Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-2xdlg Total loading time: 0 Render date: 2024-06-24T02:56:28.571Z Has data issue: false hasContentIssue false

Part I - History and Genre

Published online by Cambridge University Press:  10 January 2024

Jan Baetens
Affiliation:
KU Leuven, Belgium
Hugo Frey
Affiliation:
University of Chichester
Fabrice Leroy
Affiliation:
University of Louisiana at Lafayette
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Baker, M., Waller, D., and Osrin, R. (1950). It Rhymes with Lust. Memphis, TN: Boardman Books.Google Scholar
Baker, M., Waller, D., and Osrin, R. (2016). It Rhymes with Lust Revisited. New York: St. John Publishing.Google Scholar
Beronä, D. A. (2008). Wordless Books: The Original Graphic Novels. New York: Abrams.Google Scholar
Groensteen, T. (1997–1998). Histoire de la bande dessinée muette [I–II]. Neuvième Art, nos. 2 and 3, 60–75 and 92–105.Google Scholar
Groensteen, T. (2011 [1999]). Système de la bande dessinée. Paris: Presses Universitaires de France.Google Scholar
Gross, M. (2005 [1930]). He Done Her Wrong. Seattle, WA: Fantagraphics.Google Scholar
Hulshof-Schmidt, R. (2018). How Lust Was Lost: Genre, Identity, and the Neglect of a Pioneering Comics Publication. In Aldama, Frederick Luis, ed., Comics Studies Here and Now. New York: Routledge, pp. 5766.Google Scholar
Kelman, A. Y. (2009). Is Diss a System? A Milt Gross Comic Reader. New York: NYU Press.Google Scholar
Kunka, A. J. (2018). Crime Genre Fiction in the Graphic Novel. In Baetens, Jan, Frey, Hugo, and Tabachnick, Stephen E., eds., The Cambridge History of the Graphic Novel. Cambridge: Cambridge University Press, pp. 457475.Google Scholar
Menu, J.-C. (2011). La bande dessinée et son double. Paris: L’Association.Google Scholar
Postema, B. (2018). Long-Length Wordless Books: Frans Masereel, Milt Gross, Lynd Ward, and Beyond. In Baetens, Jan, Frey, Hugo, and Tabachnick, Stephen E., eds., The Cambridge History of the Graphic Novel. Cambridge: Cambridge University Press, pp. 5974.Google Scholar

References

Bergson, H. (2014). Laughter: An Essay on the Meaning of the Comic, trans. C. Brereton and F. Rothwell. Eastford, CT: Martino Fine Books.Google Scholar
D’Angelo, F. J. (2009). The Rhetoric of Intertextuality. Rhetoric Review, 29(1) 3147.Google Scholar
Fay, M. (2015). Out of Line: The Art of Jules Feiffer. New York: Abrams.Google Scholar
Feiffer, J. (1979). Tantrum. New York: Alfred A. Knopf.Google Scholar
Feiffer, J. (1989). Munro. In J. Feiffer, Feiffer: The Collected Works. Seattle, WA: Fantagraphics, pp. 1970.Google Scholar
Feiffer, J. (2010). Backing into Forward: A Memoir. New York: Nan A. Talese/Doubleday.Google Scholar
Feiffer, J. (2014). Kill My Mother. New York: Liveright.Google Scholar
Feiffer, J. (2016). Cousin Joseph. New York: Liveright.Google Scholar
Feiffer, J. (2018). The Ghost Script. New York: Liveright.Google Scholar
Groensteen, T. (2010). Parodies: La bande dessinée au second degré. Paris: Skira Flammarion.Google Scholar
Kitchen, D. (2014). It’s a Jungle Out There! In H. Kurtzman, Harvey Kurtzman’s Jungle Book. Milwaukie, OR: Kitchen Sink Books, pp. 1124.Google Scholar
Kitchen, D., and Buhle, P. (2009). The Art of Harvey Kurtzman, the Mad Genius of Comics. New York: Abrams Comic Art.Google Scholar
Knudde, K. (2021). Jules Feiffer. In Lambiek Comiclopedia. www.lambiek.net/artists/f/feiffer.htm.Google Scholar
Kurtzman, H. (2012). Corpse on the Imjin and Other Stories. Seattle, WA: Fantagraphic Books.Google Scholar
Kurtzman, H. (2014). Harvey Kurtzman’s Jungle Book. Milwaukie, OR: Dark Horse Comics/Kitchen Sink Books.Google Scholar
Schelly, B. (2015). Harvey Kurtzman: The Man Who Created Mad and Revolutionized Humor in America. Seattle, WA: Fantagraphics.Google Scholar
Schopenhauer, A. (1907). The World as Will and Representation, vol. 1., trans. R. B. Haldane and J. Kemp. London: Kegan Paul, Trench, Trübner and Co.Google Scholar
Spiegelman, A. (2014). Intro. In H. Kurtzman, Harvey Kurtzman’s Jungle Book. Milwaukie, OR: Kitchen Sink Books, pp. 2527.Google Scholar
Wood, W. (2020). Atom Bomb and Other Stories. Seattle, WA: Fantagraphic Books.Google Scholar

References

American Psychiatric Association (2021). What Is Obsessive-Compulsive Disorder? www.psychiatry.org/patients-families/ocd/what-is-obsessive-compulsive-disorder (accessed August 16, 2021).Google Scholar
Barry, L. (2002). One Hundred Demons. Seattle, WA: Sasquatch.Google Scholar
Baxandall, M. (1987). Patterns of Intention. New Haven, CT: Yale University Press.Google Scholar
Beaty, B. (2018). Chris Oliveros, Drawn and Quarterly, and the Expanded Definition of the Graphic Novel. In Baetens, J., Frey, H., and Tabachnick, S. E., eds., The Cambridge History of the Graphic Novel. New York: Cambridge University Press, pp. 426442.Google Scholar
Bechdel, A. (2006). Fun Home: A Family Tragicomic. New York: Houghton Mifflin.Google Scholar
Beronå, D. (2008). Wordless Books: The Original Graphic Novels. New York: Abrams.Google Scholar
Bourdieu, P. (2013 [1972]). Outline of a Theory of Practice, trans. R. Nice. New York: Cambridge University Press.Google Scholar
Chute, H. (2008). Comics as Literature? Reading Graphic Narrative. PMLA 123(2), 452465.Google Scholar
Chute, H. (2010). Graphic Women: Life Narrative and Contemporary Comics. New York: Columbia University Press.Google Scholar
Clowes, D. (1991). Art School Confidential. Eightball 7. Reprinted in The Complete Eightball 1–18. Seattle, WA: Fantagraphics.Google Scholar
David, B. (2006 [1996–2003]). Epileptic. New York: Pantheon.Google Scholar
Deleuze, G., and Guattari, F. (1986 [1972]). Kafka: Toward a Minor Literature, trans. D. Polan. Minneapolis: University of Minnesota Press.Google Scholar
Doucet, J. (2000). My New York Diary. Montreal: Drawn and Quarterly.Google Scholar
Eisner, W. (2008 [1986]). The Dreamer. New York: Norton.Google Scholar
Eisner, W. (2017 [1978]). A Contract with God. New York: Norton.Google Scholar
El Refaie, E. (2012). Autobiographical Comics: Life Writing in Comics. Jackson: University Press of Mississippi.Google Scholar
Gabilliet, J.-P. (2018). Underground Comix and the Invention of Autobiography, History and Reportage. In Baetens, J., Frey, H., and Tabachnick, S. E., eds., The Cambridge History of the Graphic Novel. New York: Cambridge University Press, pp. 155170.Google Scholar
Gardner, J. (2007). Autography’s Biography, 1972–2007. Biography 31(1), 126.Google Scholar
Gloeckner, P. (2000 [1998]). A Child’s Life and Other Stories. Berkeley, CA: Frog Books.Google Scholar
Green, J. (1972). Binky Brown Meets the Holy Virgin Mary. San Francisco, CA: Last Gasp Eco Funnies.Google Scholar
Green, J. (1995). Green’s Binky Brown Sampler. San Francisco, CA: Last Gasp.Google Scholar
Green, J. (2009). Binky Brown Meets the Holy Virgin Mary. San Francisco, CA: McSweeney’s.Google Scholar
Green, J. (2011). Binky Brown rencontre la Vierge Marie, trans. H. Morgan. Mulhouse: Éditions Stara.Google Scholar
Hatfield, C. (2005). Alternative Comics: An Emerging Literature. Jackson: University Press of Mississippi.Google Scholar
Lejeune, P. (1975). Le pacte autobiographique. Paris: Seuil.Google Scholar
Moore, A., and Gibbons, D. (1987). Watchmen. New York: DC Comics.Google Scholar
Pier, J. (2013). Metalepsis. In The Living Handbook of Narratology. http://lhn.sub.uni-hamburg.de/index.php/Metalepsis.html.Google Scholar
Powys, J. C. (2011 [1934]). Autobiography. London: Faber and Faber.Google Scholar
Sabin, R. (1993). Adult Comics. London: Routledge.Google Scholar
Satrapi, M. (2007). The Complete Persepolis. New York: Pantheon.Google Scholar
Spiegelman, A. (1995). Introduction: Symptoms of Disorder/Signs of Genius. In Justin Green’s Binky Brown Sampler. San Francisco, CA: Last Gasp, 46.Google Scholar
Spiegelman, A. (2003 [1986; 1992]). The Complete Maus. New York: Penguin.Google Scholar
Thompson, C. (2016 [2003]). Blankets. Seattle, WA: Fantagraphics.Google Scholar
Trondheim, L. (2005). Désoeuvré. Paris: L’Association.Google Scholar
Wolk, D. (2007). Reading Comics: How Graphic Novels Work and What They Mean. New York: Da Capo Press.Google Scholar

References

Ahmed, M. (2012). Historicizing in Graphic Novels: The Welcome Subjective G(l)aze. In Iadonisi, R., ed., Graphic History: Essays on Graphic Novels and/as History. Newcastle upon Tyne: Cambridge Scholars Publishing, pp. 184202.Google Scholar
Backderf, D. (2020). Kent State: Four Dead in Ohio. New York: Abrams ComicArts.Google Scholar
Baetens, J. (2017). Other Nonfiction. In Tabachnik, S. E., ed., The Cambridge Companion to the Graphic Novel. New York: Cambridge University Press, pp. 130143.Google Scholar
Brabner, J., and Merkle, L. A. (1987). A Long Time Ago & Today. Real War Stories #1. Forestville, CA: Eclipse Comics.Google Scholar
Chak, T. (2014). Undocumented: The Architecture of Migrant Detention. Montreal: Architecture Observer.Google Scholar
Crumb, R. (1965). Bulgaria: A Sketchbook Report. In Kurtzman, H., ed., Help! #25. Warren Publishing.Google Scholar
Davies, D. (2017). Hard Infrastructures, Diseased Bodies. Refugee Hosts, https://refugeehosts.org/2017/10/30/hard-infrastructures-diseased-bodies/ (accessed June 16, 2021).Google Scholar
Delisle, G. (2012). Jerusalem. Montreal: Drawn & Quarterly.Google Scholar
Dong, L. (2016). Drawing the Troubled Artist Abroad: Guy Delisle’s Visual Travelogues. East Asian Journal of Popular Culture 2(2), 193208.Google Scholar
Duncan, R., Ray Taylor, M., and Stoddard, D. (2016). Creating Comics as Journalism, Memoir and Nonfiction. New York: Routledge.Google Scholar
Glidden, S. (2016). Rolling Blackouts: Dispatches from Turkey, Syria, and Iraq. Montreal: Drawn & Quarterly.Google Scholar
Kavaloski, J. (2019). Discordant Discourses: History and Journalism in the Graphic Novels of Joe Sacco. Journal of Graphic Novels and Comics 10(1), 122139.Google Scholar
Koçak, K. (2017). Comics Journalism: Towards a Definition. International Journal of Humanities and Cultural Studies 4(3), 174199.Google Scholar
Kurtzman, H. (April 1959). Assignment: James Cagney in Ireland. Esquire.Google Scholar
Mickwitz, N. (2016). Documentary Comics. Basingstoke: Palgrave Macmillan.Google Scholar
Mickwitz, N. (2019). “True Story”: The Aesthetic Balancing Acts of Documentary Comics. ImageText 11(1), 152.Google Scholar
Mickwitz, N. (2020). Comics Telling Refugee Stories. In Davies, D. and Rifkind, C., eds., Documenting Trauma in Comics: Traumatic Pasts, Embodied Histories, and Graphic Reportage. Basingstoke: Palgrave Macmillan, pp. 277296.Google Scholar
Neufeld, J. (2009). A.D.: New Orleans after the Deluge. New York: Pantheon Books.Google Scholar
Rifkind, C. (2010). A Stranger in a Strange Land? Guy Delisle Redraws the Travelogue. International Journal of Comic Art 12(2–3), 268290.Google Scholar
Rifkind, C. (2017). Refugee Comics and Migrant Topographies. Auto/Biography Studies 32(3), 648654.Google Scholar
Rifkind, C. (2020). Migrant Detention Comics and the Aesthetic Technologies of Compassion. In Davies, D. and Rifkind, C., eds., Documenting Trauma in Comics: Traumatic Pasts, Embodied Histories, and Graphic Reportage. Palgrave Macmillan, pp. 297316.Google Scholar
Sacco, J. (2020). Paying the Land. New York: Metropolitan Books.Google Scholar
Salmi, C. (2016). Reading Footnotes: Joe Sacco and the Graphic Human Rights Narrative. Journal of Postcolonial Writing 52(4), 415427.Google Scholar
Schelly, B. (2015). Harvey Kurtzman: The Man Who Created Mad and Revolutionized Humor in America. Seattle, WA: Fantagraphics.Google Scholar
Scherr, R. (2014). Framing Human Rights: Comics Form and the Politics of Recognition in Joe Sacco’s Footnotes in Gaza. Textual Practice 29(1), 111131.Google Scholar
Schmid, J. C. P. (2020). Comics as Memoir and Documentary: A Case Study of Sarah Glidden. In Davies, D. and Rifkind, C., eds., Documenting Trauma in Comics: Traumatic Pasts, Embodied Histories, and Graphic Reportage. Palgrave Macmillan, pp. 317334.Google Scholar
Schmid, J. C. P. (2021). Framing Documentary Comics: Considering Prologues. In Schmid, J. C. P. and Bachmann, C. A., eds., Framing [in] Comics and Cartoons: Essays on Aesthetics, History, and Mediality. Berlin: Ch. A. Bachmann Verlag, pp. 87110.Google Scholar
Weber, W., and Rall, H.-M. (2017). Authenticity in Comics Journalism: Visual Strategies for Reporting Facts. Journal of Graphic Novels and Comics 8(4), 376397.Google Scholar
Woo, B. (2010). Reconsidering Comics Journalism: Information and Experience in Joe Sacco’s Palestine. In Goggin, J. and Hassler-Forest, D., eds., The Rise and Reason of Comics and Graphic Literature: Critical Essays on the Form. Jefferson, NC: McFarland, pp. 166177.Google Scholar

References

Ahmed, M., and Kwa, S. (2021). “Kill the Monster!” My Favorite Thing Is Monsters and the Big, Ambitious (Graphic) Novel. Genre 54(1), 1742.Google Scholar
Baetens, J., and Frey, H. (2015). The Graphic Novel: An Introduction. New York: Cambridge University Press.Google Scholar
Barry, L. (2002). One Hundred Demons. Seattle, WA: Sasquatch.Google Scholar
Beaty, B., and Woo, B. (2016). The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books. New York: Palgrave Macmillan.Google Scholar
Bechdel, A. (2006). Fun Home: A Family Tragicomic. Boston: Houghton Mifflin.Google Scholar
Buell, L. (2014). The Dream of the Great American Novel. Cambridge, MA: Belknap Press of Harvard University Press.Google Scholar
Bui, T. (2018). The Best We Could Do. New York: Abrams.Google Scholar
Burns, C. (2005). Black Hole. New York: Pantheon.Google Scholar
Chute, H. L. (2008). Comics as Literature? Reading Graphic Narrative. PMLA 123(2), 452465.Google Scholar
Chute, H. L. (2010). Graphic Women: Life Narrative and Contemporary Comics. New York: Columbia University Press.Google Scholar
Chute, H. L. (2014). Outside the Box: Interviews with Contemporary Cartoonists. Chicago: University of Chicago Press.Google Scholar
Chute, H. L. (2017). Why Comics? From Underground to Everywhere. New York: HarperCollins.Google Scholar
Clowes, D. (2000 [1997]). Ghost World. London: Cape.Google Scholar
DeForest, J. W. (1868). The Great American Novel. The Nation, January 9, 27–29.Google Scholar
Eisner, W. (2006 [1978]). The Contract with God Trilogy: Life on Dropsie Avenue. New York: Norton.Google Scholar
Emmert, L. (2012 [2007]). The Alison Bechdel Interview. The Comics Journal no. 282. www.tcj.com/the-alison-bechdel-interview/ (accessed February 20, 2022).Google Scholar
Ferris, E. (2017). My Favorite Thing Is Monsters. Seattle, WA: Fantagraphics.Google Scholar
Flowers, E. (2019). Hot Comb. Montreal: Drawn & Quarterly.Google Scholar
Fu, B. (2007). Review of American Born Chinese, by Gene Luen Yang. MELUS no. 32, 274276.Google Scholar
Gardner, J. (2019). A Nice Neighborhood. PMLA 134(3), 595600.Google Scholar
Gloeckner, P. (2015 [2002]). The Diary of a Teenage Girl: An Account in Words and Pictures, revised ed. Berkeley, CA: North Atlantic.Google Scholar
Gloeckner, P., ed. (2018). The Best American Comics 2018. Boston: Houghton Mifflin Harcourt.Google Scholar
Gravett, P. (2011). 1001 Comics You Must Read Before You Die. London: Cassell.Google Scholar
Grossman, L. (2010). All-Time 100 Novels: Watchmen. Time, January 11. https://entertainment.time.com/2005/10/16/all-time-100-novels/slide/watchmen-1986-by-alan-moore-dave-gibbons/ (accessed February 20, 2022).Google Scholar
Hahne, S. T. (n.d.) Asterios Polyp. Good Ok Bad. http://goodokbad.com/index.php/reviews/asterios_polyp_review (accessed February 20, 2022).Google Scholar
Hall, J. (2019). Howard Cruse 1944–2019. The Comics Journal, December 2, www.tcj.com/howard-cruse-1944-2019/ (accessed February 20, 2022).Google Scholar
Hatfield, C. (2005). Alternative Comics: An Emerging Literature. Jackson: University Press of Mississippi.Google Scholar
Heer, J., and Worcester, K., eds. (2004). Arguing Comics: Literary Masters on a Popular Medium. Jackson: University Press of Mississippi.Google Scholar
Kannenberg, G. (2008). 500 Essential Graphic Novels. New York: HarperCollins.Google Scholar
Loman, A. (2010). “That Mouse’s Shadow”: The Canonization of Spiegelman’s Maus. In Williams, P. and Lyons, J., eds., The Rise of the American Comics Artist: Creators and Contexts. Jackson: University Press of Mississippi, pp. 210234.Google Scholar
Lutes, J. (2018). Berlin: The Complete Edition. Montreal: Drawn & Quarterly.Google Scholar
Mazzucchelli, D. (2009). Asterios Polyp. New York: Pantheon.Google Scholar
McGrath, C. (2004). Not Funnies. New York Times Magazine, July 11, pp. 24–33, 46, 55–56.Google Scholar
Moore, A. E. (2006). Preface. In Pekar, H., ed., The Best American Comics. Boston: Houghton Mifflin, pp. ixxiv.Google Scholar
Pekar, H. (2003). American Splendor: The Life and Times of Harvey Pekar. New York: Ballantine.Google Scholar
Pekar, H. (2006). Introduction. In Pekar, H., ed., The Best American Comics. Boston: Houghton Mifflin, pp. xvxxiii.Google Scholar
Pizzino, C. (2016). Arresting Development: Comics at the Boundaries of Literature. Austin: University of Texas Press.Google Scholar
Radway, J. (1997). A Feeling for Books: The Book-of-the-Month Club: Literary Taste and Middle-Class Desire. Chapel Hill: University of North Carolina Press.Google Scholar
Sabin, R. (1993). Adult Comics. London: Routledge.Google Scholar
Sacco, J. (2000). Safe Area Goražde: The War in Eastern Bosnia, 1992–95. Seattle, WA: Fantagraphics.Google Scholar
Singer, M. (2018). Breaking the Frames: Populism and Prestige in Comics Studies. Austin: University of Texas Press.Google Scholar
Spiegelman, A. (1986). Maus I: A Survivor’s Tale: My Father Bleeds History. New York: Pantheon.Google Scholar
Spiegelman, A. (1991). Maus II: A Survivor’s Tale: And Here My Troubles Began. New York: Pantheon.Google Scholar
Thompson, C. (2003). Blankets. Marietta, GA: Top Shelf.Google Scholar
Ware, C. (2000). Jimmy Corrigan: The Smartest Kid on Earth. New York: Pantheon.Google Scholar
Ware, C. (2007). Introduction. In Ware, C., ed., The Best American Comics. Boston: Houghton Mifflin, pp. xvii-xxiv.Google Scholar
Weiner, S. (2001). The 101 Best Graphic Novels. New York: NBM.Google Scholar
Weiner, S. (2010). How the Graphic Novel Changed American Comics. In Williams, P. and Lyons, J., eds., The Rise of the American Comics Artist: Creators and Contexts. Jackson: University Press of Mississippi, pp. 313.Google Scholar
Williams, P. (2010). “A Purely American Tale”: The Tragedy of Racism and Jimmy Corrigan: The Smartest Kid on Earth as Great American Novel. In Williams, P. and Lyons, J., eds., The Rise of the American Comics Artist: Creators and Contexts. Jackson: University Press of Mississippi, pp. 194209.Google Scholar
Williams, P. (2020). Dreaming the Graphic Novel: The Novelization of Comics. New Brunswick, NJ: Rutgers University Press.Google Scholar
Williams, P., and Lyons, J., eds. (2010). The Rise of the American Comics Artist: Creators and Contexts. Jackson: University Press of Mississippi.Google Scholar
Yang, G. L. (2009 [2006]). American Born Chinese. New York: Square Fish.Google Scholar

References

Aaron., J., and Guéra, R. M. (2007–2012). Scalped. 60 issues. New York: DC Comics-Vertigo.Google Scholar
Baetens, J., and Frey, H. (2015). The Graphic Novel: An Introduction. Cambridge: Cambridge University Press.Google Scholar
Benton, M. (1993). The Illustrated History of Crime Comics. The Taylor History of Comics Number 5. Dallas, TX: Taylor.Google Scholar
Besnon, J., Kasakove, D., and Spiegelman, A. (2009 [1975]). An Examination of “Master Race.” In Heer, J. and Worcester, K., eds., A Comics Studies Reader. Jackson: University Press of Mississippi, pp. 288305.Google Scholar
Biro, C., Wood, B., et al. (1942–1955) Crime Does Not Pay. 126 issues. New York: Lev Gleason.Google Scholar
Brubaker, E., and Phillips, S. (2006–2020). Criminal. 45 issues. New York: Marvel Comics-Icon; Portland, OR: Image Comics.Google Scholar
Brubaker, E., and Phillips, S. (2012–2014). Fatale. 24 issues. Portland, OR: Image Comics.Google Scholar
Brubaker, E., and Phillips, S. (2014–2016). The Fade Out. 12 issues. Portland, OR: Image Comics.Google Scholar
Brubaker, E., and Phillips, S. (2020a) Pulp. Portland, OR: Image Comics.Google Scholar
Brubaker, E., and Phillips, S. (2020b). Reckless. Portland, OR: Image Comics.Google Scholar
Brubaker, E., and Phillips, S. (2021a). Friend of the Devil: A Reckless Book. Portland, OR: Image Comics.Google Scholar
Brubaker, E., and Phillips, S. (2021b). Destroy All Monsters: A Reckless Book. Portland, OR: Image Comics.Google Scholar
Collins, M. A., and Beatty, T. (1981–1989). Ms. Tree. 50 issues. Staten Island, NY: Eclipse Comics; Kitchener: Aardvark-Vanaheim; Long Beach: Renegade Press.Google Scholar
Collins, M. A., and Beatty, T. (1990–1993). Ms. Tree Quarterly. New York: DC Comics.Google Scholar
Collins, M. A., and Beatty, T., eds. (2020). Johnny Dynamite: Explosive Pre-Code Crime Comics – The Complete Adventures of Pete Morisi’s Wild Man of Chicago! San Diego, CA: IDW-Yoe Books.Google Scholar
Creekmur, C. K. (2010). Crime Comics. In Booker, M. K., ed., Encyclopedia of Comic Books and Graphic Novels. Santa Barbara, CA: Greenwood, pp. 119125.Google Scholar
Feldstein, A., Gaines, W., and Krigstein, B. (1955). Master Race. In Impact 1. New York: EC Comics.Google Scholar
Feldstein, A., Gaines, W., et al. (1952–1954). Shock SuspenStories. 18 issues. New York: EC Comics.Google Scholar
Gabilliet, J.-P. (2010). Of Comics and Men: A Cultural History of American Comic Books. Jackson: University Press of Mississippi.Google Scholar
Jensen, V., and Powell, N. (2019). Two Dead. New York: Gallery 13.Google Scholar
Kunka, A. (2018). Crime Genre Fiction in the Graphic Novel. In Baetens, J., Frey, H., and Tabachnick, S., eds., The Cambridge History of the Graphic Novel. Cambridge: Cambridge University Press, pp. 457475.Google Scholar
McCloud, S. (1993). Understanding Comics: The Invisible Art. New York: HarperPerennial.Google Scholar
Nyberg, A. K. (1998). Seal of Approval: The History of the Comics Code. Jackson: University Press of Mississippi.Google Scholar
Pichetshote, P., and Tefengki, A. (2021–2022). The Good Asian. 10 issues. Portland, OR: Image Comics.Google Scholar
Sabin, R. (1993). Adult Comics: An Introduction. New York: Routledge.Google Scholar
Wandtke, T. R. (2015). The Dark Night Returns: The Contemporary Resurgence of Crime Comics. Rochester: RIT Press.Google Scholar
Whitted, Q. (2019). EC Comics: Race, Shock, and Social Protest. New Brunswick, NJ: Rutgers University Press.Google Scholar
Wright, B. (2001). Comic Book Nation: The Transformation of Youth Culture in America. Baltimore, MD: Johns Hopkins University Press.Google Scholar

References

Alaniz, J. (2014). Death, Disability, and the Superhero: The Silver Age and Beyond. Jackson: University Press of Mississippi.Google Scholar
Baetens, J., and Frey, H. (2015). The Graphic Novel: An Introduction. New York: Cambridge University Press.Google Scholar
Campbell, E. (2006 [2004]). Eddie Campbell’s (Revised) Graphic Novel Manifesto. Archived at Oblique Strategies (February 3). http://wasaaak.blogspot.com/2006/02/eddie-campbells-revised-graphic-novel.html.Google Scholar
Chute, H. (2008). Comics as Literature? Reading Graphic Narrative. PMLA 123(2), 452465.Google Scholar
Costello, B. (2017). Neon Visions: The Comics of Howard Chaykin. Baton Rouge: Louisiana State University Press.Google Scholar
Deppey, D. (2006). Eddie Campbell. The Comics Journal 273 (January), 66114.Google Scholar
Gabilliet, J.-P. (2010 [2005]). Of Comics and Men: A Cultural History of American Comic Books, trans. B. Beaty and N. Nguyen. Jackson: University Press of Mississippi.Google Scholar
Gray, M. (2017). Alan Moore, Out from the Underground: Cartooning, Performance, and Dissent. London: Palgrave Macmillan.Google Scholar
Harvey, R. C. (1996). The Art of the Comic Book: An Aesthetic History. Jackson: University Press of Mississippi.Google Scholar
Hatfield, C. (2005). Alternative Comics: An Emerging Literature. Jackson: University Press of Mississippi.Google Scholar
Hoberek, A. (2014). Considering Watchmen: Poetics, Property, Politics. New Brunswick, NJ: Rutgers University Press.Google Scholar
Khoury, G. (2008). The Extraordinary Works of Alan Moore: Indispensable Edition. Raleigh, NC: TwoMorrows.Google Scholar
Klock, G. (2002). How to Read Superhero Comics and Why. New York: Continuum.Google Scholar
Loeb, J., and Sale, T. (1996). Batman: The Long Halloween. New York: DC Comics.Google Scholar
Medhurst, A. (1991). Batman, Deviance and Camp. In Pearson, R. E. and Uricchio, W., eds., The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. Routledge, pp. 149163.Google Scholar
Miller, F., Janson, K., and Varley, L. (1986). Batman: The Dark Knight Returns. Burbank, CA: DC Comics.Google Scholar
Miller, F., and Mazzucchelli, D. (1987). Batman: Year One. New York: DC Comics.Google Scholar
Moore, A. (1986). The Mark of Batman: An Introduction. In Miller, F., Janson, K., and Varley, L., eds., Batman: The Dark Knight Returns. New York: DC Comics, n.p.Google Scholar
Moore, A., and Bolland, B. (1988). Batman: The Killing Joke. New York: DC Comics.Google Scholar
Morrison, G., and McKean, D. (1989). Batman: Arkham Asylum: A Serious House on Serious Earth. New York: DC Comics.Google Scholar
Polo, S. (2018). Batman’s Nudity Controversy Made DC Comics Publishers Reassess Other Black Label Books. Polygon (October 8). www.polygon.com/comics/2018/10/8/17952834/dc-comics-batman-nudity-black-label-jim-lee-dan-didio.Google Scholar
Sabin, R. (1993). Adult Comics: An Introduction. Abingdon-on-Thames: Routledge.Google Scholar
Scott, S. (2013). Fangirls in Refrigerators: The Politics of (In)visibility in Comic Book Culture. Transformative Works and Cultures 13. https://journal.transformativeworks.org/index.php/twc/article/view/460.Google Scholar
Sharrett, C. (1991). Batman and the Twilight of the Idols: An Interview with Frank Miller. In Pearson, R. E. and Uricchio, W., eds., The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. Abingdon-on-Thames: Routledge, pp. 3346.Google Scholar
Singer, M. (2012). Grant Morrison: Combining the Worlds of Contemporary Comics. Jackson: University Press of Mississippi.Google Scholar
Young, P. (2016). Frank Miller’s Daredevil and the Ends of Heroism. New Brunswick, NJ: Rutgers University Press.Google Scholar

References

Attebery, B. (2018). Introduction: Theorizing the Fantastic. Journal of the Fantastic in the Arts 29, 333335.Google Scholar
Bender, H. (2000). The Sandman Companion. London: Titan Books.Google Scholar
The Bible: Authorized King James Version with Apocrypha. (1998). Oxford: Oxford University Press.Google Scholar
Brienza, C. (2016). Manga in America: Transnational Book Publishing and the Domestication of Japanese Comics. London: Bloomsbury.Google Scholar
Clements, J., and McCarthy, H. (2006). The Anime Encylopedia: A Guide to Japanese Animation since 1917 – Revised and Expanded Edition. Berkeley, CA: Stone Bridge Press.Google Scholar
Cochran, R., publisher. (2006). Weird Science: Volume 1, Issues 1–6. Timonium, MD: Gemstone Publishing.Google Scholar
Cuddon, J. A. (1999). The Penguin Dictionary of Literary Terms and Literary Theory. London: Penguin Books.Google Scholar
Daniels, L. (2004). Superman: The Complete History. San Francisco, CA: Chronicle Books.Google Scholar
Dark Horse. (2019). History. Dark Horse. www.darkhorse.com/Company/History/ (accessed November 5, 2021).Google Scholar
Gabilliet, J.-P. (2010). Of Comics and Men: A Cultural History of American Comic Books. Trans. B. Beaty and N. Nguyen. Jackson: University Press of Mississippi.Google Scholar
Gaiman, N., et al. (2006). The Absolute Sandman: Volume One. New York: DC Comics.Google Scholar
Gaiman, N., et al. (2007). The Absolute Sandman: Volume Two. New York: DC Comics.Google Scholar
Goulart, R. (1986). Ron Goulart’s Great History of Comic Books: The Definitive Illustrated History from the 1890s to the 1980s. Chicago: Contemporary Books.Google Scholar
Hajdu, D. (2008). The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America. New York: Farrar, Straus and Giroux.Google Scholar
Hatfield, C. (2012). Hand of Fire: The Comics Art of Jack Kirby. Jackson: University Press of Mississippi.Google Scholar
Horn, M. (1996). 100 Years of American Newspaper Comics: An Illustrated Encyclopedia. New York: Gramercy Books.Google Scholar
Image Comics. (2021). Saga. Image Comics. https://imagecomics.com/comics/series/saga (accessed November 5, 2021).Google Scholar
Kane, B., et al. (1990). Batman Archives: Volume 1. New York: DC Comics.Google Scholar
Labarre, N. (2020). Understanding Genres in Comics. London: Palgrave Macmillan.Google Scholar
Lee, H.-K. (2009). Between Fan Culture and Copyright Infringement: Manga Scanlation. Media, Culture & Society 31, 10111022.Google Scholar
Lee, S., and Kirby, J., et al. (2005). The Fantastic Four #1. In Fantastic Four/Silver Surfer: The Complete Collection. New York: GITCorp.Google Scholar
Lee, S., and Kirby, J., et al. (2007). The Incredible Hulk #1. In The Incredible Hulk: The Complete Collection. New York: GITCorp.Google Scholar
Lee, S., and Kirby, J., et al. (2021). The Mighty Thor Vol. 1: The Vengeance of Loki. Marvel, 2021. New York: Marvel Comics.Google Scholar
Lee, S., and Mair, G. (2002). Excelsior! The Amazing Life of Stan Lee. London: Boxtree.Google Scholar
Lee, S., et al. (2010). Journey into Mystery. Comixology version, Marvel Characters, Inc.Google Scholar
Lund, M. (2016). Re-Constructing the Man of Steel: Superman 1938–1941, Jewish American History, and the Invention of the Jewish-Comics Connection. London: Palgrave Macmillan.Google Scholar
Malory, T. (2004). Le Morte Darthur or The Hoole Book of Kyng Arthur and of His Noble Knyghtes of The Rounde Table, ed. Shepherd, S. H. A.. New York: W. W. Norton.Google Scholar
McCay, W. (2000). Little Nemo: 1905–1914. Köln: Evergreen.Google Scholar
Moulton, C. (1942). Sensation Comics #1. Comixology version. New York: DC Comics.Google Scholar
Plowright, F., ed. (2003). The Slings & Arrows Comic Guide. Great Britain: Slings & Arrows.Google Scholar
Roeder, K. (2022). Little Nemo in Slumberland. World History Commons. https://worldhistorycommons.org/little-nemo-slumberland (accessed March 11, 2022).Google Scholar
Rowe, C. (2022). Science Fiction. In La Cour, E., Grennan, S., and Spanjers, R., eds., Key Terms in Comics Studies. London: Palgrave Macmillan, pp. 281282.Google Scholar
Sabin, R. (1993). Adult Comics: An Introduction. London: Routledge.Google Scholar
Shelley, M. (2003). Frankenstein, or The Modern Prometheus. London: Penguin Books.Google Scholar
Siegel, J., and Shuster, J. (2006). The Superman Chronicles: Volume One. New York: DC Comics.Google Scholar
Siegel, J., and Shuster, J. (2007). The Superman Chronicles: Volume Three. New York: DC Comics.Google Scholar
Siegel, J., and Shuster, J. (2008). The Superman Chronicles: Volume Four. New York: DC Comics.Google Scholar
Varis, E. (2022). Fantasy. In La Cour, E., Grennan, S., and Spanjers, R., eds., Key Terms in Comics Studies. London: Palgrave Macmillan, pp. 107108.Google Scholar
Williams, P. (2020). Dreaming the Graphic Novel: The Novelization of Comics. New Brunswick, NJ: Rutgers University Press.Google Scholar

References

Allen, P., and MacFarlane, S. (2017). Penny Allen on Her Career. Filmmaker (January 6). https://filmmakermagazine.com/100963-activist-resistance-and-organization-in-portland-and-elsewhere-penny-allen-on-her-career/#.YysUqi8w23U (accessed September 2022).Google Scholar
Baudrillard, J. (1991). La Guerre du Golfe n’a pas eu lieu. Paris: Gallilée.Google Scholar
BBC World Service. (2019). The Curse of Agent Orange. Witness History (February 19). www.bbc.co.uk/programmes/p07190m2 (accessed September 2022).Google Scholar
Beauchamp, S. (2016). The Best Retelling of the Iraq War Story Is a Comic Book. New York Magazine – Vulture (August 4). Online: www.vulture.com/2016/07/sheriff-of-babylon-comic-book-iraq-war.html (accessed August 2022).Google Scholar
Bond, J., and Lewis, T. G. (illustrator). (1967). Vietnam, an Antiwar Comic Book. The Sixties Project. www2.iath.virginia.edu/sixties/HTML_docs/Exhibits/Bond/Bond.html (accessed August 2022).Google Scholar
Brantley, R. (1976). “‘Knock knock’ ‘Who’s there?’ ‘Feiffer.’” New York Times (May 16). Online: www.nytimes.com/1976/05/16/archives/knock-knock-whos-there-feiffer-feiffer-who-jules-feiffer-who-has.html (accessed August 2022).Google Scholar
Bui, T. (2017). The Best We Could Do. New York: Abrams.Google Scholar
Capp, A. (1971). The Hard Hat’s Bedtime Story Book. New York: Harper and Row.Google Scholar
Chute, H. (2016). Disaster Drawn. Chicago: Chicago University Press.Google Scholar
Considine, L. (2019). American Pop Art in France: Politics of the Transatlantic Image. London: Routledge.Google Scholar
Curley, J. J. (2013). A Conspiracy of Images: Andy Warhol, Gerhard Richter and the Art of the Cold War. New Haven, CT: Yale University Press.Google Scholar
Frey, H. (2018). Beat-Era Literature and the Graphic Novel. In Baetens, J., Frey, H., and Tabachnick, S., eds., The Cambridge History of the Graphic Novel. New York: Cambridge University Press, pp. 124138.Google Scholar
Genter, R. (2007). With Great Power Comes Great Responsibility: Cold War Culture and the Birth of Marvel Comics. Journal of Popular Culture, 40(6), 953978.Google Scholar
Glass, L. (2013). Counter-Cultural Colophon: Grove Press, Evergreen Review and the Incorporation of the Avant Garde. Redwood City, CA: Stanford University Press.Google Scholar
Grant, B., ed. (2015). Vernon Grant: Stand-By One. Mineral Point, WI: Little Creek Press.Google Scholar
Grant, V. (1984). Samurai Superstar. The Comics Journal, 94 (October), 9195.Google Scholar
Harvey., R. C. (2007). Milton Caniff: A Biography. Seattle, WA: Fantagraphics.Google Scholar
Heer, J. (2015). Pulp Propaganda. The New Republic (October 1). https://newrepublic.com/article/122962/pulp-propaganda-roy-cranes-buz-sawyer-cold-war-comics (accessed August 2022).Google Scholar
King, T., and Gerard, M. (2015). Sheriff of Babylon. New York: Vertigo.Google Scholar
Moore, R., and Kubert, J. (1966). Tales of the Green Beret. New York: Signet Books. First collected edition of the comic serial (1965–1968).Google Scholar
Morel, O., and Maël, (illustrator). (2015). Walking Wounded: Uncut Stories from Iraq. New York: NBM ComicsLit.Google Scholar
O’ Donoghue, M., and Springer, F. (1968). The Adventures of Phoebe Zeit-Geist. New York: Grove Press.Google Scholar
Parkinson, G. (2016). Pogo, Pop and Politics: Robert Benayoun on Comics and Roy Lichtenstein. European Comic Art 9(2) (Autumn), 2758.Google Scholar
Pflug, W. (2021). From the Archives: Vernon E. Grant Collection. Inks: The Journal of the Comics Studies Society 5(2) (Summer), 209224.Google Scholar
Rooke, T. (2015). Gene Basset’s Vietnam Sketchbook. Syracuse, NY: Syracuse University Press.Google Scholar
Ryan, A. A., Jr. (1983). Klaus Barbie and the United States Government: A Report to the Attorney General of the United States. Washington, DC: US Government Printing Office.Google Scholar
Sacco, J. (2013). The Great War: The First Day of the Battle of the Somme. London: Jonathan Cape.Google Scholar
Silloray, F. (2017). Robert Capa: A Graphic Biography. Richmond Hill: Firefly Books.Google Scholar
Spiegelman, A. (1987). Maus. New York: Pantheon.Google Scholar
Spiegelman, A. (2004). In the Shadow of No Towers. New York: Pantheon.Google Scholar
Tardi, J. (2018). I, René Tardi, Prisoner of War in Stalag IIB. Seattle, WA: Fantagraphics.Google Scholar
Tate Modern. (n.d.). Whaam!! 1963. www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897 (accessed August 2022).Google Scholar
Torres, A., and Choi, S. (2008). American Widow. New York: Villard-Random House.Google Scholar
Uriate, M. (2016). The White Donkey. New York: Little, Brown.Google Scholar
Veasna, T. (2020). Year of the Rabbit. Montreal: Drawn & Quarterly.Google Scholar
Virilio, P. (1991). Guerre et cinema. Paris: Cahiers du cinema.Google Scholar
Windsor-Smith, B. (2021). Monsters. London: Jonathan Cape.Google Scholar
Witek, J. (1989). Comic Books as History. Jackson: University Press of Mississippi.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • History and Genre
  • Edited by Jan Baetens, KU Leuven, Belgium, Hugo Frey, University of Chichester, Fabrice Leroy, University of Louisiana at Lafayette
  • Book: The Cambridge Companion to the American Graphic Novel
  • Online publication: 10 January 2024
  • Chapter DOI: https://doi.org/10.1017/9781009379311.002
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • History and Genre
  • Edited by Jan Baetens, KU Leuven, Belgium, Hugo Frey, University of Chichester, Fabrice Leroy, University of Louisiana at Lafayette
  • Book: The Cambridge Companion to the American Graphic Novel
  • Online publication: 10 January 2024
  • Chapter DOI: https://doi.org/10.1017/9781009379311.002
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • History and Genre
  • Edited by Jan Baetens, KU Leuven, Belgium, Hugo Frey, University of Chichester, Fabrice Leroy, University of Louisiana at Lafayette
  • Book: The Cambridge Companion to the American Graphic Novel
  • Online publication: 10 January 2024
  • Chapter DOI: https://doi.org/10.1017/9781009379311.002
Available formats
×