Inks: The Journal of the Comics Studies Society最新文献_第3页

"Cool" Media Studies: McCloud, McLuhan, and the Popification of the Humanities “酷”媒体研究:麦克劳德、麦克卢汉与人文学科的发展

Inks: The Journal of the Comics Studies Society Pub Date : 2022-09-01 DOI: 10.1353/ink.2022.0022

M. Fink

引用次数: 0

Lines from the Margins: Gond Artists Engage with McCloud 从边缘线:上帝的艺术家与麦克劳德

Inks: The Journal of the Comics Studies Society Pub Date : 2022-09-01 DOI: 10.1353/ink.2022.0028

Shreya Sangai, Beena Anirjitha Urumy

{"title":"Lines from the Margins: Gond Artists Engage with McCloud","authors":"Shreya Sangai, Beena Anirjitha Urumy","doi":"10.1353/ink.2022.0028","DOIUrl":"https://doi.org/10.1353/ink.2022.0028","url":null,"abstract":"ABSTRACT:Studies on Indian comics have burgeoned by productively engaging with comics and scholarship from the Global North. Within this, however, Scott McCloud's Understanding Comics is commonly restricted to comics from the Global North, making critical voices from the Global South indistinct. Our paper attends to this gap by studying two Indian comics, Babasaheb Ambedkar (2021) and Bhimayana (2011), side by side. While both the comics are based on Dr. Bhimrao Ramji Ambedkar, a crusader against the Hindu caste system, they follow disparate visualization. Babasaheb has a clean grid-gutter approach to represent its action-oriented, exciting story. Bhimayana, on the other hand, is drawn by Pardhan Gond artists Durgabai Vyam and Subhash Vyam. Borrowing the metaphors from their ecosystem, the Vyams divide the page into panels using Digna, a border style used in Gond floor art. To identify character traits, they draw animal-imposed human bodies and bird- and scorpion-tail-shaped speech balloons, which are close to what Randy Duncan calls \"hermeneutic images.\" In our essay, we show that through training in floor and wall art painting and commitment to the Gond way of living, the Vyams envisaged comic tools' utility differently and, in the process, expanded the definitions that McCloud provides.","PeriodicalId":392545,"journal":{"name":"Inks: The Journal of the Comics Studies Society","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125440736","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}

引用次数: 0

The Empowered and Disempowered Reader: Understanding Comics against Itself 被赋予权力和被剥夺权力的读者:理解漫画本身

Inks: The Journal of the Comics Studies Society Pub Date : 2022-09-01 DOI: 10.1353/ink.2022.0024

C. Hatfield

{"title":"The Empowered and Disempowered Reader: Understanding Comics against Itself","authors":"C. Hatfield","doi":"10.1353/ink.2022.0024","DOIUrl":"https://doi.org/10.1353/ink.2022.0024","url":null,"abstract":"ABSTRACT:Scott McCloud's Understanding Comics (1993) is at odds with itself. On the one hand, it empowers comics readers through its theory of reader inference or closure, which envisions the reader as the author's \"equal partner\" in making meaning. This reader-response emphasis has become a truism of comics theory. McCloud's sense of the reader as creatively engaged, a stance hospitable to critical populism and visions of comics as participatory culture, rejects stereotypes of comics-reading as passive or intellectually undemanding; in this sense, the theory of closure functions as a reparative and a polemic as well as an analytical tool. On the other hand, McCloud imagines an uncritical, implicitly disempowered reader whose \"identity and awareness\" are \"pulled\" into comics via the power of cartooning, the schematized simplicity of which, he argues, enables or even demands the reader's powerful identification with comics characters. We are, McCloud argues, \"in thrall to the simplified reality of the cartoon\" (30). We are transported; we become \"involved\" almost despite ourselves, as if by some psychic or cognitive automatism. This theory of identification (as Jonathan Frome has pointed out) ironically echoes an old anti-comics argument: that readers, especially young, vulnerable ones, will sacrifice reason and self-control as they (in Wertham's terms) \"subconsciously imitat[e]\" the characters. Thus, McCloud recapitulates anxious arguments about readers enthralled by harmful images. This essay explores the implications of this internal contradiction—critical versus uncritical reader—for comics theory today.","PeriodicalId":392545,"journal":{"name":"Inks: The Journal of the Comics Studies Society","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121660248","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}

引用次数: 0

Barbarella: Sexual Revolution or Editorial Revolution? 芭芭拉:性革命还是编辑革命?

Inks: The Journal of the Comics Studies Society Pub Date : 2022-06-01 DOI: 10.1353/ink.2022.0010

S. Lesage, Margaret C. Flinn

{"title":"Barbarella: Sexual Revolution or Editorial Revolution?","authors":"S. Lesage, Margaret C. Flinn","doi":"10.1353/ink.2022.0010","DOIUrl":"https://doi.org/10.1353/ink.2022.0010","url":null,"abstract":"abstract:In the history of French comics, Barbarella is usually perceived as a turning point towards \"adult\" bande dessinée. Released as an album by avant-garde publisher Éric Losfeld in 1964, Barbarella plays a key role in the Bildungsroman narrative that structures the history of the Ninth Art. Whereas Astérix plays on the ambiguities and multilayered readings of both children and their parents, Barbarella is unquestionably targeted for an adult, male audience: the sexualized space opera created by veteran comics artist Jean-Claude Forest leaves no doubt on the matter. A closer reading of Barbarella allows us to nuance this simplistic interpretation of French comics history. The 1964 album republishes a story previously released in the pornographic V Magazine, in serial installments. When published as a book, Barbarella is deeply transformed by the materiality of the format, allowing for a new narrative rhythm, structured in chapters. The monumentality of the book enables an auteur-driven approach to comics. Barbarella, then, represents a key moment in comics publishing, and a crucial model for a literary turn in comics. Its reception, both by the then-emerging fan culture and by the Commission de surveillance et de contrôle in charge of comics censorship, enables a better understanding of the difficult rise of an \"adult\" comics scene. Roger Vadim's problematic adaptation (and the new version of the book released alongside the movie) plays an important part in the canonization of Barbarella as a pop icon.","PeriodicalId":392545,"journal":{"name":"Inks: The Journal of the Comics Studies Society","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121326549","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}

引用次数: 0

Panthers, Hulks and Ironhearts: Marvel, Diversity and the 21st Century Superhero by Jeffrey A. Brown (review) 《黑豹、绿巨人和铁心:漫威、多样性和21世纪超级英雄》杰弗里·a·布朗著(书评)

Inks: The Journal of the Comics Studies Society Pub Date : 2022-06-01 DOI: 10.1353/ink.2022.0014

Christopher Lopez

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The Comics World: Comic Books, Graphic Novels, and Their Publics ed. by Benjamin Woo, and Jeremy Stoll (review) 《漫画世界:漫画书、图画小说及其公众》，作者:本杰明·吴、杰里米·斯托尔(书评)

Inks: The Journal of the Comics Studies Society Pub Date : 2022-06-01 DOI: 10.1353/ink.2022.0015

Zachary J. A. Rondinelli

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From the Field: Why Is Manga So Interesting? 来自现场:为什么漫画如此有趣?

Inks: The Journal of the Comics Studies Society Pub Date : 2022-06-01 DOI: 10.1353/ink.2022.0012

Natsume Fusanosuke, Jon Holt, Teppei Fukuda

{"title":"From the Field: Why Is Manga So Interesting?","authors":"Natsume Fusanosuke, Jon Holt, Teppei Fukuda","doi":"10.1353/ink.2022.0012","DOIUrl":"https://doi.org/10.1353/ink.2022.0012","url":null,"abstract":"abstract:Natsume Fusanosuke is one of the founding critics of manga who pioneered a style of formal analysis of manga in the 1990s. Natsume's first important foray into his \"theory of manga expression\" (manga hyōgen-ron) was seen in the collaborative work Manga no yomikata [How to Read Manga] in 1995. He later streamlined those ideas in a twelve-episode series Manga wa naze omoshiroi no ka: sono hyōgen to bunpō [Why Is Manga So Interesting?: Its Expression and Grammar] for NHK television in 1996. The expanded book (1997) published later consists of focused essays, each on an individual element of manga, such as line, character creation, and panel layouts. In the present translated essays, the first two chapters of Part One, Natsume explores the exploding manga market in the 1990s and then posits one of the foundational elements of his manga expression theory, the line. Like Scott McCloud, as a cartoonist Natsume often used comics images to explain comics theory. Here, he shows how his copies of manga images reveal subtle shifts in how the character and scene can be felt by the reader, often through the magic of different pen or stylus types. The translation and introduction make available in English for the first time a part of a key text in the history of manga studies in Japan.","PeriodicalId":392545,"journal":{"name":"Inks: The Journal of the Comics Studies Society","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124590937","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}

引用次数: 0

Zooming in on Ben Passmore 放大本·帕斯莫尔

Inks: The Journal of the Comics Studies Society Pub Date : 2022-06-01 DOI: 10.1353/ink.2022.0009

A. Chiasson

{"title":"Zooming in on Ben Passmore","authors":"A. Chiasson","doi":"10.1353/ink.2022.0009","DOIUrl":"https://doi.org/10.1353/ink.2022.0009","url":null,"abstract":"abstract:This article is about Ben Passmore's DAYGLOAYHOLE (2018–present), the collection of webcomics published as Your Black Friend (2018), and various essays and interviews. Analyzing these texts has led me to develop a new interpretive framework to explain a pattern of zooming in and out as Passmore's dominant aesthetic strategy. I argue Passmore's comics force the reader's focus—a kind of requisite zooming in—on the humorous and the bizarre, drawing attention to the small, seemingly inconsequential, and trashy. Passmore's particular brand of activism is motivated by his wariness of what he terms \"political edifice\" propped up by a mindless internet culture and is situated around an anarchist vision of dismantling corrupt institutions and oppressive ideologies. This is expressed predominantly through the \"zoom,\" which is a kind of aesthetics of scale. The zoom as an aesthetic mode generates friction that encourages a slowed-down reading of Passmore's comics, which may expose the possible shortcomings of Scott McCloud's vision for the \"infinite canvas.\" I also consider three of Passmore's activist interests as represented in his work—multiracial identity and Blackness, gender and sexuality, and New Orleans and gentrification—which I argue constitute a more conceptual zooming in on social problems.","PeriodicalId":392545,"journal":{"name":"Inks: The Journal of the Comics Studies Society","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132910913","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}

引用次数: 0

Two Chapters from Why Is Manga So Interesting: Its Expression and Grammar: (Manga wa naze omoshiroi no ka: Sono hyōgen to bunpō, 1997)

Inks: The Journal of the Comics Studies Society Pub Date : 2022-06-01 DOI: 10.1353/ink.2022.0018

Natsume Fusanosuke, Jon Holt, Teppei Fukuda

引用次数: 0

Civilized Monsters: These Savage Shores and the Colonialist Cage 文明的怪物:这些野蛮的海岸和殖民主义者的笼子

Inks: The Journal of the Comics Studies Society Pub Date : 2022-06-01 DOI: 10.1353/ink.2022.0013

Ritesh Babu

引用次数: 1