標(biāo)題: Titlebook: Cultures of Comics Work; Casey Brienza,Paddy Johnston Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 comics.graphic novels [打印本頁(yè)] 作者: Madison 時(shí)間: 2025-3-21 18:04
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作者: nuclear-tests 時(shí)間: 2025-3-21 21:30 作者: 預(yù)兆好 時(shí)間: 2025-3-22 02:51 作者: pellagra 時(shí)間: 2025-3-22 06:27
,: Imagining US–Mexican Cooperation against the Axis Powers in a World War II Propaganda Comicevelt 1927, 114–115). The Clark Memorandum of 1928 claimed that the USA held a self-evident right to defend itself and its political and economic interests. Unsurprisingly, this foreign policy of intervention, used whenever the USA felt its economic and political interests threatened, placed the cou作者: 脫水 時(shí)間: 2025-3-22 10:49
Recognizing Comics as Brazilian National Popular Culture: CETPA and the Debates over Comics Professics and culture, such as Samuel Wainer, Edmar Morel, Gilberto Freyre, Roberto Marinho, and Carlos Lacerda, were involved in the debates about comics. Despite the political interests of each of these men (Júnior 2004), their engagement with comics controversies demonstrates that comic art was not well作者: 慢跑鞋 時(shí)間: 2025-3-22 16:50
To the Studio! , and the Occupational Imaginary of Comics Workimilarly, many fans probably have ideas about what the day-to-day working life of a comics creator is like, but the accuracy of these ideas varies widely. Do they imagine spending hours with pencil and brush at a drawing table, or working on a Wacom tablet with Photoshop or Manga Studio? Do they thi作者: 慢跑鞋 時(shí)間: 2025-3-22 20:16
The Tail That Wags the Dog: The Impact of Distribution on the Development and Direction of the Ameriistribution is considered to be a mundane activity, and its profound impact on the success (or failure) of comics work is therefore easy to overlook. Comic book historians can better understand and interpret the full richness of the American comic book industry and its history by explicitly incorpor作者: 圓錐體 時(shí)間: 2025-3-23 01:07 作者: ANA 時(shí)間: 2025-3-23 01:58
Textbook Mar 1994Latest editionevelt 1927, 114–115). The Clark Memorandum of 1928 claimed that the USA held a self-evident right to defend itself and its political and economic interests. Unsurprisingly, this foreign policy of intervention, used whenever the USA felt its economic and political interests threatened, placed the cou作者: OVERT 時(shí)間: 2025-3-23 05:59 作者: 使聲音降低 時(shí)間: 2025-3-23 10:30 作者: 催眠藥 時(shí)間: 2025-3-23 16:41
https://doi.org/10.1007/978-1-349-23417-2istribution is considered to be a mundane activity, and its profound impact on the success (or failure) of comics work is therefore easy to overlook. Comic book historians can better understand and interpret the full richness of the American comic book industry and its history by explicitly incorpor作者: 百靈鳥(niǎo) 時(shí)間: 2025-3-23 20:58 作者: 詞根詞綴法 時(shí)間: 2025-3-24 00:42
Producing Woman: Hippocratic Gynaecology,th, sans serif text on black, using this phrase to preface Porcellino’s description of his father and his father’s perception of his cartooning, ensuring a narrative payoff and the sting of irony when Porcellino repeats the phrase “you could come up with your own .”作者: ARCHE 時(shí)間: 2025-3-24 04:33
Asian Women and Violence from Male Partners,e future. I did not press for more information and made a mental note to keep an eye out for a graphic novel set in Latin America, but I did not yet know that he would enlist my help the following month.作者: Arroyo 時(shí)間: 2025-3-24 09:06 作者: BOON 時(shí)間: 2025-3-24 11:06
Making Comics as Artisans: Comic Book Production in Colombiape of small magazines, mainly American in origin and mostly translated into Spanish. We grew up reading . and ., some Marvel and DC Superhero comics, the occasional . and ., but very few Latin American comics, with . and . taking the lead.作者: Consensus 時(shí)間: 2025-3-24 17:13 作者: 擺動(dòng) 時(shí)間: 2025-3-24 22:14 作者: 錯(cuò)事 時(shí)間: 2025-3-25 00:02
Gatekeeping in Comics Publishing: A Practical Guide to Gatekeeping Researchction, distribution, and promotion of a comic, and even today they take on greater financial risk than all other players later in the chain, such as distributors or retailers. Book publishing remains, after all, “a complex, adaptive, semi-chaotic industry” (Greco 2013, 5).作者: 翻布尋找 時(shí)間: 2025-3-25 03:51
Drawing Fatherhood: The Working Father Figure in the Autobiographical Graphic Novels of Guy Delislen expat father and graphic novelist, while at the same time depicting daily life and political realities in fraught locations. In another series, . (2013–15), he focuses more specifically on fatherhood.作者: 圖表證明 時(shí)間: 2025-3-25 11:31
Negotiating Artistic Identity in Comics Collaborationexpanding in many directions, absorbing theories and methodologies from many different fields to great advantage, scholars regularly neglect the collaborative nature of comics. It is taken for granted that a “main” creator loads a work with meaning waiting to be activated by readers.作者: 可以任性 時(shí)間: 2025-3-25 11:43 作者: 執(zhí) 時(shí)間: 2025-3-25 17:02
The Propositional Structure of Perceptions production, I interviewed creators from scenes across Australia. Using primary data from artists in order to understand their ethos is a method frequently utilized within creative identity studies (Hackley and Kover 2007; Wang and Cheng 2010; Taylor and Littleton 2008).作者: 散布 時(shí)間: 2025-3-25 22:05 作者: BRIBE 時(shí)間: 2025-3-26 02:37
For the Love of the Craft: Industry, Identity, and Australian Comicss production, I interviewed creators from scenes across Australia. Using primary data from artists in order to understand their ethos is a method frequently utilized within creative identity studies (Hackley and Kover 2007; Wang and Cheng 2010; Taylor and Littleton 2008).作者: 溫室 時(shí)間: 2025-3-26 04:28
Between Art and the Underground: From Corporate to Collaborative Comics in Indiaility of creators to make a living from their work. Furthermore, there is little space for an active and critical community in corporate production. Accordingly, contemporary comics creators, editors, publishers, and many of their readers have recently begun to take a different approach toward creativity.作者: NAV 時(shí)間: 2025-3-26 10:07 作者: colostrum 時(shí)間: 2025-3-26 14:38
The Case of the Missing Author: Toward an Anatomy of Collaboration in Comics as either a valueless imitation or a forgery. Even people who cannot afford a David Hockney work have some stake in its authenticity, otherwise interviewers like Matthew Cain would not ask questions about it. It is a relief that Hockney “made all the marks.”作者: 叢林 時(shí)間: 2025-3-26 19:47
2634-6370 contemporary cultural production.Combines international and.This anthology explores tensions between the individualistic artistic ideals and the collective industrial realities of contemporary cultural production with eighteen all-new chapters presenting pioneering empirical research on the complex作者: Colonnade 時(shí)間: 2025-3-26 22:59
https://doi.org/10.1007/978-1-349-23336-6n expat father and graphic novelist, while at the same time depicting daily life and political realities in fraught locations. In another series, . (2013–15), he focuses more specifically on fatherhood.作者: Unsaturated-Fat 時(shí)間: 2025-3-27 01:19
Professionalising the Response to Rape,expanding in many directions, absorbing theories and methodologies from many different fields to great advantage, scholars regularly neglect the collaborative nature of comics. It is taken for granted that a “main” creator loads a work with meaning waiting to be activated by readers.作者: 發(fā)現(xiàn) 時(shí)間: 2025-3-27 07:41 作者: 預(yù)兆好 時(shí)間: 2025-3-27 09:28
Book 2016ion with eighteen all-new chapters presenting pioneering empirical research on the complexities and controversies of comics work...Art Spiegelman. Alan Moore. Osamu Tezuka. Neil Gaiman. Names such as these have become synonymous with the medium of comics. Meanwhile, the large numbers of people witho作者: STALL 時(shí)間: 2025-3-27 13:49 作者: gerontocracy 時(shí)間: 2025-3-27 17:52 作者: Interregnum 時(shí)間: 2025-3-28 00:16 作者: 金盤(pán)是高原 時(shí)間: 2025-3-28 04:32
The Propositional Structure of Perception2011) notes, such a mode of production requires writers, pencillers, inkers, and others to perform their step in the creative process with limited interaction with other steps or the people behind them.. While such an approach has helped certain companies flourish, the obvious cost has been the inab作者: insomnia 時(shí)間: 2025-3-28 09:39 作者: Medicare 時(shí)間: 2025-3-28 12:54 作者: 流動(dòng)性 時(shí)間: 2025-3-28 17:31
Born in the USA: a story of money and angelsn syndicated comics during the decade. The following years saw the first activities of major publishers like Editora Brasil América Limitada [Brazil America Limited Publisher], EBAL, and the beginning of a comic book culture in Brazil. During the 1940s and 1950s, discussions about the multiple signi作者: oracle 時(shí)間: 2025-3-28 21:36
Women in Society: A Feminist Listney’s three assistants produce any of his art. But Hockney doesn’t bite. He says that he made “all the marks” and that an assistant would never pick up a paintbrush. The role of the assistant is purely that of the logistical helper; he or she does physical work, but not the work most associated with作者: faucet 時(shí)間: 2025-3-28 23:59 作者: 十字架 時(shí)間: 2025-3-29 07:02
Producing Woman: Hippocratic Gynaecology, “My dad eventually realized I’m a cartoonist,” a middle-aged Porcellino explains, “but his thing was … why can’t you do .? Or…. is funny, everyone loves it. You could do that! My dad would read ., and we would talk about it … he totally understood the whole [.] thing, but he would say ‘you could co作者: 使堅(jiān)硬 時(shí)間: 2025-3-29 10:18
Asian Women and Violence from Male Partners,miserably cold and rainy summer, I met Vehlmann, the current scriptwriter of the series . [Spirou and Fantasio], as part of the fieldwork for my doctoral thesis, a comparative study of representations of Latin America in French, Belgian, Argentinean and Mexican comics. During the interview, and in a作者: DEAF 時(shí)間: 2025-3-29 13:49 作者: Sedative 時(shí)間: 2025-3-29 18:29
Professionalising the Response to Rape,ccess is often misunderstood by the general public and even by many dedicated comics readers. The average fan of North American comics, for instance, probably knows that Siegel and Shuster, Jack Kirby and other writers and artists were denied—or signed away for significantly less than their value—ow作者: 憤憤不平 時(shí)間: 2025-3-29 23:30
https://doi.org/10.1007/978-1-349-23410-3degree there is interest in social issues (such as the representation of minorities) and biographical histories and works of individual artists.. In contrast, other areas, such as the economics of comics publishing, are largely neglected. Yet before the widespread introduction of the internet, publi作者: 考得 時(shí)間: 2025-3-30 02:40
International Political Economy Series parallel streams within the comics industry in Spain which are only now beginning to overlap. The worldwide shift from comics to books began in the late 1980s with the development of the graphic novel. In recent years, this trend has culminated in a surge of popularity in Spain. New works receive a作者: 帶來(lái)的感覺(jué) 時(shí)間: 2025-3-30 07:35
https://doi.org/10.1007/978-1-349-23417-2 ultimately delivers comics work (i.e. graphic narratives in a variety of formats) into the hands of readers, the ultimate consumers of the work. This network of individuals and organizations fulfills a number of vital tasks that directly influence the finished work and its viability in the marketpl作者: 不透明 時(shí)間: 2025-3-30 10:02 作者: intuition 時(shí)間: 2025-3-30 12:40
From Turtles to Topatoco: A Brief History of Comic Book Production in the Pioneer ValleyOn January 22, 2012, . published a short web article titled “Northampton, MA Scene Report.” The piece was written by Colin Panetta, a resident of the area as well as the author self-published mini-comics like Dead Man Holiday. In painting a picture of the Northampton comics scene, Panetta offered the following account:作者: 攝取 時(shí)間: 2025-3-30 18:08
https://doi.org/10.1057/978-1-137-55090-3comics; graphic novels; artistic identity; artists; comic book production; arts; Comic; culture; fine arts; h作者: mendacity 時(shí)間: 2025-3-31 00:34 作者: 凝視 時(shí)間: 2025-3-31 03:19 作者: 叫喊 時(shí)間: 2025-3-31 07:02 作者: 持久 時(shí)間: 2025-3-31 13:11 作者: thyroid-hormone 時(shí)間: 2025-3-31 14:36
For the Love of the Craft: Industry, Identity, and Australian Comicsh an emphasis on creating product as authentic artistic expression. Economically, Australian comics production could be considered a small creative industry, and culturally, it could be considered a scene. In order to understand more about the creative identity and the thought processes behind comic
