University Press Copublishing Division / Fairleigh Dickinson University Press
Trim: 6¼ x 9
978-1-61147-556-2 • Hardback • December 2013 • $121.00 • (£93.00)
978-1-61147-852-5 • Paperback • August 2015 • $59.99 • (£46.00)
978-1-61147-557-9 • eBook • December 2013 • $54.00 • (£42.00)
Annessa Ann Babic is the coordinator of interdisciplinary studies at New York Institute of Technology.
France, The Second Comics Market
- Antiquity and Bandes Dessinées: Schizophrenic Nationalism Between Atlanticism and Marxism
Guillaume de Syon
- Did You Learn Your Strip?: The History of France as Comic Fad in the 1970s
- “Ils sont fous ces Gaulois!”: Astérix, Lucky Luke, Freedom Fries, and the Love-Hate Relationship Between France and the United States
Nation and Revolution
- Image and Text in Service of the Nation: Historically-themed Comic Books as Civic Education in 1980s Mexico
Images of US Wars
- Who is Diana Prince?: The Amazon Army Nurse of World War II
Annessa Ann Babic
- Wonder Woman as Patriotic Icon: The Amazon Princess for the Nation and Femininity
James C. Lethbridge
- Comic Containment: No Laughing Matter
- Graphic/Narrative/History: Defining the Essential Experience(s) of 9/11
Morals, Ethics, and Race
Kara M. Kvaran
- Super Gay!: Depictions of Homosexuality in Mainstream Superhero Comics
- The Man in the Gray Metal Suit: Dr. Doom, the Fantastic Four, and the Costs of Conformity
- Seen City: Frank Miller’s Re-Imaging as a Cinematic “New Real”
- The Zombie Apocalypse: A Fictional State of Nature?
- Logicomix and the Enunciatory Apparatus
About the Contributors
This collection is welcome because it features essays by researchers new to the field, some with novel ideas. The volume provides a sampling of genres, personalities, stories, and issues in the lifeline of comics--bande dessinée, Mexican educational comics, film adaptations, Wonder Woman, Astérix, Lucky Luke, Dr. Doom, the Fantastic Four, Sin City--and also considers comics relative to nationalism, femininity, masculinity, homosexuality, censorship, containment, conformism, and patriotism. Interesting essays on Mexico and France discuss comic books officially sanctioned for educational purposes, pointing to what they left out, downplayed, or emphasized to serve government interests. An essay on Wonder Woman during WW II shows the duplicitous, confusing roles the superwoman played while representing women generally; another on the containment of comics in the 1950s examines the contributing factors of fear and insecurity, which ultimately led to censorship. The book includes some well-thought-out, decipherable theory--best presented in Lynda Goldstein's excellent chapter on issues and challenges of historical discourse concerning an event, here 9/11. . . .Summing Up: Recommended. Upper-division undergraduates and above.
— Choice Reviews
The book studiously delves into the ways in which comics often goes beyond entertainment to both reflect and influence society. This intriguing collection of essays spans a wide range of comic book styles and eras. . . .The book will enable you to view the world of comics in a new light.
— Pop Culture Classics
Comics is a visual medium used to express ideas via images, often combined with text or visual information. Comics frequently takes the form of juxtaposed sequences of panels of images. Often textual devices such as speech balloons, captions, and sound effects indicate dialogue, narration, or other information. Elements such as size and arrangement of panels control narrative pacing. Cartooning and similar forms of illustration are the most common image-making means in comics; fumetti is a form which uses photographic images. Common forms of comics include comic strips, editorial and gag cartoons, and comic books. Since the late 20th century, bound volumes such as graphic novels, comics albums, and tankobon have become increasingly common, and online webcomics have proliferated. Compiled and edited by Annessa An Babic, 'Comics as History, Comics as Literature: Roles of the COmic Book Scholarship, Society, and Entertainment' is a 272 page compendium comprised of thirteen articulate, erudite, and seminal essays on the cultural impact of comics. Of special note is 'SuperGay: Depictions of Homosexuality in Mainstream Superhero Comics'. A seminal body of impressive scholarship that is enhanced with the inclusion of an extensive bibliography and a comprehensive index, Comics As History, Comics As Literature is very highly recommended reading and an invaluable addition to academic library Popular Culture Studies and Literary Studies reference collections.
— Midwest Book Review