漫画、主持人和涂鸦:嘻哈文化与漫画文化关系的图形叙事

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Studies in Comics Pub Date : 2022-11-01 DOI:10.1386/stic_00064_3
Darnel Degand
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引用次数: 1

摘要

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。
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Comics, emceeing and graffiti: A graphic narrative about the relationship between hip-hop culture and comics culture
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.
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来源期刊
Studies in Comics
Studies in Comics HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.60
自引率
0.00%
发文量
12
期刊最新文献
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