Bibliografías temáticas / Comic books, strips, etc

Índice

  1. Artículos de revistas
  2. Tesis
  3. Libros
  4. Capítulos de libros
  5. Actas de conferencias

Literatura académica sobre el tema "Comic books, strips, etc"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 31 de julio de 2024

Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros

Elija tipo de fuente:

Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Comic books, strips, etc".

Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.

También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.

Artículos de revistas sobre el tema "Comic books, strips, etc"

1

ADAMS, JIMI. "Glee's McKinley High: Following Middle America's sexual taboos". Network Science 3, n.º 2 (13 de mayo de 2015): 293–95. http://dx.doi.org/10.1017/nws.2015.16.

Texto completo
Resumen
Writers for popular media frequently draw on insights known about social networks in developing their plotlines and character biographies (whether in books, television, movies, etc.). Perhaps most known to network analysts in this respect, Freeman (2000) presents a collection of network concepts represented in comic strips. These depictions often are consistent with the patterns network analysts observe in real-world empirical examples. For example, the long-running sitcom Friends exhibited strong homophily (McPherson et al., 2001) or assortative mixing on race and socioeconomic status among the main characters. Other times the violation of these typical patterns can serve to generate dramatic tension or a source of comedy. For example transitivity—or the tendency of one's friends to also become friends (Holland & Leinhardt, 1972)—is absent in the movie Hush where Jessica Lange's character plots to kill the daughter-in-law she does not like. P-O-X social balance (Heider, 1948) describes the tendency for friends to share common interests, which was violated to comedic effect in the Seinfeld episode where Jerry's character simply cannot accept his date's refusal to try a taste of the pie he finds delicious, bothering him for days and ultimately leading to his ending the relationship.
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

John, A. L. "Comic Books and Comic Strips: A Bibliography of the Scholarly Literature". Choice Reviews Online 44, n.º 11 (1 de julio de 2007): 1855–67. http://dx.doi.org/10.5860/choice.44.11.1855.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Li, Yuzhang. "The Development and Evolution of Narrative Characteristics from Comic Strips to Original Chinese Picture Books". Communications in Humanities Research 26, n.º 1 (3 de enero de 2024): 216–26. http://dx.doi.org/10.54254/2753-7064/26/20232066.

Texto completo
Resumen
After nearly one hundred years of interpretation, comic strips can be chronologically sorted into emergent, prosperity, change and bottleneck. Through research, this paper discusses the comprehensive impact of social and economic factors on each of these periods and deduces and summarizes the characteristics of differentiated narratives. In the new period, Chinese comic strips gradually receded due to market factors, while original Chinese picture books grew. Although there is a difference in the visual presentation form between the two, they have partly inherited the characteristics of the comic strips in the 80's and 90's. The thesis conducts a comparative study on the differences and similarities between the two and discusses their creative value and contemporary significance.
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

Whatley, Edward. "Sources: Comics Through Time: A History of Icons, Idols, and Ideas". Reference & User Services Quarterly 54, n.º 4 (19 de junio de 2015): 80. http://dx.doi.org/10.5860/rusq.54n4.80a.

Texto completo
Resumen
Comics Through Time: A History of Icons, Idols, and Ideas is an ambitious, four-volume title that "seeks to capture some of the richness" of comics history and "provide information on this history for a wide range of users, from casual fans of comics to professional scholars of the form" (xxiii). Each of the four volumes covers a specific time period, beginning in the 1900s with comic strips and continuing to the present. Just as the volumes cover a broad expanse of time, they also deal with a diverse array of subjects, including comic strips, comic books, comics creators both well-known and obscure (often accompanied by large photographs), comics publishers, and genres such as science fiction and horror.
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Kühn Paulsen, Felix. "Rytme og netværk i Homo Metropolis". Passage - Tidsskrift for litteratur og kritik 33, n.º 79 (1 de julio de 2018): 47–59. http://dx.doi.org/10.7146/pas.v33i79.127527.

Texto completo
Resumen
This article investigates serialization in newspaper comic strips (exemplified by Danish Nikoline Werdelin’s strip Homo Metropolis) with a dual focus on publication structure and composition of individual strips. Reading the forms of Rhythm and Network as symptoms of serialization, the analysis seeks to outline the difference between meeting the comic strip in daily newspapers or in collected books. Furthermore, it investigates how the actual punchlines takes form through constant fluctuation between repetition and interruption. In this way, the article reads Homo Metropolis as an example of how serialized storytelling constantly negotiates the tension between the individual story/punchline and larger network of narratives.
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Zahavi, Dan. "Manhattan Dynamite and no pancakes: Tradition and normality in the work of Tove Jansson". SATS 19, n.º 1 (26 de julio de 2018): 5–19. http://dx.doi.org/10.1515/sats-2017-3001.

Texto completo
Resumen
Abstract It is not uncommon to read the Moomin tales through existentialist lenses. Although there might be natural reasons for focusing on and privileging the nine classical Moomin books, it would, however, be a mistake to overlook Jansson’s comic strips. This is so, not only because of the quality of Jansson’s drawings and because of the way she innovatively worked with and developed that graphic medium, but certainly also because of the stories they contain. When read alongside the books, the comic strips add important aspects and nuances to Jansson’s portrayal of human existence. By allowing herself the freedom to radically change the setting and scenery of the stories, Jansson was able to explore quite different topics than was possible in the novels, and in particular to offer a somewhat different account of the role of customs, normality and tradition.
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

Guynes, Sean A. "Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia". Public Journal of Semiotics 6, n.º 1 (23 de diciembre de 2014): 58–72. http://dx.doi.org/10.37693/pjos.2014.6.11916.

Texto completo
Resumen
Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Jiang, Yajun y Lina Paola Ángel Jiménez. "Money Metaphors We Live By: Analyzing Chinese Comic Books based on CMA". International Journal of Literature Studies 4, n.º 1 (18 de enero de 2024): 11–20. http://dx.doi.org/10.32996/ijts.2024.4.1.2.

Texto completo
Resumen
Chinese comic books appear to be filled with bright colors and interesting characters, but they also offer insight into the daily life relations and societal principles of modern China. In this study, we examined the construction and underlying meanings of money metaphors in Zhu Deyong’s comic book series We Are All Patients, and We Are All Patients 2: Love with an Idiot, using the conceptual metaphor theory (CMT). By mapping abstract concepts into more concrete and familiar domains, CMT conveys complex ideas, emotions, and social commentary in a way that readers can easily understand. We analyzed thirty-nine randomly chosen comic strips from Zhu’s comic books using Charteris-Black’s (2004) inductive method, conceptual metaphor analysis (CMA), to identify, explain, and interpret different metaphors. Through our analysis, we highlighted the most prominent money metaphors and how they relate to the current love and friendship relations made by modern Chinese people in their everyday lives. We found that money metaphors are classified into seven source domains: barrier, drug, tool, almighty, exchange, principle, and ambition.
Los estilos APA, Harvard, Vancouver, ISO, etc.
9

Dozier, Ayanna. "Wayward Travels". Feminist Media Histories 4, n.º 3 (2018): 12–29. http://dx.doi.org/10.1525/fmh.2018.4.3.12.

Texto completo
Resumen
Golden Age cartoonist Jackie Ormes created dramatic narratives in her comic strip Torchy in Heartbeats (Pittsburgh Courier, 1950–54) that were unique, in that they were created by a Black woman cartoonist for Black women readers. Ormes skillfully manipulated the typical strip's narrative structure to creatively depict a single Black woman freely traveling the world in the era of Jim Crow. This essay examines two specific Torchy in Heartbeats strips from 1951–52 to reveal how Ormes worked within the then-dominant framework of respectability politics—not to challenge it, but to present a Black woman navigating racialized gender discrimination and pursuing her desires despite her “respectable status,” with sometimes terrifying results. In the process, it works to redress the paucity of scholarship on Black women's contributions to comic books and strips.
Los estilos APA, Harvard, Vancouver, ISO, etc.
10

Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero". Frontiers of Narrative Studies 5, n.º 2 (28 de noviembre de 2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.

Texto completo
Resumen
AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.
Los estilos APA, Harvard, Vancouver, ISO, etc.
Más fuentes

Tesis sobre el tema "Comic books, strips, etc"

1

Lorenz, Peter. "Maßnahmen zur Schaffung einer zukunftsfähigen Organisation der Comic-Spezialbibliothek "Bei Renate"". Berlin : Humboldt-Universität zu Berlin, 2005. http://books.google.com/books?id=SYtQAAAAMAAJ.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

Pevey, Aaron. "From Superman to superbland the Man of Steel's popular decline among postmodern youth /". unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04172007-133407/.

Texto completo
Resumen
Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Chris Kocela, committee chair; Paul Schmidt, Michael Galchinsky, committee members. Electronic text (95 p. : ill. 9some col.)) : digital, PDF file. Description based on contents viewed Nov. 16, 2007. Includes bibliographical references (p. 78-81).
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Herman, Janique Luschan Vogl. "An interrogation of morality, power and plurality as evidenced in superhero comic books: a postmodernist perspective". Thesis, University of Fort Hare, 2013. http://hdl.handle.net/10353/d1005646.

Texto completo
Resumen
The desire for heroes is a global and cultural phenomenon that gives a view into society’s very heart. There is no better example of this truism than that of the superhero. Typically, Superheroes, with their affiliation to values and morality, and the notion of the grand narratives, should not fit well into postmodernist theory. However, at the very core of the superhero narrative is the ideal of an individual creating his/her own form of morality, and thus dispensing justice as the individual sees fit in resistance to metanarrative’s authoritarian and restrictive paradigms. This research will explore Superhero comic books, films, videogames and the characters Superman, Spider-Man and Batman through the postmodernist conceptions of power, plurality, and morality.
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

Young, Hiu-tung. "Problems of translating contemporary Japanese comics into Chinese the case of Crayon Shinchan /". Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39848863.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Gay, Stephanye Anne. "ShieldCross an exploration of sequential art ; an honors project /". [Jefferson City, Tenn. : Carson-Newman College], 2009. http://library.cn.edu/HonorsPDFs_2009/Gay_Stephanye_Anne.pdf.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Frail, James H. "Powers and abilities far behind those of mortal men an examination of the comic book industry and subculture through a feminist sociological perspective /". Huntington, WV : [Marshall University Libraries], 2004. http://www.marshall.edu/etd/descript.asp?ref=424.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

McCoy, Kuleen O. "The funnies are a serious business : how local newspaper editors make decisions concerning diverse and controversial comic strips /". Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-08222009-040404/.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Du, Plessis Carla (Carla Susan). "Reconsidering the conventions employed in comix and comix strips". Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21211.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
9

Young, Hiu-tung y 楊曉彤. "Problems of translating contemporary Japanese comics into Chinese: the case of Crayon Shinchan". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39848863.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
10

Brienza, Casey Elizabeth. "Domesticating Manga : Japanese comics, American publishing, and the transnational production of culture". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648154.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
Más fuentes

Libros sobre el tema "Comic books, strips, etc"

1

Tampakeas, Ēlias. Etc: Epilogē geloiographiōn. Athēna: Ch. K. Tegopoulos Ekdoseis, 2011.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

Schecter, Harold. Start collecting comic books. Philadelphia, Pa: Running Press, 1990.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Yong-ha, Hong, ed. Kit'a maen: Etc man. Sŏul-si: Asŏn Midiŏ, 1998.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

Lent, John A. Comic books and comic strips in the United States: An international bibliography. Westport, Conn: Greenwood Press, 1994.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Keith, Booker M., ed. Encyclopedia of comic books and graphic novels. Santa Barbara, Calif: Greenwood Press, 2010.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Willis, Steve. Woof comix. Pullman, WA: S. Willis, 1985.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

Sabin, Roger. Comics, comix & graphic novels. London: Phaidon Press, 1996.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Sabin, Roger. Comics, comix & graphic novels. London: Phaidon, 1996.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
9

Sabin, Roger. Comics, comix & graphic novels. London: Phaidon, 1996.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
10

1967-, Ware Chris, ed. The best American comics 2007. Boston: Houghton Mifflin, 2007.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
Más fuentes

Capítulos de libros sobre el tema "Comic books, strips, etc"

1

Nitsch, Cordula. "Content Analysis in the Research Field of Fictional Entertainment". En Standardisierte Inhaltsanalyse in der Kommunikationswissenschaft – Standardized Content Analysis in Communication Research, 265–75. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-36179-2_23.

Texto completo
Resumen
AbstractFictional entertainment accounts for a large share of the overall media content and is very popular with the audience. It is highly diverse in form and content, and differs, for example, regarding media type, genre, and target group. Fictional entertainment comprises novels (e.g., thriller, romance), comic books, TV series (e.g., crime series, daily soaps, medical shows, political drama), children’s programs, feature films, cartoons, box office hits, audio plays, etc. Research on fictional entertainment typically concentrates on audiovisual productions, i.e. TV series and movies.
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

Tichi, Cecelia. "Comics, Movies, Music, Stories, Art, 1V-on-1V, Etc." En Electronic hearth, 208–32. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195079142.003.0011.

Texto completo
Resumen
Abstract The TV environment ratifies itself everywhere. Cartoons, comic strips, fabric prints, sculpture, music, paintings, flip books, T-shirts, jewellry, movies, and TV itself—these, along with printed texts, have featured television prominently, often critically, both attacking television and at the same time exploiting its resources, but above all affirming and validating the TV environment. Television is by now ubiquitous in virtually every cultural format and venue in the United States. It takes shape as familial hearth, as the illuminator/corruptor of children, as the paradoxical site of sedentary activism, as the locus of a new, multivalent consciousness. It is a source of language, virtually a contemporary phrasebook, and certifies human experience in contexts ranging from sports stadiums to personal spaces where camcorder cassette tapes are played on personal screens. Every sign of it, from a T-shirt front to a refrigerator magnet reinforces the idea of the TV environment, one extending from the Magic Screen on “Pee-Wee’s Playhouse” to the video apparatus (video camera, VCR, big-screen monitor) on which the pantomime, Will Irwin, the electronic-age Charlie Chaplin, performs onstage in his one man video vaudeville act. Everywhere television is ratified as it is reified in contemporary culture.
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Lent, John A. "Comic Strips and Comic Books". En Encyclopedia of International Media and Communications, 247–57. Elsevier, 2003. http://dx.doi.org/10.1016/b0-12-387670-2/00033-9.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

"Comic Strips and Books". En Encyclopedia of Lesbian and Gay Histories and Cultures, 389–99. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-44.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Allen, Paul V. "Ever After (1986 and Beyond)". En Jack Kent, 130–42. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496846280.003.0015.

Texto completo
Resumen
This chapter looks at Jack’s legacy in comic strips and children’s books. It details some of the unpublished projects that ended up at the Kerlan Collection at the University of Minnesota. It also looks at the predictive and influential impact of Jack’s work in children’s books, comic strips, and television, and discusses King Aroo’s revival in the early 2010s via reprints by the Library of American Comics. Finally, the chapter tells about the lives of June Kent and Jack Kent Jr. following Jack’s death.
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Keyes, Ralph. "Coins in Bubbles". En The Hidden History of Coined Words, 89–101. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190466763.003.0008.

Texto completo
Resumen
Cartoons and comic strips have contributed an inordinate number of neologisms to the English lexicon. Many terms we commonly use made their debut in cartoons and comic strips such as Li’l Abner (double whammy), The Timid Soul (milquetoast), and Popeye (goon). The contributions to the vernacular from these sources are due in part to the fact that so many have had longer runs (more than four decades for Li’l Abner alone) than their counterparts in electronic media. In addition, space constraints keep cartoonists from using big words. Active, vivid language is their stock in trade. That terseness, simplicity, and zaniness has appealed to cartoon fans of all ages. During the past century especially, words in comic strips, cartoons, and comic books were among the first ones children read in adult media, and at an impressionable age. Those they assimilated over time became a common part of our discourse.
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

Gaines, M. C. "Narrative Illustration: The Story of the Comics". En Comic Art in Museums, 88–97. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0008.

Texto completo
Resumen
This chapter contains a 1942 article written by publisher M.C. Gaines about the exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts (AIGA) by Jessie Gillespie Willing, which first opened at the National Arts Club, NY. It was the first known touring exhibit to show comics in art historical context with ancestors like Japanese scrolls, Mayan Panels, and cave paintings alongside contemporary comic strips and comic books. This may have been the first exhibit to include a wide selection of comic books including More Fun, Superman, and Wonder Woman #1. Gaines opines on the educational importance of comics in reply to the decency movements that were attempting to censor comics in this era. Images: Caniff exhibit 1946, Fred Cooper cartoon 1942.
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Grady, William. "For a Few Comic Strips More: Reinterpreting the Spaghetti Western through the Comic Book". En Spaghetti Westerns at the Crossroads. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748695454.003.0011.

Texto completo
Resumen
In Christopher Frayling's book Spaghetti Westerns (1981), he highlights how the character of the Spaghetti Western has since become subsumed into later Western comic books, evidenced through the Lee Van Cleef-like bounty hunter featured in Morris and Goscinny's bande dessinée (French comic) Lucky Luke: The Bounty Hunter (1972). Drawing upon this relationship, this chapter will take a similar approach to Frayling, who mediates between comic book influences upon the Spaghetti Western and the later reciprocal impact of these Westerns upon the comic book. It begins by demystifying some of the tacit references to the comic-like qualities of the Italian Westerns. This provides context for the exploration of the impact of these films upon the Western comic book, primarily achieved through a case study of the bande dessinée series, Blueberry (1963–2005), by Jean-Michel Charlier and Jean Giraud. In a collection that looks to map the relocation and appropriation of the Spaghetti Western, the chapter reinterprets these Italian productions through the comic book.
Los estilos APA, Harvard, Vancouver, ISO, etc.
9

Mok, Annie. "“The Starting Point”: An Interview with Julie Doucet". En The Comics of Julie Doucet and Gabrielle Bell, 197–205. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496820570.003.0010.

Texto completo
Resumen
Julie Doucet has been a role model for two generations of cartoonists. She gained notoriety with her early ’90s Drawn and Quarterly comic book series Dirty Plotte, containing strips like “Heavy Flow,” in which Julie grows to Godzilla proportions while having her period, and she plunges her hand into a drugstore, looking for tampons. After a string of books, including the seminal ...
Los estilos APA, Harvard, Vancouver, ISO, etc.
10

Williams, Paul. "Comics, Comics Everywhere at Mid-century". En The US Graphic Novel, 50–75. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474423342.003.0003.

Texto completo
Resumen
Chapter 2 discusses the high sales of comic books in the 1940s and early 1950s, a boom that started with superhero comics and would go on to include crime and romance comics. In the mid-1950s, publishers responded to the pressure exerted by the anti-comics movement and established a regulatory body to censor America’s comic books (crime and horror comics were especially vilified). Comic book sales in the second half of the 1950s went into decline, though industry self-censorship was not the sole reason: market saturation and competition from other media were also factors. But before this, in 1950, St John Publications and Fawcett Publications released a small number of crime comics as paperback books. Elsewhere in the comics world, newspaper strips might be reprinted in narrative chunks in book form, such as Walt Kelly’s strip featuring the character Pogo the Possum: Kelly’s satire of the 1952 presidential election was captured in the book I Go Pogo. Most book-length comics of the period came from artists who otherwise produced work for advertising agencies, animation studios, magazines, and publishing houses. These books were usually released by New York-based trade presses and attacked the glamorisation of war.
Los estilos APA, Harvard, Vancouver, ISO, etc.

Actas de conferencias sobre el tema "Comic books, strips, etc"

1

Xia, Yihui. "Laughter in Comic Strips in Northeast Asia". En GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.7-5.

Texto completo
Resumen
In the realm of comic books, laughter onomatopoeia (LO) plays a crucial role in character portrayal. The sound symbolism of LO can be used to assign distinct character roles and to suggest similarities in terms of appearance and personality traits. For instance, Kinsui (2014) posited that ‘hoho’ is typically associated with a young woman from a well-respected family. However, scholarship on the relationship between variable LO and character types is limited in the current literature, emphasizing the need for further study. This thesis addresses this research gap by examining the association between phonological features and character types. Using the Japanese comic series ‘One Piece’ as a case study, the research collected laughter phrases and utilized a laughter notation system to assign character roles. The results suggest that characters employing LO with common phonological elements possess analogous external and personality characteristics, demonstrating the impact of sound symbolism on character attributes, with voiced sounds, p sounds, and palatalization sounds having distinctive correlations with specific character traits.
Los estilos APA, Harvard, Vancouver, ISO, etc.
También puede estar interesado en las bibliografías ampliadas sobre el tema "Comic books, strips, etc" para tipos de fuentes particulares:
Artículos de revistas Tesis Libros
Ofrecemos descuentos en todos los planes premium para autores cuyas obras están incluidas en selecciones literarias temáticas. ¡Contáctenos para obtener un código promocional único!

Pasar a la bibliografía