From the influential work of Los Bros Hernandez in Love & Rockets, to comic strips and political cartoons, to traditional superheroes made nontraditional by means of racial and sexual identity (e.g., Miles Morales/Spider-Man), comics have become a vibrant medium to express Latino identity and culture. Indeed, Latino fiction and nonfiction narratives are rapidly proliferating in graphic media as diverse and varied in form and content as is the whole of Latino culture today.
Graphic Borders presents the most thorough exploration of comics by and about Latinos...
From the influential work of Los Bros Hernandez in Love & Rockets, to comic strips and political cartoons, to traditional superheroes made...
From the influential work of Los Bros Hernandez in Love & Rockets, to comic strips and political cartoons, to traditional superheroes made nontraditional by means of racial and sexual identity (e.g., Miles Morales/Spider-Man), comics have become a vibrant medium to express Latino identity and culture. Indeed, Latino fiction and nonfiction narratives are rapidly proliferating in graphic media as diverse and varied in form and content as is the whole of Latino culture today.
Graphic Borders presents the most thorough exploration of comics by and about Latinos...
From the influential work of Los Bros Hernandez in Love & Rockets, to comic strips and political cartoons, to traditional superheroes made...
"El Eternauta, Daytripper, and Beyond examines the graphic narrative tradition in the two South American countries that have produced the medium's most significant and copious output. Argentine graphic narrative emerged in the 1980s, awakened by Hector Oesterheld's groundbreaking 1950s serial El Eternauta. After Oesterheld was "disappeared" under the military dictatorship, El Eternauta became one of the most important cultural texts of turbulent mid-twentieth-century Argentina. Today its story, set in motion by an extraterrestrial invasion of Buenos Aires, is read as a...
"El Eternauta, Daytripper, and Beyond examines the graphic narrative tradition in the two South American countries that have produced the me...
“El Eternauta, Daytripper, and Beyond examines the graphic narrative tradition in the two South American countries that have produced the medium’s most significant and copious output. Argentine graphic narrative emerged in the 1980s, awakened by Héctor Oesterheld’s groundbreaking 1950s serial El Eternauta. After Oesterheld was “disappeared” under the military dictatorship, El Eternauta became one of the most important cultural texts of turbulent mid-twentieth-century Argentina. Today its story, set in motion by an...
“El Eternauta, Daytripper, and Beyond examines the graphic narrative tradition in the two South American countries that have produced...
Mainstream narratives of the graphic novel's development describe the form's "coming of age," its maturation from pulp infancy to literary adulthood. In Arresting Development, Christopher Pizzino questions these established narratives, arguing that the medium's history of censorship and marginalization endures in the minds of its present-day readers and, crucially, its authors. Comics and their writers remain burdened by the stigma of literary illegitimacy and the struggles for status that marked their earlier history.
Many graphic novelists are intensely aware of both the...
Mainstream narratives of the graphic novel's development describe the form's "coming of age," its maturation from pulp infancy to literary adulthoo...
Mainstream narratives of the graphic novel's development describe the form's "coming of age," its maturation from pulp infancy to literary adulthood. In Arresting Development, Christopher Pizzino questions these established narratives, arguing that the medium's history of censorship and marginalization endures in the minds of its present-day readers and, crucially, its authors. Comics and their writers remain burdened by the stigma of literary illegitimacy and the struggles for status that marked their earlier history. Many graphic novelists are intensely aware of both the medium's troubled...
Mainstream narratives of the graphic novel's development describe the form's "coming of age," its maturation from pulp infancy to literary adulthood. ...
Comics and childhood have had a richly intertwined history for nearly a century. From Richard Outcault's Yellow Kid, Winsor McCay's Little Nemo, and Harold Gray's Little Orphan Annie to Herge's Tintin (Belgium), Jose Escobar's Zipi and Zape (Spain), and Wilhelm Busch's Max and Moritz (Germany), iconic child characters have given both kids and adults not only hours of entertainment but also an important vehicle for exploring children's lives and the sometimes challenging realities that surround them.
Bringing together comic studies and childhood studies, this pioneering collection of...
Comics and childhood have had a richly intertwined history for nearly a century. From Richard Outcault's Yellow Kid, Winsor McCay's Little Nemo, an...
Comics and childhood have had a richly intertwined history for nearly a century. From Richard Outcault's Yellow Kid, Winsor McCay's Little Nemo, and Harold Gray's Little Orphan Annie to Herge's Tintin (Belgium), Jose Escobar's Zipi and Zape (Spain), and Wilhelm Busch's Max and Moritz (Germany), iconic child characters have given both kids and adults not only hours of entertainment but also an important vehicle for exploring children's lives and the sometimes challenging realities that surround them.
Bringing together comic studies and childhood studies, this pioneering collection of...
Comics and childhood have had a richly intertwined history for nearly a century. From Richard Outcault's Yellow Kid, Winsor McCay's Little Nemo, an...
The creation of the Fantastic Four effectively launched the Marvel Comics brand in 1961. Within ten years, the introduction (or reintroduction) of characters such as Spider-Man, the Hulk, Iron Man, Captain America, and the X-Men catapulted Marvel past its primary rival, DC Comics, for domination of the comic book market. Since the 2000s, the company's iconic characters have leaped from page to screens with the creation of the Marvel Cinematic Universe, which includes everything from live-action film franchises of Iron Man and the Avengers to television and streaming media, including the...
The creation of the Fantastic Four effectively launched the Marvel Comics brand in 1961. Within ten years, the introduction (or reintroduction) of ...
The creation of the Fantastic Four effectively launched the Marvel Comics brand in 1961. Within ten years, the introduction (or reintroduction) of characters such as Spider-Man, the Hulk, Iron Man, Captain America, and the X-Men catapulted Marvel past its primary rival, DC Comics, for domination of the comic book market. Since the 2000s, the company's iconic characters have leaped from page to screens with the creation of the Marvel Cinematic Universe, which includes everything from live-action film franchises of Iron Man and the Avengers to television and streaming media, including the...
The creation of the Fantastic Four effectively launched the Marvel Comics brand in 1961. Within ten years, the introduction (or reintroduction) of ...
