Cabu Reporter

2009 ◽  
Vol 2 (1) ◽  
pp. 131-151
Author(s):  
◽  
Jean (Cabu) Cabut
Keyword(s):  
Comic Strip ◽  
Comic Art

French editorial cartoonist and comic-strip artist Cabu (pen name of Jean Cabut) is interviewed by Tanitoc, French cartoonist and contributing artist to European Comic Art. They talk about the evolution of political caricature in France, differing reactions of people to being caricatured by a cartoonist or being filmed, and the use of archetypes in caricature. Cabu also discusses the influences of other cartoonists on his own art, the high points of his cartooning career, his cartoon reportages, and various book publications of his work

The Spanish Tebeo

2009 ◽  
Vol 2 (2) ◽  
pp. 253-276 ◽  
Author(s):  
Viviane Alary
Keyword(s):  
Civil War ◽  
Mass Medium ◽  
Special Kind ◽  
Comic Strip ◽  
Spanish Translation ◽  
Spanish Society ◽  
Cultural Phenomenon ◽  
Bande Dessinee ◽  
Cultural Legitimacy ◽  
Comic Art

It seems difficult to speak about comic art in Spain without considering what tebeos mean to Spaniards. This term is not simply a Spanish translation of bande dessinée. It refers to a special kind of comic strip aimed at children, which appeared in the late 1920s. Tebeos were the only available mass medium in Spain after the Civil War (1936-1939). In this contribution we want to analyse tebeos as an editorial, social and cultural phenomenon, with the aim of demonstrating that 'tebeo-culture' survived even after the collapse of the 'tebeo-industry' in the 1970s and 1980s. In addition, we will examine the question of the cultural legitimacy of comic art in Spanish society.

Pioneers: Comic Art Exhibitions, 1930–1967

2020 ◽  
pp. 63-65
Keyword(s):  
World War Ii ◽  
Comic Strip ◽  
World War ◽  
Art Exhibitions ◽  
Historical Trends ◽  
Museum Exhibitions ◽  
Comic Art

In this interstitial introduction, art historian Kim A. Munson establishes a chronology of museum exhibitions of original comic art between 1930 and 1967, summarizing the importance of historical trends (the popularity of comics exhibits during World War II) and pioneers like Milton Caniff and the National Cartoonist Society. This chapter contextualizes M.C. Gaines’ 1942 Print magazine article about the important touring exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance. This chapter introduces Alvaro de Moya and Pierre Couperie, who were the founders of influential fan groups that led to breakthrough exhibits in Brazil (1951) and in France (1967).

Permanent Ink: Comic Book and Comic Strip Art as Aesthetic Object

2020 ◽  
pp. 33-62
Author(s):  
Andrei Molotiu
Keyword(s):  
Art History ◽  
Comic Book ◽  
Comic Strip ◽  
Indiana University ◽  
Senior Lecturer ◽  
Aesthetic Object ◽  
Full Size ◽  
Comic Art ◽  
History Department ◽  
Born Again

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.

scholarly journals Introduction

2011 ◽  
Vol 4 (1) ◽  
pp. v-vii
Author(s):  
Keyword(s):  
Comic Strip ◽  
High Quality ◽  
Future Directions ◽  
Hypnerotomachia Poliphili ◽  
Comic Art ◽  
To Receive

Future directions are often shaped by quirks of necessity or chance: the groundbreaking iconoclast that is Moebius’s Garage hermétique, with its rejection of conventional narrative or character coherence, came as a result of the author having forgotten previous scripts from one week to the next; Rodolphe Töpffer, so often credited for having invented the modern comic strip, initially saw himself as producing no more than scribblings for the entertainment of his pupils; one of the earliest of text/image forms, the emblem, may well be the result of Augsburg printer, Heinrich Steiner, adding images in 1531 to Andrea Alciato’s epigrams, a far cry from the composed intertwining of Francesco Colonna’s Hypnerotomachia Poliphili of 1499. Mirroring such processes in our own way, European Comic Art is embarking on a new direction, as we turn to issues that can reflect the diversity of comic art rather than being necessarily united by a single theme. It is a logical direction, but also one shaped by chance and necessity, that of the diversity of high-quality submissions that we have been delighted to receive.

scholarly journals Introduction

2009 ◽  
Vol 2 (2) ◽  
pp. v-viii
Author(s):  
Keyword(s):  
Science Fiction ◽  
Comic Strip ◽  
Nous Pouvons ◽  
150Th Anniversary ◽  
High Profile ◽  
Comic Art ◽  
The Right

If comic art were to have its equivalent of the Querelle des Anciens et des Modernes [‘Quarrel of the Ancients and the Moderns’], it would be the polemic that developed in 1996 as an ‘add-on’ to the centenary celebrations of the invention of cinema of a year earlier. Following the assertion that the first comic strip was R. F. Outcault’s Yellow Kid of 1896, French reaction was indignant. Speaking at a high-profile conference in Angoulême, Yves Frémion, media personality and Euro-politician, made a lengthy tongue-in-cheek attack on perceived American usurping of credit for key cultural creations (cinema, science-fiction, bluejeans, AIDS, the Olympics…) before arriving at the following conclusion: Il me revient l’honneur, en commençant ce colloque, d’orienter le débat clairement pour éviter qu’il ne dévie vers un résultat mitigé, et pour que cette imposture soit démasquée sans ambiguïté. En réalité, tout ce que nous pouvons fêter cette année, c’est le cent-cinquantenaire de la mort de l’inventeur de la BD, Rodolphe Töpffer. (6) [In opening this conference I have the honour of setting the debate clearly in the right direction so as to avoid it going off on a dubious tangent, and in order for such impostures to be well and truly outed. In truth, all that is to be celebrated this year is the 150th anniversary of the death of the inventor of the BD, Rodolphe Töpffer.]

From the New York Herald to the Italian screen

2017 ◽  
Vol 3 (2) ◽  
pp. 175-193 ◽  
Author(s):  
Katherine Frances Nagels
Keyword(s):  
New York ◽  
The Other ◽  
Comic Strip ◽  
Women In The Workplace

The popular 1907–9 American newspaper comic strip character Fluffy Ruffles was an iconic embodiment of contemporary American femininity between the eras of the Gibson Girl and the later flapper and “it” girl. This article discusses Fluffy Ruffles as a popular phenomenon and incarnation of anxieties about women in the workplace, and how she underwent a metamorphosis in the European press, as preexisting ideas of American youth, wealth, and liberty were grafted onto her character. A decade after her debut in the newspapers, two films—Augusto Genina's partially extant Miss Cyclone (La signorina Ciclone,1916), and Alfredo Robert's lost Miss Fluffy Ruffles (1918)—brought her to the Italian screen. This article looks at how the character was interpreted by Suzanne Armelle and Fernanda Negri Pouget, respectively, drawing on advertisements and the other performances of Negri Pouget to reconstruct the latter. The article is illustrated with drawings and collages based on the author's research.

Ethnic Caricature and the Comic Sensibility

2019 ◽  
pp. 248-267
Author(s):  
Jean Lee Cole
Keyword(s):  
Collective Identity ◽  
Stephen Crane ◽  
Racial Minorities ◽  
Smooth Surfaces ◽  
Comic Strip

When realists engage in comedy, they are hardly ever funny. Their comic efforts strike the reader as clumsy intrusions into a world that is otherwise governed by natural or societal forces. Yet the comic mode, and an aspect of the comic that could be called the comic sensibility, can be contextualized within and against realism. Liminal and transgressive, the comic sensibility solved some of the representative conundrums of realism, disrupting its smooth surfaces and thumbing its nose at determinism. The comic sensibility depended heavily on caricature—specifically, ethnic caricature—and while ethnic caricature usually denigrated its subjects, in notable cases, as in the work of Charles Chesnutt, Stephen Crane, Bruno Lessing (Rudolph Block), vaudeville comedians, and comic-strip artists, the comic sensibility provided openings for ethnic and racial minorities to make meaning, form a collective identity, and foster solidarity.

How American Newspaper Comic Strips Portray God, Angels, and Humans

2020 ◽  
pp. 398-413
Author(s):  
Leonard Greenspoon
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
New Testament ◽  
Religious Identity ◽  
Online Media ◽  
Comic Strip ◽  
Comic Strips ◽  
The Bible ◽  
Biblical Texts

The comic strip as a mainstay of print and more recently online media is an American invention that began its development in the last decades of the 1800s. For many decades in the mid-twentieth century, comic strips were among the most widely disseminated forms of popular culture. With their succession of panels, pictures, and pithy perspectives, comics have come to cover an array of topics, including religion. This chapter looks at how the Bible (Old and New Testament) figures in comic strips, focusing specifically on three areas: the depiction of the divine, renderings of specific biblical texts, and how comic strips can function as sites in which religious identity and controversies play out. Relevant examples are drawn from several dozen strips. Special attention is also paid to a few, like Peanuts and BC, in which biblical imagery, ideology, and idiom are characteristically portrayed in distinctive ways.

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