{"title":"DANGER, DISEASE, AND DEATH IN THE GRAPHIC URBAN IMAGINATION","authors":"B. Fraser","doi":"10.2307/j.ctvpbnq63.9","DOIUrl":"https://doi.org/10.2307/j.ctvpbnq63.9","url":null,"abstract":"This chapter explores how diverse storytelling modes invoke the modern discourses of urban threat. The Eternaut, created by writer Héctor Germán Oesterheld and illustrator Francisco Solano López, stages an alien invasion in the city of Buenos Aires. Dengue by Rodolfo Santullo and Matías Bergara tells a story of invasion and disease transmission in Montevideo. Urban detective literature and the mystery/occult story are fused in Jacques Tardi’s The Extraordinary Adventures of Ade`le Blanc- Sec, whose action unfolds in Paris. Created by Japanese artist Tsutomu Nihei, Blame! fictionalizes the verticality and immense scale associated with Tokyo in a visual dystopian tale. Adapting a now discredited theory on the Jack-the-Ripper serial killings, Alan Moore and Eddie Campbell’s graphic novel From Hell links the slums, architecture, and patriarchal violence of Victorian London. Fábio Moon, and Gabriel Bá’s Daytripper treads fearlessly into serial confrontations with mortality in and beyond the context of São Paolo.","PeriodicalId":346575,"journal":{"name":"Visible Cities, Global Comics","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122205164","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}
{"title":"ARCHITECTURE, MATERIALITY, AND THE TACTILE CITY","authors":"B. Fraser","doi":"10.2307/j.ctvpbnq63.8","DOIUrl":"https://doi.org/10.2307/j.ctvpbnq63.8","url":null,"abstract":"This chapter explores the built environment of the city at a personal scale. In a cover titled “The Comix Factory” designed for the comics magazine Raw, Dutch artist Joost Swarte employs the formal depth of comics to suggest their connection to tactile qualities of urban life in three dimensions. American Chris Ware’s ambitious boxed anthology Building Stories invites a tactile reading experience and pushes the architectural form of the comics multiframe to its limits. Also hailing from America, Mark Beyer’s transposition of his popular Amy and Jordan comic to the format of “City of Terror Trading Cards” uses tactility to implicate comics in city circulation patterns. Canadian artist Seth has been building tactile models of buildings in Dominion—the fictional setting for many of his comics. The Ghost of Gaudí by El Torres and Jesús Alonso Iglesias highlights Barcelona’s architecture.","PeriodicalId":346575,"journal":{"name":"Visible Cities, Global Comics","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122926530","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}
{"title":"Conclusion","authors":"B. Fraser","doi":"10.14325/mississippi/9781496825032.003.0007","DOIUrl":"https://doi.org/10.14325/mississippi/9781496825032.003.0007","url":null,"abstract":"To bring Visible Cities: Urban Images and Form in Global Comics to a close, it is worthwhile to return to how I outlined this project in the introduction. This book was not meant to be an exhaustive treatment of global cities in comics. Neither was it meant to be broadly representative of themes addressed in the comics medium as a whole. It did not attempt to tell an encyclopedic history of the ninth art, or to catalogue the way in which cities are represented in comic. First and foremost it has been an urban contribution to the interdisciplinary landscape of comics studies....","PeriodicalId":346575,"journal":{"name":"Visible Cities, Global Comics","volume":"2001 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128046580","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}
{"title":"THE PASSIONS OF EVERYDAY URBAN LIFE","authors":"B. Fraser","doi":"10.2307/j.ctvpbnq63.6","DOIUrl":"https://doi.org/10.2307/j.ctvpbnq63.6","url":null,"abstract":"This chapter continues to explore the comics depiction of life on the modern city streets. Discussion concentrates on the twentieth and twenty-first centuries, and is carried out through the lens of the human passions. First, the wordless novels by Belgian artist Frans Masereel serve as yet another paradigmatic example of the urban legacy of early comics. Will Eisner’s trilogy uses tenement life as a stage for the Jewish American urban experience of New York. My New York Diary (1993-98) by Julie Doucet blends the artist’s feminist commitment with themes of urban alienation and entrapment. In twenty-first-century Madrid, Spain, Raquel Córcoles Moncusí a.k.a. ‘Moderna de pueblo’ and Rafael Martínez Castellanos explore romantic and sexual passions as they line up with the social identities of women and gay urbanites. Finally, contemporary artist Daishu Ma’s Leaf returns to hallmark aspects of Frans Masereel’s style nearly one-hundred years later.","PeriodicalId":346575,"journal":{"name":"Visible Cities, Global Comics","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129713371","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}
{"title":"THE MODERN CITY STREETS","authors":"B. Fraser","doi":"10.2307/j.ctvpbnq63.5","DOIUrl":"https://doi.org/10.2307/j.ctvpbnq63.5","url":null,"abstract":"This chapter explores the way in which early comics established a legacy emphasizing urban street life. It begins by detailing the connection of comics with urban environments, themes and circulation patterns in eighteenth-, nineteenth- and twentieth-century London, England, Geneva, Switzerland, and New York, USA. For this discussion, A Harlot’s Progress by William Hogarth, the caricature and urban themes of Rodolphe Töpffer, and Richard F. Outcault’s The Yellow Kid and Hogan’s Alley serve as paradigmatic examples. Attention then turns to Winsor McCay’s vibrant Sunday-page color Little Nemo comics, which harnessed suburban dreams at the dawn of the twentieth century. Finally, an example from the twenty-first century demonstrates how these earlier themes are important for understanding the continuing legacy of urban comics. Contemporary Canadian artist Sophie Yanow’s War of Streets and Houses recalls the graphic and stylistic innovation and spatio-historical context of Töpffer’s comics production.","PeriodicalId":346575,"journal":{"name":"Visible Cities, Global Comics","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134516017","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}
{"title":"URBAN PLANNING, BUILT ENVIRONMENT, AND THE STRUCTURE OF CITIES","authors":"B. Fraser","doi":"10.2307/j.ctvpbnq63.7","DOIUrl":"https://doi.org/10.2307/j.ctvpbnq63.7","url":null,"abstract":"This chapter analyzes a group of comics in which the large-scale machinations of urban planning culture have negatively impacted the life of city dwellers. Norwegian artist Hariton Pushwagner’s Soft City indulges in the social alienation that results from the linear monotony of the metropolis. The tyranny of urban planning is dramatized in Samaris by Belgian creators Benoît Peeters and François Schuiten. Dead Memory by French creator Marc-Antoine Mathieu takes the spontaneous appearance of walls in the city as an impetus to play with themes of spatial form, memory, and language loss. Two final comics juxtapose the top-down method of urban planning with the experience of the city’s built environment at the scale of the individual: Robert Moses: The Master Builder of New York City by French author and illustrator Pierre Christin and Olivier Balez and American Ben Katchor’s collection Cheap Novelties: The Pleasures of Urban Decay.","PeriodicalId":346575,"journal":{"name":"Visible Cities, Global Comics","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115411970","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}
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
