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Ian Haywood explores the 'Golden Age' of caricature through the close reading of key, iconic prints by artists including James Gillray, George and Robert Cruikshank, and Thomas Rowlandson. This approach both illuminates the visual and ideological complexity of graphic satire and demonstrates how this art form transformed Romantic-era politics into a unique and compelling spectacle of corruption, monstrosity and resistance. New light is cast on major Romantic controversies including the 'revolution debate' of the 1790s, the impact of Thomas Paine's 'infidel' Age of Reason, the introduction of paper money and the resulting explosion of executions for forgery, the propaganda campaign against Napoleon, the revolution in Spain, the Peterloo massacre, the Queen Caroline scandal, and the Reform Bill crisis. Overall, the volume offers important new insights into the relationship between art, satire and politics in a key period of history.

741.5 --- 741.5:32.019 --- 76 "18" --- Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- Politieke spotprenten --- Grafische kunsten. Grafiek. Prentkunst--19e eeuw. Periode 1800-1899 --- Romanticism. --- Caricature in literature. --- English literature --- History and criticism. --- 76 "18" Grafische kunsten. Grafiek. Prentkunst--19e eeuw. Periode 1800-1899 --- 741.5:32.019 Politieke spotprenten --- 741.5 Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- Caricature in literature --- Romanticism --- Pseudo-romanticism --- Romanticism in literature --- Aesthetics --- Fiction --- Literary movements --- History and criticism --- Arts and Humanities --- Literature

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"This study offers a critical examination of the work of Gilbert and Jaime Hernandez, Mexican-American brothers whose graphic novels are highly influential. The Hernandez brothers started in the alt-comics scene, where their Love and Rockets series quickly gained prominence. They have since published in more mainstream venues but have maintained an outsider status based on their own background and the content of their work. Enrique García argues that the Hernandez brothers have worked to create a new American graphic storytelling that, while still in touch with mainstream genres, provides a transgressive alternative from an aesthetic, gender, and ethnic perspective. The brothers were able to experiment with and modify these genres by taking advantage of the editorial freedom of independent publishing. This freedom also allowed them to explore issues of ethnic and gender identity in transgressive ways. Their depictions of latinidad and sexuality push against the edicts of mainstream Anglophone culture, but they also defy many Latino perceptions of life, politics, and self-representation. The book concludes with an in-depth interview with Jaime and Gilbert Hernandez that touches on and goes beyond the themes explored in the book"--

Hernandez, Gilbert --- Hernandez, Beto, --- Hernandez, Gilberto, --- Criticism and interpretation. --- Comic books, strips, etc. --- Graphic novels --- American literature --- Authorship. --- History and criticism. --- Mexican American authors --- Hernandez, Jaime --- Hernandez, Mario, --- Bros Hernandez --- Los Bros Hernandez --- Los Brothers Hernandez --- Brothers Hernandez --- Hernandez Brothers --- Los Bros --- 82-931 --- 070.84 --- 741.5 --- 741.5 Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- 070.84 Comics. Stripverhalen--(in de krant) --- Comics. Stripverhalen--(in de krant) --- 82-931 Stripverhaal --- Stripverhaal

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2017 EISNER AWARD NOMINEE for Best Academic/Scholarly Work In the late 1970s and early 1980s, writer-artist Frank Miller turned Daredevil from a tepid-selling comic into an industry-wide success story, doubling its sales within three years. Lawyer by day and costumed vigilante by night, the character of Daredevil was the perfect vehicle for the explorations of heroic ideals and violence that would come to define Miller's work. Frank Miller's Daredevil and the Ends of Heroism is both a rigorous study of Miller's artistic influences and innovations and a reflection on how his visionary work on Daredevil impacted generations of comics publishers, creators, and fans. Paul Young explores the accomplishments of Miller the writer, who fused hardboiled crime stories with superhero comics, while reimagining Kingpin (a classic Spider-Man nemesis), recuperating the half-baked villain Bullseye, and inventing a completely new kind of Daredevil villain in Elektra. Yet, he also offers a vivid appreciation of the indelible panels drawn by Miller the artist, taking a fresh look at his distinctive page layouts and lines. A childhood fan of Miller's Daredevil, Young takes readers on a personal journey as he seeks to reconcile his love for the comic with his distaste for the fascistic overtones of Miller's controversial later work. What he finds will resonate not only with Daredevil fans, but with anyone who has contemplated what it means to be a hero in a heartless world. Other titles in the Comics Culture series include Twelve-Cent Archie, Wonder Woman: Bondage and Feminism in the Marston/Peter Comics, 1941-1948, and Considering Watchmen: Poetics, Property, Politics.

Comic books, strips, etc. --- Popular culture --- American literature --- Myth in literature. --- History and criticism. --- Miller, Frank, --- Daredevil (Fictitious character) --- Criticism and interpretation. --- History. --- Daredevil --- Murdock, Matt --- Murdock, Matthew Michael --- Murdock, Michael --- Man Without Fear --- Devil of Hell's Kitchen --- 82-931 --- 070.84 --- 741.5 --- 741.5 Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- 070.84 Comics. Stripverhalen--(in de krant) --- Comics. Stripverhalen--(in de krant) --- 82-931 Stripverhaal --- Stripverhaal --- Miller, Frank

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Serial Selves considers how female, queer, disabled, and minority artists use autobiographical comics to make their experiences not only legible, but visible as well. Fusing methods from literary and visual studies, it explores how these artists on the margins challenge both the narrative conventions of autobiography and the norms of pictorial self-representation

Semiotics --- Sociology of minorities --- Autobiographical comic books, strips, etc. --- Self-perception in art --- Narrative art --- History and criticism --- Themes, motives --- Self-perception in art. --- History and criticism. --- Themes, motives. --- Autobiographical comic books, strips, etc. - History and criticism --- Narrative art - Themes, motives --- 82-931 --- 070.84 --- 741.5 --- 741.5 Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- 070.84 Comics. Stripverhalen--(in de krant) --- Comics. Stripverhalen--(in de krant) --- 82-931 Stripverhaal --- Stripverhaal --- Bandes dessinées autobiographiques. --- Minorités --- Dans les bandes dessinées.

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After debuting in 1938, Superman soon became an American icon. But why has he maintained his iconic status for nearly 80 years? And how can he still be an American icon when the country itself has undergone so much change? Superman: Persistence of an American Icon examines the many iterations of the character in comic books, comic strips, radio series, movie serials, feature films, television shows, animation, toys, and collectibles over the past eight decades. Demonstrating how Superman's iconic popularity cannot be attributed to any single creator or text, comics expert Ian Gordon embarks on a deeper consideration of cultural mythmaking as a collective and dynamic process. He also outlines the often contentious relationships between the various parties who have contributed to the Superman mythos, including corporate executives, comics writers, artists, nostalgic commentators, and collectors. Armed with an encyclopedic knowledge of Superman's appearances in comics and other media, Gordon also digs into comics archives to reveal the prominent role that fans have played in remembering, interpreting, and reimagining Superman's iconography. Gordon considers how comics, film, and TV producers have taken advantage of fan engagement and nostalgia when selling Superman products. Investigating a character who is equally an icon of American culture, fan culture, and consumer culture, Superman thus offers a provocative analysis of mythmaking in the modern era.

Superman --- Superman (Comic strip) --- Superheroes --- Heroes in mass media. --- Myth in mass media. --- Popular culture --- Comic books, strips, etc. --- LITERARY CRITICISM / American / General. --- SOCIAL SCIENCE / Men's Studies. --- COMICS & GRAPHIC NOVELS / Nonfiction. --- LITERARY CRITICISM / Comics & Graphic Novels. --- PERFORMING ARTS / Film & Video / History & Criticism. --- SOCIAL SCIENCE / Popular Culture. --- Comic book heroes --- Super heroes --- Fictitious characters --- Mass media --- Overman (Philosophical concept) --- Philosophical anthropology --- Social aspects. --- History. --- History and criticism. --- Kal-El --- Kent, Clark --- 82-931 --- 070.84 --- 741.5 --- 741.5 Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- 070.84 Comics. Stripverhalen--(in de krant) --- Comics. Stripverhalen--(in de krant) --- 82-931 Stripverhaal --- Stripverhaal