Relevant bibliographies by topics / Indian comic books

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Indian comic books'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 January 2023

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Journal articles on the topic "Indian comic books"

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Ciemniewski, Marcin. "Indian spooks: What Indian Comic Books Readers Are Afraid of." Politeja 16, no. 2(59) (2019): 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.

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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of
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Dr. Shamsudheen MK. "Recasting Dalit Experience through Graphic Biography: A Critical Analysis of Bhimayana: Experiences of Untouchability." Creative Launcher 7, no. 5 (2022): 31–36. http://dx.doi.org/10.53032/tcl.2022.7.5.03.

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This paper provides a critical analysis of Bhimayana: Experiences of Untouchability, a graphic biography on the experiences of caste discrimination and resistance that Dr Bhimrao Ambedkar recorded in his autobiographical illustrations, and CNN hailed this book as being among the top five political comic books. Unlike other biographies, which often address those enthusiastic about Dr Ambedkar and his anti-cast struggle. The Bhimayana Provides critical insight into the negligence and caste-ridden mind of the Indian psyche towards the architect of the Indian constitution. This graphic biography a
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McLain, Karline. "Who Shot the Mahatma? Representing Gandhian Politics in Indian Comic Books." South Asia Research 27, no. 1 (2007): 57–77. http://dx.doi.org/10.1177/026272800602700104.

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Kempna-Pieniążek, Magdalena. "Terytorium rezu. Symbolika oraz kulturowe konteksty krajobrazu indiańskiego rezerwatu we współczesnym północnoamerykańskim kinie i komiksie." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 9, no. 4 (2018): 30–38. http://dx.doi.org/10.24917/20837275.9.4.3.

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DOI 10.24917/20837275.9.4.3Ubogie domostwa, rozsiane po pustkowiu przyczepy zamieszkane przez zdegenerowanych ludzi, pokryte kurzem drogi, po których poruszają się zdezelowane samochody – pejzaż indiańskiego rezerwatu we współczesnej kulturze audiowizualnej naznaczony jest świadectwami upadku. Równocześnie jednak przestrzeń, w której tak wyraziście manifestują się liczne problemy społeczne, na czele z alkoholizmem oraz bezrobociem, stanowi część dyskursów dotyczących marginalizacji, nietolerancji, alienacji i społecznej stygmatyzacji. Filmowy i komiksowy pejzaż „rezu” stanowi krzywe zwierciadł
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Kaur, Raminder, and Saif Eqbal. "Gendering Graphics in Indian Superhero Comic Books and Some Notes for Provincializing Cultural Studies." Communication and Critical/Cultural Studies 12, no. 4 (2015): 367–96. http://dx.doi.org/10.1080/14791420.2015.1070956.

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Scott, J. Barton. "Comic Book Karma." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 2 (2010): 177–98. http://dx.doi.org/10.1558/post.v4i2.177.

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Virgin Comics, a transnational corporation with offices in India and the U.S., has tried to put its chosen medium—the comic book— to novel use. In 2006, Virgin (now Liquid Comics) began marketing titles that remobilize Hindu mythology for the global entertainment market. Paying particular attention to the series Devi (2006-), this article situates Virgin’s comics within several discursive and institutional conjunctures. First, I trace how Virgin’s chief “visionaries” sought to “modernize” the Indian comic. By bringing the vocabularies of Nehruvian developmentalism to bear on this popular cultu
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Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 1 (2021): 313–24. http://dx.doi.org/10.1386/ffc_00027_7.

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Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses t
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Guha Thakurta, Anirban. "THE GAME THAT DAY WAS A TIGER1: IMPLICATIONS OF TIGER-HUNTING EPISODES IN SELECT AMAR CHITRA KATHA GRAPHIC HISTORICAL BIOGRAPHIES2 CONCERNING INDIAN RULERS." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (2022): 515–25. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.130.

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Amar Chitra Katha, being comics and described by its makers as a route to Indian roots, has replaced the stereotypical western comic book superheroes by narrating and celebrating native heroes fetched from Indian history, mythology, legends and folk culture satisfying the needs of comic-book adventurism as well as an education achieved through entertainment. The Amar Chitra Katha ‘heroic’ graphic historical biographies were not merely intended to be a source of historical knowledge about India but also an inspiration to emulate the ideals of such heroes of native history. The present paper is
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Jyoti. "Image, Text and Malaria: Creative Production of a Comic Book." Society and Culture in South Asia 4, no. 1 (2017): 64–93. http://dx.doi.org/10.1177/2393861717730940.

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The comics medium is a powerful tool for communication. It employs the language of both text and images. The placement, interrelationship and transition of panels, speech balloons, gutters, lines, script and picture plane are some of the elements that evoke a sense of time and place in comics. The success of comics as an effective medium depends on experiences common to both the creator and audience. In the light of this understanding of the language of comics, and theorisation regarding the ‘production’ of culture, this article analyses the creation procedure of a comic book made to communica
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Pirzada, Tehmina. "“Let Us Be Giants”." Boyhood Studies 14, no. 1 (2021): 25–44. http://dx.doi.org/10.3167/bhs.2020.140103.

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Since 2003, a budding collection of English-language war comics dealing with military conflicts between India and Pakistan have become part of the comic book repertoire in both countries. This article focuses on two such comics, Siachen (2012) and Haider (2015). Drawing upon Raewyn Connell’s theorization of hegemonic masculinity, the article analyzes how the masculine role models depicted in Haider and Siachen vehemently deny the horrific emotional and physical costs of warfare. By examining hegemonic masculinity in the comics through masculinity nostalgia, and through close reading of the cha
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Dissertations / Theses on the topic "Indian comic books"

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Barth, Norbert Victor. "India Book House und die Comic-Serie Amar Chitra Katha (1970-2002) : Eine kulturwissenschaftliche Medienanalyse." Doctoral thesis, kostenfrei, 2007. http://www.opus-bayern.de/uni-wuerzburg/volltexte/2008/2789/.

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Bekhouche, Alicia. "A la conquête du Graal ? : Réécritures et avatars du mythe du Graal dans la littérature populaire et la culture de masse contemporaines." Phd thesis, Université de Haute Alsace - Mulhouse, 2011. http://tel.archives-ouvertes.fr/tel-00704520.

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De nos jours, les avatars et les réécritures du mythe du Graal puisent leur source d'inspiration dans la Littérature puisque la première mention littéraire de ce schème apparaît à la fin du XIIeme siècle dans Perceval ou le conte du Graal de Chrétien de Troyes. De par des origines ambivalentes (païennes et chrétiennes), le Graal s'est ancré dans l'imaginaire collectif comme un mythe rédempteur ou tout du moins, étant un idéal à atteindre. Si la quête médiévale chevaleresque demande une rigueur incomparable et une pureté d'âme et de corps pour mériter la révélation des mystères du Saint Calice
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Kumar, Vinod. "Les représentations des « Indes » coloniales dans la bande dessinée contemporaine d’Europe francophone." Thesis, Rennes 2, 2020. http://www.theses.fr/2020REN20024.

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Le thème des Indes n’est pas une nouveauté dans la littérature française. Plusieurs œuvres se sont servies des Indes comme cadre de leur écriture, notamment, Le Tour du Monde en 80 jours de Jules Verne, et Un barbare en Asie d’Henri Michaux. Dans la littérature du XXe siècle les représentations changent dans la mesure où l’imaginaire a été remplacé en partie par une vision réelle mais cela ne donne pas lieu pour autant à une description réaliste. L’imaginaire français lié aux Indes au cours du XIXe siècle et du XXe siècle a été étudié par divers travaux de Catherine Weinberger-Thomas, et Jacki
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McLain, Karline Marie Leoshko Janice Selby Martha Ann. "Whose immortal picture stories? Amar Chitra Katha and the construction of Indian identities /." 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1631/mclaind33750.pdf.

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McLain, Karline Marie. "Whose immortal picture stories?: Amar Chitra Katha and the construction of Indian identities." Thesis, 2005. http://hdl.handle.net/2152/1631.

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Barth, Norbert Victor [Verfasser]. "India Book House und die Comic-Serie Amar Chitra Katha (1970 - 2002) : eine kulturwissenschaftliche Medienanalyse / vorgelegt von Norbert Victor Barth." 2008. http://d-nb.info/989452212/34.

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Books on the topic "Indian comic books"

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Great Indian emperors. Amar Chitra Katha Pvt Ltd., 2009.

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M, Guéra R., Loughridge Lee, and Balsman Phil, eds. Indian country. [Titan], 2007.

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Pai, Anant, ed. Valmiki's Ramayana: The Great Indian Epic. Amar Chitra Katha, 2010.

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The matchless wits. Amar Chitra Katha Pvt Ltd., 2010.

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Tales from the Panchatantra. Amar Chitra Katha Pvt Ltd., 2009.

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Max Mueller Bhavan (New Delhi, India), ed. Drawing the line: Indian women fight back. Zubaan in partnership with Goethe Institut, Max Mueller Bhavan, New Delhi, 2015.

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M, Guéra R., Loughridge Lee, and Balsman Phil, eds. Scalped. DC Comics, 2007.

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Aaron, Jason. Scalped deluxe edition. DC Comics/Vertigo, 2015.

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Paul, Leon John, Guéra R. M, Furnó Davide, and Wands Steve, eds. Scalped: Dead mothers. DC Comics, 2008.

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Francesco, Francavilla, Furnó Davide, and Guéra R. M, eds. Scalped: High lonesome. DC Comics, 2012.

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Book chapters on the topic "Indian comic books"

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Dey, Subir, and Prasad Bokil. "Sound Symbolism in India Comic Books." In ICoRD’15 – Research into Design Across Boundaries Volume 1. Springer India, 2014. http://dx.doi.org/10.1007/978-81-322-2232-3_21.

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Barbour, Chad A. "From the Nineteenth to the Twentieth Century." In From Daniel Boone to Captain America. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806840.003.0004.

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Chapter three follows the lineage of frontier and Western fantasies from the nineteenth century to the twentieth via the comic book adaptations of novels like The Last of the Mohicans and comic depictions of frontier figures like Boone and Girty. Following in the line of late-nineteenth century dime novels and early twentieth century film, comic books inherited many of the tropes and conventions of the Western and frontier genres, including those of the white Indian and playing Indian. Multiple adaptations of The Last of the Mohicans, from the 1940s to the 2000s, testify to that story's persistent appeal. In the 1950s, a flurry of Boone comics demonstrates his popularity as an American hero while engaging in many of the themes and cultural implications that are essential to this book's focus.
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Barbour, Chad A. "When Superheroes Play Indian." In From Daniel Boone to Captain America. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806840.003.0006.

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Chapter five continues the discussion of playing Indian in comic books, with the focus on superheroes in particular. In the late 1940s and early 1950s, Plastic Man, Captain Marvel, Superman, and Batman play Indian. This chapter then examines Green Arrow’s Indian masquerade and its interaction with the social consciousness of Dennis O'Neil's Green Lantern. This chapter then considers Captain America as Indian and the repercussions of playing Indian for his role as national superhero and representative of U.S. identity. In Neil Gaiman’s 1602 (2003-04) and Tony Bedard’s one-shot story, What If? Featuring Captain America (2006), these reimagined visions of the Captain America mythos appropriate and perform Indianness in order to possess virile masculinity and physical strength. Furthermore, this appropriation of Indianness to produce heroic masculinity accompanies the comics’ conventions of superheroism. The white superhero as Indian encapsulates the major themes of this study and provides a fitting resolution for this book.
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Barbour, Chad A. "“White Blood Turns Red”." In From Daniel Boone to Captain America. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806840.003.0005.

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Chapter four engages more directly with playing Indian in comic books, examining a host of titles in the 1940s and 1950s and afterwards that feature a white hero adopted by Indians or appropriating Indian ways. This depiction implements specific recurring characteristics: adoption by Indians, the white hero with Indian clothing or weapons, Indianness as strength and valor, the Indianized hero as upholder of justice on the frontier, and, in some cases, echoes of superhero conventions in a secret identity or sidekick. These stories not only engage in the frontier lineage discussed in previous chapters but also potentially reveal cultural values of the United States in the post-war years, especially concerning the construction and performance of gender, representations of nationalism and loyalty, and the construction of race and difference.
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Molotiu, Andrei. "Permanent Ink: Comic Book and Comic Strip Art as Aesthetic Object." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0005.

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Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, explores the formal characteristics of comic art and the fragmentation caused by showing framed pages that were originally created for publication and separated from their indigenous context, wondering if this separation is ultimately an act of creativity or an act of violence. This chapter explains white-out, margin notations, and how the eye is drawn to different things in an image when it’s isolated on the wall. In this 2006 essay, he focuses on the art of Jack Kirby, Ivan Brunetti’s Schizo 4, Metamorpho, Joe Palooka, Archie, Josie, Tom and Jerry, and "Sooper Hippie.” In this 2018 update to his 2006 essay, Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, returns to his analysis of the formal characteristics of original comic art as seen in exhibitions, exhibit catalogs, and high-end artist’s editions that faithfully reproduce full size comics originals, such as the IDW Artist’s edition of David Mazzucchelli’s and Frank Miller’s Daredevil: Born Again (images). Molotiu briefly discusses the proliferation of comic art exhibits and contrasts the experience of reading a full issue of Jack Kirby’s Kamandi on the wall at the Comic Book Apocalypse show at CSU Northridge and in print in an artist’s edition.
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McLain, Karline. "Many Comic Book Ramayanas." In Comics and Sacred Texts. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819215.003.0005.

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This chapter focuses on the multivocal nature of the Ramayana epic in Indian graphic narratives from the 1970s to the present. There are two dominant narrative trends that arise in these graphic retellings. The first trend is to uphold Rama as the ideal god-king by presenting Rama as the clear hero of the epic story both textually and visually. The second trend is to critique Rama as the ideal god-king by focusing the textual and visual narrative on other protagonists within the epic storyline, and thereby engage in a critical examination of Rama through feminist and/or subaltern perspectives. This essay sheds light on the contested interpretation of the god Rama within contemporary Hinduism and South Asian culture more broadly. These comics that idealize Rama and those that question his idealism, when taken together, are valuable for their ongoing contributions to the multivocal nature of the Ramayana story.
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DESHAYE, JOEL. "Canada’s Triumph Comics and David Garneau’s Métis Response to the “Indian” of the Comic Book Western." In The Comic Book Western. Nebraska, 2022. http://dx.doi.org/10.2307/j.ctv2fccsxd.13.

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Chatterji, Roma. "From comic book to folk performance." In Graphic Narratives and the Mythological Imagination in India. Routledge India, 2019. http://dx.doi.org/10.4324/9780429295928-3.

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Wieskamp, Valerie. "Learning to “Speak without Shame”." In The Comics World. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834645.003.0008.

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Though sexual violence is often cloaked in silence, the “Delhi bus rape” that led to the death of 23-year-old medical student Jyoti Singh Pandey in 2012 incited an abundance of public discourse. One response was Priya’s Shakti, a comic created by Indian American documentarian Ram Devineni and a transnational team of producers and gender-based violence experts to expose and address gender discrimination and violence. Through a rhetorical analysis of Priya’s Shakti, contributor Valerie Wieskamp argues that the comic book models important feminist and postcolonial interventions in rape culture. Even as the international public depicts sexual violence as a consequence of Indian culture, the comic reverses the neocolonial tendency to privilege Western-centered responses by showcasing elements of Indian heritage as a solution to rape culture. Further, Priya’s Shakti begins to address publics excluded from international and Indian discourses by representing rural, lower class, and disadvantaged women.
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Burlingame, Jon. "“Your mission, should you decide to accept it”Action-Adventure." In Music for Prime Time. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0008.

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Abstract Action-adventure shows boasted some of the most compelling and memorable music in TV history. Spy shows alone counted for some of these: The Man from U.N.C.L.E.; Grammy-winning Mission: Impossible; Emmy-winning I Spy; Secret Agent (the first popular rock ’n’ roll TV theme); and more. Country came to TV via The Dukes of Hazzard, and a host of superhero shows starting with Batman and Wonder Woman take a more lighthearted approach to the derring-do, although the comic-book shows of the twenty-first-century CW network take a more serious tone. George Lucas’s Young Indiana Jones Chronicles wins four Emmys for music, while Michael Giacchino earns his first taste of fame with Alias and music for 24 takes a more mechanical, electronic tone.
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Conference papers on the topic "Indian comic books"

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Yamada, Takaaki, Ryu Ebisawa, and Yoshiyasu Takahashi. "Maintaining image quality when watermarking grayscale comic images for electronic books." In 2011 9th IEEE International Conference on Industrial Informatics (INDIN). IEEE, 2011. http://dx.doi.org/10.1109/indin.2011.6034896.

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