By Matthew J. Smith, Randy Duncan

Critical methods to Comics offers scholars a deeper figuring out of the creative and cultural importance of comedian books and picture novels by means of introducing key theories and demanding tools for reading comics. every one bankruptcy explains after which demonstrates a severe technique or method, which scholars can then observe to interrogate and critique the meanings and kinds of comedian books, image novels, and different sequential paintings. The authors introduce quite a lot of severe views on comics, together with fandom, style, intertextuality, edition, gender, narrative, formalism, visible tradition, and masses more.

As the 1st entire advent to severe tools for learning comics, Critical methods to Comics is the fitting textbook for various classes in comics studies.

Contributors: Henry Jenkins,  David Berona, Joseph Witek, Randy Duncan, Marc Singer, Pascal Lefevre,  Andrei Molotiu, Jeff McLaughlin, Amy Kiste Nyberg, Christopher Murray, Mark Rogers, Ian Gordon, Stanford wood worker, Matthew J. Smith, Brad J. Ricca, Peter Coogan, Leonard Rifas,  Jennifer okay. Stuller, Ana Merino, Mel Gibson, Jeffrey A. Brown, Brian Swafford

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Extra info for Critical Approaches to Comics: Theories and Methods

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Part I Form 1 WORDLESS COMICS The Imaginative Appeal of Peter Kuper’s The System David A. Beronä In an inter­view with Photoplay maga­zine in 1927, Mary Pickford, a legendary star of the silent cinema, commented: It would have been more logical if silent pic­tures had grown out of the talkie instead of the other way around. The value of silence in art is its stimulation to the imagination, and the imaginative quality is art’s highest appeal. Technology did not delay the use of text with images in the comic’s medium like sound with pic­tures in the cinema, but the im­port­ance of silence in comics and its imaginative appeal can be traced throughout the his­tory of comics.

The next element of ana­lysis is word images, which are a large part of this urban landscape. The device of synecdoche, “using a part of something to represent the whole of the thing,”15 identifies the city as New York, with recog­niz­able landmarks like Grand Central Station and the Chrysler Building, which in this diegesis is owned by Syco, whose name is also a pun, applic­able to the psychopaths and insane behavior associated with this com­pany. New York reflects a cacophony of brand names, advertisements, and news captions.

Gibbons (Jackson, MS: University Press of Mississippi, 2001), 6. 26 • D. A. Beronä 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. An entirely wordless issue of World War 3 Illustrated was published in 2009, showing the growing inter­est in wordless comics by both artists and readers. Peter Kuper, Speechless (Marietta, GA: Top Shelf Productions, 2001), 66. , 24. , 66. Ann Miller, Reading BandeDessinée: Critical Approaches to French-­language Comic Strip (Chicago: Intellect Books, 2007), 105. Kuper, Speechless, 66.

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Critical Approaches to Comics: Theories and Methods by Matthew J. Smith, Randy Duncan
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