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Comic book studies has developed as a solid academic discipline, becoming an increasingly vibrant field in the United States and globally. A growing number of dissertations, monographs, and edited books publish every year on the subject, while world comics represent the fastest-growing sector of publishing.The Oxford Handbook of Comic Book Studies looks at the field systematically, examining the history and evolution of the genre from a global perspective. This includes a discussion of how comic books are built out of shared aesthetic systems such as literature, painting, drawing, photography, and film. The Handbook brings together readable, jargon-free essays written by established and emerging scholars from diverse geographic, institutional, gender, and national backgrounds. In particular, it explores how the term "global comics" has been defined, as well the major movements and trends that will drive the field in the years to come. Each essay will help readers understand comic books as a storytelling form grown within specific communities, and will also show how these forms exist within what can be considered a world system of comics.
Table of Contents
Section 1: What is a Comic?What Kind of Studies Are Comics Studies?Why There Is No "Language of Comics"In Box: Rethinking Text in the Digital AgeWhat Else is a Comic? Between Bayeux and BeanoReading Spaces: The Politics of Page LayoutComics as ArtThe Cartoon on the Comics Page: A PhenomenologyAll By Myself: Single-Panel Comics and the Question of GenreDrawing, Redrawing, and UndrawingSection 2: Comics as Social Commentary and Response to Sociopolitical RealitiesBakhtinian Laughter and Recent Political Editorial CartoonsColumbia and the Editorial CartoonEfficacy of Social Commentary through CartooningRadical Graphics: Australian Second Phase ComicsSelf-Regulation and Auto-Censorship of Comics Creators in the Communist Eastern Bloc"This is Who I Am": Hybridity and Materiality in Comics MemoirAuto/biographics and Graphic Histories Made for the Classroom: Logicomix and Abina and the Important MenAmbiguity in Parallel: Visualizing History in Boxers & SaintsSection 3: Key Issues in ComicsIrony, Ethics, and Lyric Narrative in Miriam Engelberg's Cancer Made Me a Shallower PersonAnimals in Graphic NarrativeA Diversionary Art in Le Piano Oriental by Zeina AbirachedDisco, Derby, and Drag: The Queer Politics of Marvel's DazzlerThe Replacements: Ethnicity, Gender and Legacy Heroes in Marvel ComicsA Diversionary Art in Le Piano Oriental by Zeina AbirachedHammer in Hand: Feminist Community Building in Jason Aaron's ThorWhen Feminism Went to Market: Issues in Feminist Comics Anthologies in the 1980s & 90sChildren in Comics: Between Education and Entertainment, Conformity and Agency"I'm not a kid; I'm a shark!": Identity Fluidity in Noelle Stevenson's Young Adult Graphic NovelsSection 4: Comic Book TranscreationsForgetting at the intersection of Comics and the Multimodal Novel: James Sie's Still Life Las VegasMy Favorite Thing is Monsters: The Socially Engaged Graphic Novel as a Platform for Intersectional FeminismPaper or Plastic?: Mapping the Transmedial Intersections of Comics and Action FiguresTransformative Architectures in Postcolonial Hong Kong ComicsAdaptation and Racial Representation in DellGold Key TV Tie-insCandy and Drugs for Dinner: Rat Queens, Genre, and Our Aesthetic CategoriesNon-Compliants, Brimpers, and She-Romps: Bitch Planet, Sex Criminals and Their PublicsLiterary Adaptations in Comics and Graphic NovelsSection 5: Comic Book Studies Yesterday, Today & TomorrowComic Studies in America: The Making of a Field of Scholarship?Next Issue: Anticipation and Promise in Comics StudiesComics Studies as InterdisciplineComics Studies as Practitioner-Scholar