Desktop version

Home arrow Sociology

  • Increase font
  • Decrease font


Cultures of Comics Work

What is Comics Work?Comics as Cultural WorkCultural Work, Convergence, and the Creative IndustriesToward an Understanding of Comics WorkKey Concepts in the Study of Comics WorkLocating LaborIllustrating WorkersPushing the BoundariesFuture DirectionsNotesReferencesI Locating LaborFor the Love of the Craft: Industry, Identity, and Australian ComicsComics as Creative LaborScene Culture and Creative IdentityAustralian Comics Production as a Creative Industry?ConclusionReferencesBetween Art and the Underground: From Corporate to Collaborative Comics in IndiaComics Events for a Public CultureOrijit Sen and Creative CommunityPratheek Thomas and Collaborative StorytellingConclusion: Building Collaborative CommunitiesNotesReferencesMaking Comics as Artisans: Comic Book Production in ColombiaSome Historical Landmarks, 1970-1997The New Era, 1997-PresentThe Curse of # 1Contemporary Colombian Comics Artists, Groups, and EventsArtistsEventsGroupsOverviewThe Ink Is Finally DryingNoteReferencesNuestro Futuro iHombres Libres, O Esclavos?: Imagining US-Mexican Cooperation against the Axis Powers in a World War II Propaganda ComicThe Office of Inter-American AffairsThe American Jewish CommitteeProducing Nuestro FuturoDistributionWork and Labor RelationsCONCLUSIONReferencesRecognizing Comics as Brazilian National Popular Culture: CETPA and the Debates over Comics Professional Identities (1961-1964)CETPA’s CreationTensions and Conflicts Between the Comics Art World and CETPA’s Editorial PoliticsConclusionNotesReferencesFrom Turtles to Topatoco: A Brief History of Comic Book Production in the Pioneer ValleyIntroduction: A Place of Historical SignificanceField and CapitalA Brief Chronology of the Northampton SceneA Precedent for Autonomy: The Underground Comix MovementA Period of DeclineConclusion: Toward PossibilityNoteReferencesII Illustrating WorkersThe Case of the Missing Author: Toward an Anatomy of Collaboration in ComicsIntroduction: The Anxiety of ResponsibilityThe Auteur: The Apprenticeship ModelPartnership Models: A Marriage of Equals?Collaborative Teams: The Overtly Feminist ModelCONCLUSIONNoteReferencesDrawing Fatherhood: The Working Father Figure in the Autobiographical Graphic Novels of Guy DelisleCultural WorkFatherhood and WorkAnalytic ApproachProminent Themes The Distracted ParentThe Search for Spatial and Temporal Autonomy“It’s not a hobby. It’s what I do for a living.”Being a Manly FatherConclusionReferencesUnder the Radar: John Porcellino’s King- Cat Comics and Self-Publishing as Cultural Work“The Feeling of Simply Being Alive”: The History of John Porcellino and King-CatPrecarious Conditions and Uneven Rewards: SelfPublishing Comics as Cultural WorkComics Studies, Alternative Comics, Publishing, and LegitimationConclusion and DiscussionReferencesBearing Witness and Telling It How It Is: Dialogue and Collaboration in the Creation of Dans lesgriffes de la vipereSpirou, Spirou et Fantasio, Marsupilami, and Latin AmericaVehlmann and CollaborationThe PublisherCollaboratorsSourcesGoes To Latin AmericaPutting Things Into PerspectiveNotesReferencesNegotiating Artistic Identity in Comics CollaborationAgainst the AuteurRendering and RelationshipsMaking MeaningIntersubjectivityThe Third HandConclusionReferencesTo the Studio! Comic Book Artists: The Next Generation and the Occupational Imaginary of Comics WorkMaking Comics as Media WorkComic Book Artists: The Next GenerationPros and Cons: Narrating a Comics CareerCultural Contradictions of Comics WorkConclusion: Comic Book Rock Stars?NotesReferencesIII Pushing the BoundariesGatekeeping in Comics Publishing: A Practical Guide to Gatekeeping ResearchGatekeeping Research: A Brief OverviewDupuis and Lombard as GatekeepersSelecting a PublisherThe Ideal SituationAlternative MethodsSurveysInterviewing Gatekeepers and/or AuthorsReading the Submission GuidelinesSubmit a Project YourselfData Analysis and PresentationConclusionNotesReferencesToward Maturity: Analyzing the Spanish Comics Industry Through a Comparison of National Graphic Novels and Gafotaku- Oriented MangaAdult Comics and Mature ReadersThe Maturation of Spanish Comics Creators via the Graphic Novel PhenomenonFrom Mass Medium to Art: An Auteurist PerspectiveManga from the Graphic Novel PerspectiveGafotaku: Toward Maturity of ReadershipFrom Niche to SuperstoreMarket Equilibrium and Critical MassFuture PerspectivesNotesReferencesThe Tail That Wags the Dog: The Impact of Distribution on the Development and Direction of the American Comic Book IndustryTheoretical FrameworkFour ExamplesThe Comics Code (1954)The Direct MarketRecent Developments: Manga and DigitalConclusionReferencesReconfiguring the Power Structure of the Comic Book Field: Crowdfunding and the Use of Social NetworksSocial Skill, Agency, and Structure: Opportunities in the Comic Book FieldActivity and Attractivity in Network AnalysisControl “of” the Field and “by” the FieldConclusionsNotesReferences“A Fumetto, a Comic, and a BD Walk into a Bar...”: The Translation of Humor in ComicsFinding the FunnyWhere Is the Humor?What Is the Humor?Translating the HumorDown and DirtyMetahumorSelf-underminingOnomatopoeia(Anti)ClimaxLinguisticPolitical (In)CorrectnessParodyAbsurdChildishCombinationsSummary and ConclusionNotesReferencesSubcultural Clusters and Blurry Boundaries: Considering Art Worlds and Fields of Cultural Production through Localized Manga Production in HungaryOn Art Worlds and Fields of Cultural ProductionThe Interrelationship of Anime and Manga Conventions and Manga Publishing in HungaryFrom Subcultural Producers to Subcultural ClustersPost-Boom Developments in Hungary and Their Significance to Subcultural ClustersConclusionNotesReferences

Related topics