Konstfacks bibliotek

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*00125435
*007|||||||||||||||||||||||
*008110824s2007    xxua   | b    001 0 eng c
*020  $a9780306815096 (hardcover : alk. paper)
*020  $a9780306815096
*020  $a0306815095 (hardcover : alk. paper)
*020  $a0306815095
*035  $a(Ko)29372
*084  $aIg.5
*084  $aG.05
*1001 $aWolk, Douglas
*24510$aReading comics :$bhow graphic novels work and what they mean  /$cDouglas Wolk
*260  $aCambridge, MA ;$a2007 :$bDa Capo Press ,$ccop. 2007
*300  $aviii, 405 p.  :$bill.  :$c24 cm.
*504  $aIncludes bibliographical references (p. 373-390) and index.
*505  $tPt. 1. Theory and history. What comics are, and what they aren't -- Auteurs, the history of art comics, and how to look at ugly drawings -- What's good about bad comics, and what's bad about good comics -- Superheroes and superreaders -- Pictures, words and the space between them -- Pt. 2. Reviews and commentary. David B.: The battle against the real world -- Chester Brown: The outsider -- Steve Ditko: A is A -- Will Eisner and Frank Miller: The raconteurs -- Gilbert Hernandez: Spiraling into the system -- Jaime Hernandez: Mad love -- Craig Thompson and James Kochalka: Craft vs. cuteness -- Hope Larson: The cartography of joy -- Carla Speed McNeil: Shape-changing demons, birth-yurts and robot secretaries -- Alan Moore: The house of the magus -- Grant Morrison: The invisible king -- Dave Sim: Aardvark politick -- The dark mirrors of Jim Starlin's Warlock -- Tomb of Dracula: the cheap, strong stuff -- Kevin Huizenga: Visions from the enchanted gas station -- Charles Burns and Art Spiegelman: Draw yourself raw -- Why does Chris Ware hate fun? -- Alison Bechdel: Reframing memory -- Afterword: The rough wave and the smooth wave.
*520  $aThe volume contains two sections: "Theory and History," an explanation of comics as a medium and an overview of its evolution, and "Reviews and Commentary," a diverse examination of creators and works. The second section spans Will Eisner's pioneering efforts as well as the groundbreaking modern comics by the Hernandez brothers, Chris Ware and Alison Bechdel.
*650 4$aTecknade serier
*650 4$aComic books, strips, etc.
*650 4$aHistory and criticism.
*650 4$aUnited States
*8520 $cTECKNADE SERIER -$hG.05
*8564 $uhttp://www.loc.gov/catdir/toc/ecip0710/2007005232.html
*950  $aBilder
*950  $aTecknade serier
*950  $aBatman (fiktiv gestalt)
*950  $aTecknade serier
*950  $aGrafiska romaner
*950  $aTecknade serier
*950  $aSuperhjältar
*950  $aTecknade serier
*950  $aVuxenserier
*950  $aTecknade serier
*950  $aSerier
*950  $aTecknade serier$xtecknade
*950  $aSerietidningar
*950  $aTecknade serier
^

Suddenly, comics are everywhere: a newly matured art form, filling bookshelves with brilliant, innovative work and shaping the ideas and images of the rest of contemporary culture. In Reading Comics , critic Douglas Wolk shows us why this is and how it came to be. Wolk illuminates the most dazzling creators of modern comics-from Alan Moore to Alison Bechdel to Dave Sim to Chris Ware-and introduces a critical theory that explains where each fits into the pantheon of art. Reading Comics is accessible to the hardcore fan and the curious newcomer; it is the first book for people who want to know not just what comics are worth reading, but also the ways to think and talk and argue about them.

• Acknowledgmentsp. ix
• Theory and Historyp. 1
• What Comics Are and What They Aren'tp. 3
• Auteurs, the History of Art Comics, and How to Look at Ugly Drawingsp. 29
• What's Good About Bad Comics and What's Bad About Good Comicsp. 60
• Superheroes and Superreadersp. 89
• Pictures, Words, and the Space Between Themp. 118
• Reviews and Commentaryp. 135
• A Small Disclaimerp. 137
• David B.: The Battle Against the Real Worldp. 139
• Chester Brown: The Outsiderp. 147
• Steve Ditko: A Is Ap. 156
• Will Eisner and Frank Miller: The Raconteursp. 166
• Gilbert Hernandez: Spiraling into the Systemp. 181
• Jaime Hernandez: Mad Lovep. 193
• Craig Thompson and James Kochalka: Craft Versus Cutenessp. 203
• Hope Larson: The Cartography of Joyp. 214
• Carla Speed McNeil: Shape-Changing Demons, Birth-Yurts, and Robot Secretariesp. 220
• Alan Moore: The House of the Magusp. 228
• Grant Morrison: The Invisible Kingp. 258
• Dave Sim: Aardvark Politickp. 289
• The Dark Mirrors of Jim Starlin's Warlockp. 304
• Tomb of Dracula: The Cheap, Strong Stuffp. 317
• Kevin Huizenga: Visions from the Enchanted Gas Stationp. 329
• Charles Burns and Art Spiegelman: Draw Yourself Rawp. 336
• Why Does Chris Ware Hate Fun?p. 347
• Alison Bechdel: Reframing Memoryp. 359
• Afterword: The Rough Wave and the Smooth Wavep. 365
• Notesp. 373
• Indexp. 391