scott-Heron. Likewise, older genres, such as funk music, blues music, jazz poetry and Black militant poetry inspired much of rap music. Afterwards, I examine the bidirectional relationship between graffiti and comics art, and emceeing and the textual/storytelling aspects of comics. This includes comics-inspired graffiti, hip-hop monikers (e.g. Big Pun, Snoop Dogg, MF Doom and Jean Grae), hip-hop lyrics (from artists such as Grandmaster Caz, Inspectah Deck, Jay-Z and The Last Emperor) and album covers. Conversely, I offer examples of how graffiti has inspired comics visuals and storytelling as well as how emceeing has inspired the comic-book storytelling and the protagonists featured in fictional and non-fictional comic book narratives.
嘻哈文化将于2023年8月11日正式迎来50岁生日。这场文化运动始于纽约市布朗克斯区的一间娱乐室，现在在全世界都很受欢迎。为了纪念即将到来的半个世纪庆典，本文回顾了嘻哈文化的起源（例如DJ Kool Herc、Keef Cowboy和Lovebug Starski等嘻哈先锋），以及其主持人和涂鸦元素与漫画文化的关系。我首先简要回顾一下涂鸦是如何早于嘻哈文化的。这是通过描绘洞穴绘画、古罗马街头艺术和古玛雅涂鸦来说明的。我还重点介绍了流浪汉的涂鸦以及20世纪加利福尼亚州洛杉矶的Cholos和Bachutos帮派的涂鸦。第二次世界大战期间引入的“基尔罗伊在这里”标签和德国反纳粹团体的抗议涂鸦也被描绘出来。在结束对涂鸦的历史回顾时，我介绍了嘻哈风格涂鸦的早期出现。接下来，我将介绍嘻哈主持人受到的多重历史影响。例子包括（但不限于）西非狮鹫、被奴役的非洲人、穆罕默德·阿里、米莉·杰克逊、《最后的诗人》和吉尔·斯科特·赫伦。同样，放克音乐、蓝调音乐、爵士诗歌和黑人激进诗歌等较老的流派也激发了说唱音乐的灵感。之后，我研究了涂鸦和漫画艺术之间的双向关系，以及漫画的主持人和文本/故事方面。这包括以漫画为灵感的涂鸦、嘻哈绰号（如Big Pun、Snoop Dogg、MF Doom和Jean Grae）、嘻哈歌词（来自Grandmaster Caz、Inspectah Deck、Jay-Z和The Last Emperor等艺术家）和专辑封面。相反，我提供了涂鸦如何启发漫画视觉效果和讲故事的例子，以及主持人如何启发漫画讲故事以及虚构和非虚构漫画叙事中的主角。
{"title":"Comics, emceeing and graffiti: A graphic narrative about the relationship between hip-hop culture and comics culture","authors":"Darnel Degand","doi":"10.1386/stic_00064_3","DOIUrl":"https://doi.org/10.1386/stic_00064_3","url":null,"abstract":"Hip-hop culture will officially turn 50 years old on 11 August 2023. This cultural movement began in a recreational room in The Bronx, New York City, and is now enjoyed throughout the world. In recognition of its upcoming half-century celebration, this article reviews the origins of hip-hop culture (e.g. hip-hop pioneers such as DJ Kool Herc, Keef Cowboy and Lovebug Starski) and the relationship its emceeing and graffiti elements have with comics culture. I begin with a brief review that demonstrates how graffiti predates hip-hop culture. This is illustrated through depictions of cave paintings, ancient Roman street art and ancient Mayan graffiti. I also highlight hobo graffiti and the graffiti from the Cholos and Bachutos gangs from twentieth-century Los Angeles, California. The introduction of the ‘Kilroy was here’ tag during the Second World War and the protest graffiti from a German anti-Nazi group are also depicted. I conclude the historical review of graffiti with an introduction to the early appearances of hip-hop-styled graffiti. Next, I present multiple historical influences on hip-hop emceeing. Examples include (but are not limited to) West African griots, enslaved Africans, Muhammad Ali, Millie Jackson, The Last Poets and Gil Scott-Heron. Likewise, older genres, such as funk music, blues music, jazz poetry and Black militant poetry inspired much of rap music. Afterwards, I examine the bidirectional relationship between graffiti and comics art, and emceeing and the textual/storytelling aspects of comics. This includes comics-inspired graffiti, hip-hop monikers (e.g. Big Pun, Snoop Dogg, MF Doom and Jean Grae), hip-hop lyrics (from artists such as Grandmaster Caz, Inspectah Deck, Jay-Z and The Last Emperor) and album covers. Conversely, I offer examples of how graffiti has inspired comics visuals and storytelling as well as how emceeing has inspired the comic-book storytelling and the protagonists featured in fictional and non-fictional comic book narratives.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46301099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Typical Girls: The Rhetoric of Womanhood in Comic Strips, Susan Kirtley (2021) Columbus, OH: Ohio State Press, 268 pp., ISBN 978-0-81425-793-7, p/bk, $36.95
{"title":"Typical Girls: The Rhetoric of Womanhood in Comic Strips, Susan Kirtley (2021)","authors":"Fi Stewart-Taylor","doi":"10.1386/stic_00071_5","DOIUrl":"https://doi.org/10.1386/stic_00071_5","url":null,"abstract":"Review of: Typical Girls: The Rhetoric of Womanhood in Comic Strips, Susan Kirtley (2021)\u0000 Columbus, OH: Ohio State Press, 268 pp.,\u0000 ISBN 978-0-81425-793-7, p/bk, $36.95","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42261502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This short comic is an excerpt from my doctoral dissertation ‘Drawing unbelonging’, where I draw comics with an experimental approach to explore the potential of the medium and its uses in scholarly communication and graphic medicine. Throughout the dissertation I make use of several innovations enabled by the medium, such as the De Luca effect (where the artist draws multiple images of a single character in different stages of action against the backdrop of one static scene), to demonstrate how the medium allows for multiple temporalities to co-exist simultaneously on the page. My goal is to use comics not as an illustrative tool to supplement the text, but as a method to think, strategize, find patterns, give form to an inchoate idea through investigative drawing and develop a deeper understanding of how the visual grammar of comics can be utilized to map the connection between the public health challenges of our time, and socioeconomic, racial and environmental inequality. In this excerpt, I use the ‘sequential and simultaneous’ nature of comics to show the various and intersecting uses of the medium through visual metaphors.
{"title":"On time and space: An excerpt from ‘Drawing unbelonging’","authors":"Kay Sohini","doi":"10.1386/stic_00066_3","DOIUrl":"https://doi.org/10.1386/stic_00066_3","url":null,"abstract":"This short comic is an excerpt from my doctoral dissertation ‘Drawing unbelonging’, where I draw comics with an experimental approach to explore the potential of the medium and its uses in scholarly communication and graphic medicine. Throughout the dissertation I make use of several innovations enabled by the medium, such as the De Luca effect (where the artist draws multiple images of a single character in different stages of action against the backdrop of one static scene), to demonstrate how the medium allows for multiple temporalities to co-exist simultaneously on the page. My goal is to use comics not as an illustrative tool to supplement the text, but as a method to think, strategize, find patterns, give form to an inchoate idea through investigative drawing and develop a deeper understanding of how the visual grammar of comics can be utilized to map the connection between the public health challenges of our time, and socioeconomic, racial and environmental inequality. In this excerpt, I use the ‘sequential and simultaneous’ nature of comics to show the various and intersecting uses of the medium through visual metaphors.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46601623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Harmony Becker is a cartoonist and illustrator. She illustrated George Takei’s graphic novel They Called Us Enemy (Top Shelf, 2019), which won an Eisner Award in 2020. Her first solo graphic novel, Himawari House, was published in 2021 by First Second and received the Kirkus Prize in 2022. Becker is also the creator of the comics Love Potion and Anemone and Catharus. According to Top Shelf, she has spent time living in South Korea and Japan. This interview took place by Zoom in July 2022.
{"title":"‘I wanted to bring readers outside of the English experience’: An interview with Harmony Becker","authors":"Jason D. DeHart","doi":"10.1386/stic_00079_7","DOIUrl":"https://doi.org/10.1386/stic_00079_7","url":null,"abstract":"Harmony Becker is a cartoonist and illustrator. She illustrated George Takei’s graphic novel They Called Us Enemy (Top Shelf, 2019), which won an Eisner Award in 2020. Her first solo graphic novel, Himawari House, was published in 2021 by First Second and received the Kirkus Prize in 2022. Becker is also the creator of the comics Love Potion and Anemone and Catharus. According to Top Shelf, she has spent time living in South Korea and Japan. This interview took place by Zoom in July 2022.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48996979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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