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.

scholarly journals Análisis de la estética y la narrativa secuencial de la tira cómica el llanero solitario, publicada entre 1981 y 1984, e ilustrada por Russe

2016 ◽  
Vol 11 (18) ◽  
pp. 116 ◽  
Author(s):  
José Daniel Santibáñez Vásquez ◽  
Natalie Barragán ◽  
Natalie Barragán ◽  
Christopher Andrade ◽  
Christopher Andrade ◽  
...  
Keyword(s):  
American Culture ◽  
Visual Quality ◽  
Comic Strip ◽  
Sequential Art ◽  
The Public ◽  
Bande Dessinee ◽  
Television Film ◽  
The Aesthetic

RESUMEN El Llanero Solitario ha sido uno de los personajes más emblemáticos de la cultura estadounidense. Su paso por la radio, televisión, cine y cómics marcó toda una época en la que los vaqueros eran héroes nacionales. Uno de los medios que tuvo mayor aceptación por parte del público fue el de la tira cómica o comic strip, que se publicaba diariamente. Escrita por Cary Bates e ilustrado por Russ Heath, esta tira logró llevar a muchos lectores a acompañar al Llanero Solitario y a Tonto en sus aventuras. Se trata de una obra de gran calidad narrativa y visual, en la que Russ Heath expone su talento como dibujante y su capacidad para ordenar, de manera inteligente, cada elemento gráfico del cómic.PALABRAS CLAVES Arte secuencial, cómic, composición, Llanero Solitario, narrativa, Russ Heath.KAWASPA RURASPA PARLASPA IMASAMI RURANKUNA ATUN KAWACHI SAPALLA LLAGTAPI, KAWACHISPA KAI WATAKUNAPI 1981-1984 CHASALLATA RURASKA SUG RUSSEL HEATHSUGLLAPIKaipi kai runa Cary Bates i Russ Heath Parlame Kawachhikame imasami tukuikunata sumaska kai suti alpapi sapalla, llalischiskakuna rimaspa, kawaspa kawachispa tukuikunata kai rurai suti comic strip, kai iskai runakuna kai kilkapi parlanakumi iman paikuna uillankuna. Munankuna tukuinutata kawachinga kankuna ajai iachakuna. Allilla imapas rurangapa Kilkangapa tukuikunata kawachinkuna sumaglla apachikuna.IMA SUTI RIMAI SIMI:Rukaikuna, kunaurramanda, kawachii, alpapi sapalla, parlu, Russ Heath.ANALYSIS OF THE AESTHETIC AND SEQUENTIAL NARRATIVE IN THE LONE RANGER COMIC STRIP, PUBLISHED BETWEEN 1981 AND 1984 AND ILLUSTRATED BY RUSSEL HEATHABSTRACT The Lone Ranger has been one of the most iconic characters in American culture. Its passage through radio, television, film and comics marked an era in which cowboys were national heroes. One medium that was widely accepted by the public was the daily comic strip. Written by Cary Bates and illustrated by Russ Heath, this strip managed to make readers feel that they were joining the Lone Ranger and Tonto on their adventures. This is a unique work of great narrative and visual quality, in which Russ Heath shows his talent as an illustrator and his ability to sort intelligently each graphic element.KEYWORDS Sequential art, comic, layout, Lone Ranger, narrative, Russ Heath.ANALYSE DE L’ESTHETIQUE ET DE LA NARRATIVE SEQUENTIELLE DANS LE COMIC STRIP THE LONE RANGER, PUBLIE ENTRE 1981 ET 1984, ET ILLUSTRE PAR RUSSEL HEATHRÉSUMÉ The Lone Ranger a été l’un des personnages les plus emblématiques de la culture américaine. Son passage à travers la radio, la télévision, le cinéma et la bande dessinée a marqué une époque où les cow-boys étaient des héros nationaux. Un moyen qui a été largement accepté par le public était la bande dessinée quotidienne. Écrite par Cary Bates et illustrée par Russ Heath, cette bande a réussi à rendre les lecteurs les compagnons du Lone Ranger et Tonto dans leurs aventures. Ceci est une œuvre unique de grande qualité narrative et visuelle, dans laquelle Russ Heath montre son talent de dessinateur et sa capacité à trier intelligemment chaque élément graphique.MOTS-CLEFSArt séquentiel, bande dessinée, mise en page, Lone Ranger, narrative, Russ Heath.ANALISES DA ESTÉTICA E DA NARRATIVA SEQUENCIAL DAS TIRINHAS O CAVALHEIRO SOLITÁRIO, PUBLICADA ENTRE 1981 E 1984, E ILUSTRADA POR RUSSEL HEATH.RESUMO O Cavalheiro Solitário tem sido um dos personagens mais emblemáticos da cultura americana (E.U). Seu passo pela rádio, televisão, cinema e os quadrinhos marcou toda uma época na que os boiadeiros eram heróis nacionais. Um dos meios que teve maior aceitação pelo público foi o das tirinhas ou quadrinhos strip, que se publicava diariamente. Escrita por Cary Bates e ilustrado por Russ Heath, estas tirinhas conseguiu levar a muitos leitores acompanhar ao cavalheiro solitário e a Tonto em suas aventuras. Se trata de uma obra de grande qualidade narrativa e visual, na que Russ Heath expõe o seu talento como desenhista e sua capacidade para ordenar, de maneira inteligente, cada elemento gráfico do Gibi.PALAVRAS CHAVES Arte sequencial, tirinhas, composição, Cavalheiro Solitário, narrativa, Russ Heath. Recibido el 04 de julio de 2015 Aceptado el 22 de enero de 2016

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.

Splashing Ink on Museum Walls: How Comic Art Is Conquering Galleries, Museums, and Public Spaces

2020 ◽  
pp. 297-307
Author(s):  
Rob Salkowitz
Keyword(s):  
Public Spaces ◽  
Art Museum ◽  
The Bible ◽  
Cultural Legitimacy ◽  
Comic Art ◽  
Book Of Genesis ◽  
Museum Exhibition

In this 2018 essay, Forbes cultural journalist Rob Salkowitz explains how exhibitions contribute to the valuation of an artist’s work while recognizing exhibitions of comic art as landmarks on comics’ long march to cultural legitimacy. Salkowitz begins his essay by sharing his memories of the 2016 Seattle Art Museum exhibition Graphic Masters, which was centered around The Bible Illuminated: R. Crumb’s Book of Genesis. This chapter discusses the evolution of exhibitions since 1990, how exhibitions have enhanced the valuation of original comics drawings, challenges for commercial galleries and dealers, and curatorial strategies.

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 Nada de humanidad: El mundo animal de la posguerra española

2015 ◽  
Vol 5 (1) ◽  
Author(s):  
Molly Tun
Keyword(s):  
Civil War ◽  
20Th Century ◽  
Literary Tradition ◽  
Carmen Laforet ◽  
Spanish Society ◽  
Literary Movement ◽  
Literary Device ◽  
Siglo Xx ◽  
Scholarly Inquiry

La novela de Carmen Laforet Nada es uno de los grandes ejemplos del tremendismo español del siglo XX la cual retrata las duras y sombrías realidades de la guerra civil y la postguerra. No obstante, quienes han analizado esta obra han dejado pasar el uso de la animalización como un recurso utilizado en esta obra para poner en primer plano el contexto degradante y bestial de la sociedad española de la posguerra. Esta investigación ve a la animalización como una técnica literaria que concede atributos de animales a los seres humanos con el fin de hacer hincapié en que tanto el hombre y los animales viven en un mundo deshumanizante donde la supervivencia es el principal objetivo. Mientras que es un aspecto muy integral de la tradición literaria, la técnica de la animalización ha eludido la investigación académica en numerosos niveles. En este ensayo se teorizan las expresiones literarias de formas animales y sus conexiones con personajes humanos con el fin de ilustrar que este mundo dominado por instintos animales y la falta de facultades humanas es precisamente el producto de su propio contexto social e histórico degradante. Carmen Laforet’s novel Nada is one of the leading examples of the 20th century Spanish literary movement tremendismo that portrays the harsh, grim realities of civil war and its aftermath. Scholars have failed to recognize, however, the novel’s use of animalization as a technique that brings to the forefront the degrading and bestial context of postwar Spanish society. This research conceives animalization as the literary device that grants animal attributes to humans in order to emphasize that both man and animal inhabit a dehumanizing world where the main objective is survival. While a highly integral aspect of literary tradition, the technique of animalization has evaded scholarly inquiry on numerous levels. This essay theorizes the literary expressions of animal forms and their connections with human characters in order to illustrate that this animalized world dominated by instincts and the lack of human faculties is precisely the product of its very own degrading social and historic context.

scholarly journals Spopad »dveh Španij« z vidikov socialne strukture španske družbe in razrednih nasprotij v njej

2016 ◽  
Vol 56 (1) ◽  
pp. 23-38
Author(s):  
Avgust Lešnik
Keyword(s):  
Civil War ◽  
Social Structure ◽  
Popular Front ◽  
Social Revolution ◽  
Second Republic ◽  
Spanish Society ◽  
Parliamentary Elections ◽  
The Social ◽  
Second Spanish Republic

CONFLICT BETWEEN "THE TWO SPAINS" FROM THE VIEWPOINT OF THE SOCIAL STRUCTURE OF THE SPANISH SOCIETY AND CLASS OPPOSITIONS WITHIN ITThe following discussion focuses on the analysis of the Spanish society in the period between the First and the Second Republic (1875–1931), especially on the social structure and class oppositions within it as well as on identifying the causes leading to the irreconcilable political polarisation of the Spanish society during the Second Spanish Republic (1931–1936). The polarisation culminated in the parliamentary elections on 16 February 1936 and consequently led to the Civil War (1936–1939). The heterogeneity of the republican camp of the Popular Front was the reason for the multi-party Spanish socialism as well as the multi-party nature of the social revolution of 1936.

scholarly journals Lectura y aprendizaje lector en tiempos de guerra

2020 ◽  
pp. 115
Author(s):  
Gaetano Antonio Vigna
Keyword(s):  
Civil War ◽  
Educational System ◽  
Spanish Civil War ◽  
The Other ◽  
Literary Canon ◽  
Literary Works ◽  
Spanish Society ◽  
El Sistema ◽  
The One ◽  
Self Learning

Resumen: En esta contribución se estudia la escena del aprendizaje lector y el encuentro con el libro que seis escritores contemporáneos cristalizan en sus libros de memorias. A través del análisis de tres tópicos estrechamente relacionados con dicha vivencia de la etapa infantil —la influencia de mentor; la rebelión al mundo escolar; el listado de obras influyentes—, se apreciará el poder consolador y correctivo del libro en el trasfondo histórico de la Guerra Civil española y de los primeros años del franquismo. A partir de esta aproximación, el artículo mostrará, por un lado, cómo los niños protagonistas de los libros escogidos contestarán el canon literario impuesto y el sistema educativo oficial, rechazado a favor del autodidactismo. Por el otro, será posible apreciar el retrato que estos memorialistas ofrecen de aquellos años de represión.Abstract: In this paper we study the scene of the learning of reading and the encounter with the Book as six contemporary writers narrate in their memoirs. Through the analysis of three autobiographemes related to this experience of the childhood —the mentor’s influence; the school rebellion; the list of influential literary works—, we will appreciate the consoling and corrective power of the book during the Spanish Civil War and the earlier years of the Francoist regime. From this approach, this paper will show, on the one hand, how the main characters of the selected memoirs reject the imposed literary canon, as well as the formal educational system in favor of self-learning. On the other, it will give us a portrait of Spanish society in those repressive years.

Spanish Cinema

2016 ◽  
Author(s):  
Marvin D'Lugo
Keyword(s):  
Latin America ◽  
Civil War ◽  
Film Industry ◽  
Mass Medium ◽  
Film History ◽  
Pedro Almodovar ◽  
Spanish Cinema ◽  
Spanish Film ◽  
Artistic Freedom ◽  
At Home

Far overshadowed by the cultural dynamism of its neighbors and constrained by its own slow industrial underdevelopment, Spain was not a propitious site for the development of a strong film industry or culture. When Spanish artists and businessmen did begin to engage in film-related activities, during the first decades of the 20th century, it was initially at the impetus of foreign entrepreneurs and the mediation of French or US artistic models. Not unexpectedly, the Spanish cinema that thrived in the years leading up to the Civil War (1936–1939) was a popular mass medium shaped in imitation of French and US models. After the calamitous Civil War, the Franco dictatorship’s censorship system helped maintain the impression, now debunked, that the film industry benignly functioned as the propagandistic arm of the state. It may be for that reason that no serious efforts at film history in Spain were attempted until the mid-1960s with the publication of Fernando Méndez-Leite’s wordy anecdotal history Historia del cine español (1965). Though something of an opposition cinema had begun to appear since the 1950s (Juan Antonio Bardem and Luis García Berlanga), it was not until the 1970s that we see the emergence of serious film scholarship by Spaniards. The Viridiana scandal of 1961 triggered interest in resistance cinema by foreign critics. The much heralded New Spanish Cinema of the mid-1960s, which brought Carlos Saura to international note through his third film, La caza (The Hunt, 1965), however, appeared to many as mere window dressing, the effort of the regime to suggest artistic freedom while little opposition at home was possible. Still, during the decade from the release of The Hunt an increasing number of opposition films, often disguised as allegorical narratives, won international praise at film festivals and suggested the birth of a growing film culture. Since the 1980s, the Spanish industry has gone through phases of growth with increased popular and artistic success at home and abroad. The meteoric rise of Pedro Almodóvar came to embody a new Spanish mentality reflected in the sexually liberated cinema of the 1980s and 1990s. Since then, Spanish film has diversified into new thematic areas—regional cinema, intensified gender representation, multiculturalism occasioned by the intensification of immigration to Spain from Latin America, Africa, and Eastern Europe. Yet such growth in substance and the advent of new overseas markets, principally in Latin America, has coincided with the marked decrease of Spanish film’s domestic youth market especially. Since the 2000s, Spanish cinema has increasingly been displaced by television and the accessibility of films on the Internet. Recent scholarship, in fact, has shifted to include substantive studies of television and audiovisual links to Latin America.

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

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