Academic literature on the topic 'Underground comic books'
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Journal articles on the topic "Underground comic books"
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Arffman, Päivi. "Comics from the Underground: Publishing Revolutionary Comic Books in the 1960s and Early 1970s." Journal of Popular Culture 52, no. 1 (February 2019): 169–98. http://dx.doi.org/10.1111/jpcu.12763.
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López-Mato, Pablo, and Miguel Abad-Vila. "American Splendor (2003) De Shari Springer Berman y Robert Pulcini: Un superhéroe undergound con cáncer." Revista de Medicina y Cine 19, no. 2 (June 15, 2023): 135–44. http://dx.doi.org/10.14201/rmc.31276.
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Durante la década de los 60, la auténtica cuna del cómic underground estaba en los Estados Unidos. Estas publicaciones surgieron al margen de las grandes potencias de la edición, impresión y distribución de la época, concentrándose en los temas preferidos por la contracultura: política, jazz, música rock, uso recreativo de las drogas y sexo. Se desarrollaron al margen de las tiras cómicas de los diarios más populares, los cuadernos, las revistas y los comic books que presentaban las caricaturas y las aventuras de personajes románticos, bélicos y policiacos. Pero también las de los superhéroes fantásticos favoritos del público, como Superman, materializadas por primera vez en 1938 gracias a la maestría de Joe Shuster y Jerry Siegel. En San Francisco, a comienzos de 1968, Zap Comix editó el primer comic book underground completo del dibujante Robert Crumb, emblemático pionero de estas publicaciones. Precisamente en el otoño de 1962, un mercadillo de discos de jazz de segunda mano en Cleveland propició el primer encuentro entre Robert Crumb, a la sazón un modesto dibujante de postales, y Harvey Pekar, un anodino individuo desaliñado y fracasado, que acabaría trabajando hasta su jubilación como archivero en un hospital de veteranos del gobierno federal. Así se gestó American Splendor, la autobiografía de Harvey Pekar, poética catarsis personal que sería ilustrada por algunos de los autores más representativos del cómic underground, como el propio Robert Crumb, Gary Dumm, Joe Sacco, Frank Stack y Joe Zabel. En 1987, la primera recopilación de American Splendor ganó el American Book Award. En 1994, la novela gráfica Our Cancer Year, la experiencia del cáncer padecida por Harvey Pekar en primera persona, fue escrita en colaboración con su esposa Joyce Brabner, siendo galardonada con el prestigioso premio Harvey de la industria estadounidense del cómic. Todas estas peripecias han sido llevadas a la pantalla cinematográfica en el docudrama American Splendor (2003) de Shari Springer Berman y Robert Pulcini.
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Nargis, Jason, and Benn Joseph. "“From the Heroic to the Depraved”: Mainstream and underground comic books at Northwestern University Library." College & Research Libraries News 73, no. 5 (May 1, 2012): 261–64. http://dx.doi.org/10.5860/crln.73.5.8760.
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Hudoshnyk, O. "Documentary comics in modern scientific discourse and Ukrainian comics space." Communications and Communicative Technologies, no. 19 (May 5, 2019): 32–40. http://dx.doi.org/10.15421/291905.
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The characteristics of documentary comics in modern multidisciplinary scientific space is presented, the methods of nonlinear historiography (narrative, oral history, commemoration) and post-documentalism are presented. The scientific discourse focuses on the types of interpretation of reality in comics, the hybridity of genre and style features, the types and forms of empathic involvement of the reader, the compositional specifics of graphic journalism. Scientists’ particular attention is focused on the forms of representation of the “lost history and the history of the lost” (N. Chute), on the means of expanding the space of human memory and historical narrative. The modern direction of scientific research, where documentary comics act as a kind of memory archiver in the form of a visual narrative (N. Mickwitz), as an effective means of understanding and experiencing the historical trauma, brings comics’ studies into the space of global commemorative and historical perspective research. In its own working definition of the genre, narrative, temporal deferment, and veracity of subjective evaluation are actualized. Using the formation example of the Ukrainian comic-space, the principles of accelerated and almost simultaneous deployment of the heroic and documentary narratives are characterized, the features of documentalism in the comic “Will”, the graphic novel “Hole” by S. Zakharov are analyzed. Documentary storytelling in the format of comic journalism is investigated on the basis of the collection “Shadows of forgotten ancestors. Graphic stories”, multiplatform (dos-a-dos format book, comic book, audio performance on YuoTube) hybrid presentation of thematic narrative is illustrated within the “Underground Sky” publication.
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Bratchikova, Nadezhda S. "Onomatopoeias in a graphic novel and the ways of their rendering from Finnish into Russian (on the material of comics “Kalevala” by S. Makkonen)." Finno-Ugric World 14, no. 2 (July 8, 2022): 147–59. http://dx.doi.org/10.15507/2076-2577.014.2022.02.147-159.
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Introduction. The article discusses the features of onomatopoeia and alliteration in the genre of graphic novel on the example of the work on the translation of the comics “Kalevala”. The author analyzes the phonostylistic techniques of the graphic novel “Kalevala” by S. Makkonen, studies the potential of onomatopoeic complexes, analyses the emotional components of onomatopoeia and their role in creating the perlocutionary effect of the comic. Materials and Methods. Research material includes onomatopoeia, which autonomously formalize speech acts of comic book characters, as well as alliteration. The focus is on the pragmatic potential of onomatopoeia, which is revealed in combination with a verbal component and illustrative material. The analysis of empirical material is carried out based on the methods of linguistic description of qualitative, quantitative, and functional-semantic characteristics of the actual material. Results and Discussion. Onomatopoeia in comics participates in the formation of speech acts. The most numerous groups of onomatopoeia in the novel by S. Makkonen are represented by onomatopoeic combinations that convey the state of nature and the emotions of the characters. Their choice is motivated by the of the author to describe the underground, hostile to man world of Pohjola. Inarticulate sounds of nature are transmitted by means of human language with a certain system and traditions of visual means. Studies have shown that in onomatopoetic words there is a distant connection between sound and meaning. Sounds are semanticized and given meaning in a specific context. Conclusion. In the Finnish language, onomatopoeia complexes remain a relatively little-studied topic, which indicates the prospects and relevance of works devoted to phonosemantics and onomatopoeic words.
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Chute, Hillary. "Drawing Is a Way of Thinking." Publications of the Modern Language Association of America 134, no. 3 (May 2019): 629–37. http://dx.doi.org/10.1632/pmla.2019.134.3.629.
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I'm gratified that the most widely circulated journal in literary studies has solicited the skill and attention of nine such erudite interlocutors, including both critics and creators, to formally respond to my book Why Comics? From Underground to Everywhere. It's also a bit of a surprise, albeit a pleasing one, since Why Comics? is my first single-authored book not aimed at the readership of PMLA.
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Emanuel, Sarah. "Letting judges breathe: Queer survivance in the book of Judges and Gad Beck’s An Underground Life: Memoirs of a Gay Jew in Nazi Berlin." Journal for the Study of the Old Testament 44, no. 3 (December 27, 2019): 394–419. http://dx.doi.org/10.1177/0309089219862812.
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Scholars typically describe the book of Judges as encompassing a cyclical transgress–suffer–prosper–transgress–again trope. Although Israelite peace and autonomy are maintained at various moments throughout the text, hardship inevitably ensues, leading exegetes to focus on the Israelites’ repeated demise as opposed to their continual triumphs. As David Gunn notes, ‘reward and punishment is often viewed as the book’s dominant theme’. Or, in the words of Danna Nolan Fewell, the stories within Judges are frequently read as a collective ‘downward spiral for Israel and its leaders’. I question, however, whether such thematic analysis might prove insufficient when engaging a hermeneutic of trauma and survival—or queer survivance, as we will see. Interestingly, of the 400-year period covered in the book of Judges, only 111 of them are spent in subjugation. Nearly three-fourths of the time period covered by the book, in other words, recounts times of judgeship and autonomy. Might this story be less about cultural transgression and more about the creative ways in which the Israelites managed to endure? In this article, I will provide an intertextual comparison of the Judges cycle with the memoir of Holocaust survivor, Gad Beck. In doing so, I will suggest that Judges offers us a literary representation of an ancient culture’s fight to persist. Rather than guide readers through the entirety of the Judges narrative, however, I will focus on Judges 3 and 4, as the stories of and events surrounding Ehud and Jael offer a more concentrated instance of the aforementioned cyclical trope. From a stance of hetero-suspicion and with a theoretical view to intertextuality and queer survivance, I will argue that, like Beck, Ehud and Jael subvert oppressive power structures through gender-bending performances and the embodiment of ambivalent, and even comedic, identity markers. Taking such similarities into consideration, I will then suggest that Ehud’s and Jael’s queer-comic consciousness becomes another thematic trope within the book of Judges as a whole. Yet instead of focusing on the repetition of the Israelites’ self-fulfilling demise, this trope spotlights the creative ways in which the Judges narrative becomes one of survival and reflects an ancient culture’s will to resist, persist, and indeed, live.
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Kiser, Barbara. "The shadow side of sport, cosmic cataclysms, and human culture underground: Books in brief." Nature 566, no. 7743 (February 2019): 179. http://dx.doi.org/10.1038/d41586-019-00520-3.
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Portela Lopa, Antonio. "El mito underground: Fernando Márquez y la novela de la Movida." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 23 (December 13, 2014): 387. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201523863.
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La novela Mary Ann (1985), de Fernando Márquez, es un caso representativo de literatura nacida en el seno del movimiento cultural de La Movida, que encuentra acomodo en el marco general de la Postmodernidad. Se plantea como una creación híbrida en lo genérico y ecléctica en los referentes culturales (literatura, cine, cómic, política). Escrita con una clara voluntad transgresora y provocativa, es heredera de las actitudes punk musicales, al mismo tiempo que reserva un espacio para el mito como ámbito de lo sagrado. Es el caso de Greta Garbo, figura que recorre la totalidad del libro y que inspira una particular reflexión en torno al concepto social de la belleza. El presente artículo desgrana las múltiples referencias musicales y culturales que vertebran esta obra, y se adentra en el singular significado que Márquez imprime al mito. Fernando Márquez's novel Mary Ann (1985) is a representative case of the literature born within the cultural movement of La Movida, which is accommodated within the overall framework of Postmodernism. It is proposed as a generic hybrid creation and eclectic in the cultural references (literature, cinema, comics, politics). Written with a clear transgressive and provocative will, it inherits the musical punk attitudes, while reserves a space for myth as sacred field. This is the case of Greta Garbo, figure that goes over the entire book and inspires a particular reflection on the social concept of beauty. This article spells out the many musical and cultural references that underpin this work, and explores the singular meaning that Marquez impress to myth.
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McNally, James G. "Conjured from Fragments: KMD's Mr. Hood and the Transformative Poetics of the Golden Age Rap Album." Journal of the Society for American Music 15, no. 4 (November 2021): 400–423. http://dx.doi.org/10.1017/s1752196321000298.
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AbstractBetween 1988 and 1991, the rap album took flight. Under the dual impetus of innovations in sampling, and of the album form itself, an explosion of youthful creativity ensured the rap album, mined for more self-consciously artistic potential, emerged as a multi-layered artform that revealed a similarly multi-layered Black genius. For innovators like the Bomb Squad (Public Enemy, Ice Cube, Son of Bazerk), Prince Paul (De La Soul) and others, the rap album was now often “more” than just a rap album. It could at once take on the characteristics of a radio show, a simulated game show, a talking comic book, a picaresque novel, an Afrofuturist vaudeville, or a visit to the movies—and, through any of these, invoke a multitude of stories and critiques from marginalized young Black perspectives.Drawing on a variety of ideas from Black American cultural studies, particularly those focused on creative transformation as a form of transcendence, this article analyzes the multi-layered creativity of one of this period's most unsung, yet ultimately important albums: KMD's showpiece of sampling transformation and satiric narrative wit, Mr. Hood. Best known as the album that initiated the career of the MC/producer later known as MF DOOM (arguably the most revered figure in underground rap post-1999), it also initiated his surreal approach to sampling non-musical material from sources in popular culture and envisagement of rap as a kind of modern-day folklore. Attempting to find a new way of working across the layers of the rap album—the magical interplay of mood, beat, references, verbal samples, storytelling, etc.—the article argues that such sample-based flights of the imagination represent a continuation of the Afro-magical tradition Theophus Smith calls Conjuring Culture.
Dissertations / Theses on the topic "Underground comic books"
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Breytenbach, Jesse-Ann. "A critical analysis of South African underground comics." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002192.
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In a critical analysis of several independantly produced South African comics of the 1980s and early 1990s, close analysis of the comics leads to an assessment of the artists'intentions and purposes. Discussion of the artists' sources focuses on definitions of different types of comics. What is defined as a comic is usually what has been produced under that definition, and these comics are positioned somewhere between the popular and fine art contexts. As the artists are amateurs, the mechanical structure of comics is exposed through their skill in manipulating, and their initial ignorance of, many comic conventions. By comparison to one another, and to the standard format of commercial comics, some explanation of how a comic works can be reached. The element of closure, bridging the gaps between frames, is unique to comics, and is the most important consideration. Comic artists work with the intangible, creating from static elements an illusion of motion. If the artist deals primarily with what is on the page rather than what is not, the comic remains static. Questions of quality are reliant on the skill with which closure is implemented. The art students who produced these comics are of a generation for whom popular culture is the dominant culture, and they create for an audience of peers. Their cultural milieu is more visual than verbal, and often more media oriented than that of their teachers. They must integrate a fine art training and understanding into the preset rules of a commercial medium. Confronted with the problem of a separation of languages, they evolve a new dialect. Through comparative and critical analyses I will show how this dialect differs from the language of conventional comics, attempting in particular to explain how the mechanics of the cornie medium can limit or expand its communicative potential.
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Van, Staden Leonora. "Bitterkomix en Stripshow : pornografie en satire in Afrikaanse ondergrondse strippe." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1330.
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Campbell, Maria E. "Inking Over the Glass Ceiling: The Marginalization of Female Creators and Consumers in Comics." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437938036.
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Rheeder, A. O. I. "Bitterkomix : teks, konteks, interteks, en die literere strokies van Conrad Botes en Anton Kannemeyer." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/930.
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Thesis (M.Phil) -- University of Stellenbosch, 2000230 leaves printed single pages,numbered pages 1-230.Includes bibliography.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner.
ENGLISH ABSTRACT: Anton Kannemeyer and Conrad Botes have been publishing Bitterkomix,, their comics magazine, for nearly a decade in South Africa. These comics are a structured satyrical attack on the South African and specifically Afrikaans culture. Both artists employ different narrative strategies to convey their sometimes shocking message. The reaction on their writing and drawing shows an unwillingness in certain academic circles to analyse their texts critically. As a result Bitterkomix has drawn very little academic attention. This unwillingness is a product of the modernist approach to the comic as "low" literature. Modernists didn't regard comics as worthy material for critical analyses. The literary paradigm shift towards popular culture, and therefore comics, and the pluralistic reading strategy ofpostmodemism make it possible for an academic approach towards this previously ill-treated art form. This thesis is an attempt to suggest an approach strategy to Bitterkomix as a South African underground comics magazine. As a backdrop the study looks at the development of comics in general, as well as the changes that took place in the traditional approach strategies to the modem comic. It also focusses on selected texts by Kannemeyer and Botes to demonstrate how Bitterlwmix functions as an underground comic in the changing South African society. The writers draw upon methods and strategies used by underground comix artists in the United States during the sixties. Their specific employment of the drawing styles and narrative contents of artists like Robert Crumb, S. Clay Wilson and also the Belgian artist, Herge, makes intertextuality one of the strongest postmodemist aspects of Bitterlwmix. Botes's and Kannemeyer's combined use of intertextuality and other postmodemist metafictional narrative strategies gives Bitterlwmix a literary value that requires an academic approach.
AFRIKAANSE OPSOMMING: Anton Kannemeyer en Conrad Botes se strokiestydskrif Bitterkomix verskyn reeds bykans 'n dekade in Suid-Afrika. Hulle strokies, wat van 'n akademiese en literere uitgangspunt getuig, is 'n berekende satiriese aanval op die Suid-Afrikaanse samelewing en meer spesifiek die Afrikanerdom. Beide skrywers span 'n verskeidenheid vertelstrategiee in om hulle somtyds skokkende boodskap oor te dra. Die reaksie op hulle skryf- en tekenwerk spreek egter van 'n onvermoe ofonwilligheid by die akademici om die tekste op kritiese wyse te analiseer. Gevolglik het Bilterkomix tot dusver min akademiese aandag gekry. Hierdie onvermoe stam myns insiens moontlik uit 'n modemistiese miskenning van die strokie as kunsvorm. Strokies is as "lae" literatuur gekategoriseer en is volgens modemiste dus nie geskikte materiaal vir 'n diepsinnige bespreking me. Die literere paradigma ten opsigte van populere kultuur en dus strokies het egter intussen verander en die pluralistiese leesstrategie van 'n postrnodemistiese benadering maak dit moontlik om akademiese aandag aan hierdie voorheen miskende kunsvorm te skenk. Die tesis is 'n poging om 'n benaderingswyse voor te stel tot Bitterkomix as Suid-Afrikaanse underground-strokiestydskrif. As agtergrondstudie ondersoek dit die ontstaan en ontwikkeling van die strokie in die algemeen, asook die veranderinge wat plaasgevind het in die tradisionele benaderingswyses tot die modeme strokie. Daama fokus die bespreking op geselekteerde tekste uit die oeuvres van Botes en Kannemeyer om te probeer aantoon hoe Bitterkomix as underground-strokie binne die veranderende Suid-Afrikaanse samelewing funksioneer. Die skrywers gebruik onder andere uitgangspunte en strategiee van die underground-strokie, soos dit veral in die sestigerjare in Arnerika gevind is. Hulle doelbewuste inspeling op beide die tekenstyle en verhaalinhoude van skrywers soos Robert Crumb, S. Clay Wilson asook die Belgiese Herge maak intertekstualiteit een van die sterkste postmodemistiese kenmerke van Bitterkomix. Botes en Kannemeyer se gebruik van intertekstualiteit, metafiksionaliteit, en ander postrnodemistiese vertelstrategiee verleen aan Bitterkomix 'n literere kwaliteit wat om 'n akademiese benaderingswyse vra.
Instituut vir Navorsingsontwikkeling van die Raad vir Geesteswetenskaplike Navorsing
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Dycus, Dallas. "Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/47.
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The genre of comics has had a tumultuous career throughout the twentieth century: it has careened from wildly popular to being perceived as the source of society’s ills. Despite having been relegated to the lowest rung of the artistic ladder for the better part of the twentieth century, comics has been gaining in quality and respectability over the last couple of decades. My introductory chapter provides a broad, basic introduction to the genre of comics––its historical development, its different forms, and a survey of comics criticism over the last thirty years. In chapter two I clarify the nature of comics by comparing it to literature, film, and pictorial art, thereby highlighting its hybrid nature. It has elements in common with all of these, and yet it is a distinct genre. My primary focus is on Chris Ware, whom I introduce in chapter three, a brilliant creator who has garnered widespread recognition and respect. His magnum opus is Jimmy Corrigan: The Smartest Kid on Earth, the story of four generations of Corrigan men, most of whom have been negligent in raising their children. Jimmy Corrigan, as a result, is an introverted, insecure thirty–something–year–old man. Among comics creators Ware is unusual in that his story does not address socio–political issues, like most of his peers, which I discuss in chapter four. Jimmy Corrigan is an isolated tale with a very specific focus. Ware’s narrative is somewhat like those of William Faulkner, whose stories have a narrow focus, revolving around the lives of the inhabitants of Yoknapatawpha county, rather than encompassing the vast landscape of national socio–political concerns. Also, in chapter five I explore the intriguing combination of realist and Gothic elements––normally at opposite ends of the generic continuum––that Ware merges in Jimmy Corrigan. This feature is especially interesting because it is another way that his work explores aspects of hybridity. Finally, in my conclusion I examine the current state of comics in American culture and its future prospects for development and success, as well as the potential for future comics criticism.
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Paz, Liber Eugenio. "Tecnologia e cultura nos quadrinhos independentes brasileiros." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2946.
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Esse estudo busca realizar reflexões sobre os significados, sentidos, tensões e contradições relacionados ao termo “independente” e sua contraparte, o termo “mainstream”, ligados ao processo de desenvolvimento das histórias em quadrinhos enquanto formação cultural. Essas reflexões são orientadas pelo conjunto de ideias de Raymond Williams, especialmente os conceitos de tecnologia, hegemonia e culturas alternativas, opositoras, residuais e emergentes. O trabalho está estruturado em cinco momentos. Primeiro as histórias em quadrinhos são abordadas como forma cultural e observamos as relações entre cultura e tecnologia no seu processo de formação. A seguir observamos particularidades desse processo dentro do contexto brasileiro. O terceiro momento apresenta os conceitos de Williams sobre culturas alternativas e antecipa a parte voltada para as intensas manifestações culturais da década de 1960 e seus desdobramentos. Finalmente, busca-se traçar uma visão geral do cenário de mudanças que se desenvolve a partir da década de 1980, enfatizando as histórias em quadrinhos publicadas no Brasil. A partir da observação do surgimento e consolidação de eventos como o Troféu HQ Mix e as feiras e bienais de quadrinhos, relacionados a novos processos de publicação e distribuição, buscamos analisar as obras e perfis de quatro autores contemporâneos de quadrinhos e compreender melhor os significados de termos como “independente”, “autoral”, “comercial”, “mainstream”, “alternativo” e outros, de uso comum nas diversas práticas das histórias em quadrinhos. Entre os resultados obtidos, notamos que: muitas das produções “independentes” contemporâneas apresentam características temáticas, estilísticas e materiais praticamente indistinguíveis das produções “mainstream”; algumas produções “mainstream” incorporam temas e propostas de culturas alternativas à hegemonia; o uso termo “independente” muitas vezes encobre as condições desfavoráveis de produção e sustento de diversos profissionais; considerando rigorosamente as culturas opositoras como um conjunto de ações de dimensão revolucionária, é difícil encontrar obras que efetivamente atendam a essa condição.This study seeks to reflect on the meanings, senses, tensions and contradictions related to the term “independent” and its counterpart, the term “mainstream”, connected to the process of development of comics as a cultural formation. These reflections are guided by Raymond William’s set of ideas, especially the concepts of technology, hegemony and alternative, oppositional, residual, and emerging cultures. We structured the work in five moments. First, we approach comics as a cultural form and observe the relations between culture and technology in its process of formation. Next, we observe particularities of this process within the Brazilian context. In a third moment, we present Williams’ concepts on alternative cultures and anticipate the part devoted to the intense cultural manifestations of the 1960s and their unfolding. Finally, we attempt to give an overview of the scenario of changes that develops from the 1980s, emphasizing the comics published in Brazil. From the observation of the emergence and consolidation of events such as the HQ Mix Trophy and the comics fairs and biennials related to new publication and distribution processes, we sought to analyze the works and profiles of four contemporary comic authors and to better understand the meanings of terms such as "independent", "authorial", "commercial", "mainstream", "alternative" and others, commonly used in various comic book practices. Among the results obtained, we noticed that: many contemporary "independent" productions present thematic, stylistic and material characteristics practically indistinguishable from "mainstream" productions; some "mainstream" productions incorporate themes and proposals of cultures that are alternatives to hegemony; the use of the term “independent” often covers the unfavorable conditions of production and livelihood of several professionals; rigorously considering the opposing cultures as a set of actions of a revolutionary dimension, it is difficult to find works that effectively meet this condition.
Books on the topic "Underground comic books"
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contributor, Stack Frank, ed. Fogel's underground price & grading guide 2015-2016: Underground comix. El Sobrante, CA: Hippy Comix Productions, 2015.
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Estren, Mark James. A history of underground comics. Berkeley, Calif: Ronin Pub., 1987.
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Estren, Mark James. A history of underground comics. London: Airlift Book Co., 1987.
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Estren, Mark James. A history of underground comics. 3rd ed. Berkeley, Calif: Ronin Publishing, 1993.
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1947-, Danky James Philip, and Chazen Museum of Art, eds. Underground classics: The transformation of comics into comix, 1960-1990. New York: Abrams, 2009.
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Kominsky, Aline. The complete dirty laundry comics. [San Francisco: Last Gasp of Echo Funnies, 1993.
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Weiner, Stephen, and Bart Beaty. Critical survey of graphic novels: Independents and underground classics. Ipswich, MA: Salem Press, 2012.
Find full textBook chapters on the topic "Underground comic books"
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Benson, Josef, and Doug Singsen. "Racial Borderlands in Alternative Comics." In Bandits, Misfits, and Superheroes, 174–96. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496838339.003.0008.
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Chapter Seven asserts that in the 1980s and 1990s a new generation of cartoonists began combining the iconoclasm of underground comix with longer narratives driven by literary ambitions. Known as alternative comics, these works advanced the artistic boundaries of comic books but had a very mixed record regarding race. Alternative comics achieved some major breakthroughs in the recognition of whiteness as a social construct and its impact on people of other races. Gilbert and Jaime Hernandez’s Love and Rockets and Chris Ware’s Jimmy Corrigan grappled seriously with the effects of whiteness, but other alternative comics perpetuated racist narratives, as in Jessica Abel’s La Perdida.
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Worden, Daniel. "Reading, Looking, Feeling." In The Comics of R. Crumb, 61–76. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833754.003.0004.
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Founded by Robert Crumb, Zap is one of the most well-known underground comix, yet comics studies scholarship has not focused as much on underground serials like Zap as it has on single-author works or superhero serials. In this chapter, Daniel Worden accounts for how Zap responded to and represented the political and social struggles of its moments, from the 1960s to 1970s counterculture to the increasing legitimacy of the comics medium in the 2000s, as well as how the series seems to matter to the history of comics, periodicals, and politics today (especially since Zap was recently reprinted in its entirety by Fantagraphics Books). A synthesis of forces have made a series like Zap newly relevant as a complicated but nonetheless “usable past,” and those forces include the interest in exploring diversity in comics history now that comics have become a legitimate object in academia and the art museum; a return to gender and racial identity as a nexus of political struggle owing to the visibility of the Black Lives Matter movement and an upsurge of misogynistic nativism in American politics; and, a continued interest in alternative comics that has been fueled by the availability of amateur digital comics publishing to a new generation of aspiring comic artists. In short Zap matters just as much as a reprinted archive as it did at the time of its initial publication. And ultimately, the series makes evident how the amateur, expressive aesthetic of many underground comix both represent political struggles as personal and structural, and serve as devices for community formation.
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Williams, Paul. "Declaration of Independents: 1973–9." In The US Graphic Novel, 106–35. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474423342.003.0005.
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Graphic novels were published with increasing frequency in the 1970s: a new system of distribution called the direct market encouraged the growth of specialist comic shops, which in turn spurred the creation of new companies targeting existing comics fans with more adult-facing versions of popular genres (Sf, fantasy, horror), so-called independent comics. Positioned between the mainstream and the underground, they were also known as ground-level comics. Graphic novels continued to be published by underground presses, Rip Off Press especially, whose range of books included revisionist histories, which were becoming a notable genre produced by underground graphic novelists. Various interlocking transformations in the US book trade made publishers more amenable to release graphic novels in the 1970s: synergies between media companies, the search for blockbuster hits, and the rise of book packagers. No book packager was more active in 1970s graphic novel publishing than Byron Preiss, and this chapter discusses Empire, written by Samuel R. Delany with painted art by Howard Chaykin, whose production history is a good case study to understand the conflicting visions of what a graphic novel should look like during this period.
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Williams, Paul. "In Search of Adult Comics Readers: 1961–72." In The US Graphic Novel, 75–106. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474423342.003.0004.
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Chapter 3 examines how, from 1961 onwards, the editor and writer Stan Lee and artists such as Jack Kirby and Steve Ditko forged a new type of superhero comic at the company Marvel. These comics were characterised by continuous narratives and fractious, self-questioning heroes. Journalists commented on Marvel’s popularity with college students and the supposed realism of their comics; by the 1970s, both Marvel and DC were publishing stories addressing racism, environmentalism, and illegal drug use, known as the ‘relevance’ movement. Sales of DC’s comic Batman benefited from the Batman television series launched in 1966, though – like the Pop Art that visually quoted from comics – there was a mixed response from comics artists and fans. The term ‘graphic novel’ was coined in 1964 by Richard Kyle, which spurred other comics fans to debate this concept further; comics creators followed these discussions and published their own graphic novels. Furthermore, this period saw the emergence of underground comix, which had close ties to the counterculture; long-form comics were produced by underground comix creators, both in periodical and book form.
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Huxley, David. "Robert Crumb and the Art of Comics." In The Comics of R. Crumb, 213–31. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833754.003.0011.
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A distinctive feature of Robert Crumb’s career has been the early, and continuing, interest in his work from art critics and the art museum. His work features in the journal Art and Artists as early as 1969, and in 1972 art critic Robert Hughes described him as “a kind of American Hogarth.” More recently Bart Beaty has pointed out that Crumb holds a unique position for a comic book artist, that “on the basis of specifically art-world prestige, Crumb is an elite cartoonist.” In this chapter, David Huxley analyzes the way in which Crumb’s drawing style developed, through his early influences from American comic strips artists such as Rube Goldberg, to a series of stylistic changes over a forty-year period. It also examines Crumb’s influence, both in terms of style and content on early underground comix and graphics, and the subsequent rise of autobiographical comics.
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Williams, Paul. "‘The Comic Book Grows Up’: 1979–91." In The US Graphic Novel, 136–66. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474423342.003.0006.
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Chapter 5 explores the 1980s, when journalists proclaimed that comics had ‘grown up’ as a result of the graphic novel form. The direct market became the dominant mode of selling comics in the mid-1980s, and independent publishers continued to publish comics that appealed to older fans, giving creators more autonomy and rights; the mainstream publishers Marvel and DC tentatively followed this template. The graphic novels that received press attention in the 1980s were usually revisionist superhero narratives, texts which played with genre expectations and offered pastiches of older comics and other media. These graphic novels chimed with the cultural movement of postmodernism, and this chapter discusses how far Give Me Liberty by writer Frank Miller and artist Dave Gibbons is an example of a postmodernist graphic novel. The 1980s graphic novel boom was not exclusively about superhero comics and the direct market also made it financially viable for small companies publishing alternative genres (autobiography, reportage, satire) to continue the experimentation of the underground. Two prominent graphic novels, Art Spiegelman’s Maus and the Harvey Pekar-scripted American Splendor, were produced by creators who either emerged out of, or were closely tied to, underground comix.
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Benson, Josef, and Doug Singsen. "Robert Crumb’S Cathartic Racism." In Bandits, Misfits, and Superheroes, 127–51. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496838339.003.0006.
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Chapter Five points out that in the 1960s Robert Crumb, the most prominent figure of the Underground Comix movement, became infamous and controversial for creating overtly racist comic book characters like Angelfood McSpade. Crumb’s unapologetic attitude for these characters stems from his belief that he was simply offering an accurate portrayal of the white unconscious. However, he seemingly failed to understand the effects of these racist caricatures as well as his own role in the advancement of white supremacy.
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Yoe, Craig. "Sequential Titillation: Comics Stripped at the Museum of Sex, New York." In Comic Art in Museums, 207–10. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0023.
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This chapter includes a 2018 commentary about Comics Stripped (2011) at the Museum of Sex in New York curated by publisher/collector Craig Yoe and Sarah Forbes. Covering the decades between the Great Depression to the present, the exhibit featured art by Joe Shuster, R. Crumb, Wally Wood, Jack Cole, Tom Finland, and many others. Topics included Tijuana Bibles (“The People’s Pornography”), 1950’s men’s magazines, censorship crusades, the underground comix revolution, fetish art by Joe Shuster (as featured in Yoe’s book Secret Identity: The Fetish Art of Superman’s Co-Creator Joe Shuster) and Eric Stanton, cartoon porn, same sex comics, and international comics. This chapter includes commentary by curator, collector, and publisher Craig Yoe about how this extensive examination of sexual taboos and other naughty bits came about, as well as his thoughts about sharing his collection and the public response to the show. Images: two exhibition photos
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"Up from the Underground." In Artful Breakdowns, edited by Georgiana Banita and Lee Konstantinou, 3–46. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496837509.003.0001.
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This chapter discusses the importance of Art Spiegelman as a creator, editor, and theorist of comics. It argues that his work has, by many accounts, brought a new sophistication and reflexivity to comics, and he has created an astonishing range of work in a variety of formats and styles across half a century. The chapter also looks at Spiegelman's Pulitzer Prize-winning Maus—his book about his parents' life in Nazi-occupied Poland and cross-generational Holocaust trauma—which is regarded as one of the highest achievements of the form. It examines how his example and advocacy have attracted critical attention not only to his own work but the medium as a whole. The chapter then shifts to explore how Spiegelman's cover illustrations for the New Yorker have expanded the role of the political cartoonist as public intellectual. It delves into how he has brought cartooning into dialogue with other genres and media, from music and photography to theater and dance. Finally, the chapter chronicles Spiegelman's lifelong work as an editor. It analyzes how helped transform the perception of a long-marginalized medium, and how his work as a comics editor has attracted audiences far beyond the cognoscenti in the arts and academic circles.
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Munson, Kim A. "Viewing R. Crumb." In The Comics of R. Crumb, 232–52. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833754.003.0012.
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In this chapter, Kim A. Munson explores how Robert Crumb and his work has been represented in a series of museum exhibitions. In the 2009-2010 exhibition “Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection” at the Museum of Modern Art (NY), for example, one gallery focused on drawings inspired by underground comix by Crumb and S. Clay Wilson. Other exhibits of Crumb’s work place him within more traditional art historical contexts. R. Crumb’s “Book of Genesis” was a tour de force exhibition shown in the US and internationally in several formats, and placed Crumb in an immediately recognizable artistic tradition. “Graphic Masters,” on display at the Seattle Museum of Art in 2016, also put Crumb’s work in an art historical context, showing the complete "Genesis" along with drawings and engravings by masters like Rembrandt, Dürer, Hogarth, and Picasso. “Masters of American Comics,” the popular and controversial 2005-2006 group exhibit in Los Angeles (Hammer Museum), positioned Crumb as one of the 15 chosen “masters,” placing him within the show’s canon of comics artists alongside Will Eisner, Harvey Kurtzman, Art Spiegelman, and Chris Ware. By looking at these exhibitions, we can see not only Crumb's influence on fine art, but also the evolving relationship between comics art and the art museum, as well as his influence on other artists.