By Hillary L. Chute
Loaded with full-color reproductions of labor by way of such legends as R. Crumb, artwork Spiegelman, Alison Bechdel, Chris Ware, Daniel Clowes, and Lynda Barry, the ebook addresses where of comics in either a latest and old context. Essays via such high-profile figures as Tom Gunning, N. Katherine Hayles, Patrick Jagoda, and W. J. T. Mitchell handle a beautiful diversity of subject matters, together with where of comics within the background of aesthetics, alterations to well known paintings varieties, electronic humanities, and ongoing tensions among new and previous media. the result's a considerable breakthrough for our knowing of what comics are and will be, and the turning out to be position they carry in our culture.
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Extra resources for Comics & Media: A Special Issue of "Critical Inquiry"
3. We began our conversation about transmedia relations at a 2011 panel (with Henry Jenkins) about “Transmedia, Comics Form, and Contemporary Adaptations” at the Comic Arts conference at the San Diego Comic-Con. For more on the centrality of transmedia flows to popular culture as it has manifested at Comic-Con in recent years, see Patrick Jagoda, “The Transmedia Turn in Popular Culture: The Case of Comic-Con,” Post45 23 (Aug. 2011). 4. For more, see Henry Jenkins, “Transmedia Storytelling,” Volume 19 (2009): 56–59.
I see now what my role is going to be. Spiegelman: Sorry, but you have to play your part. Mitchell: So this conversation is in place of a keynote address on the topic of Comics: Philosophy and Practice. We might want to begin by asking this general question throughout: is there a philosophy of and in comics? Can comics engage in philosophical discourse? We know they can tell stories and record events. But can they philosophize? I firmly believe they can, if only in their unrivalled capacity to reflect on their own status as an infinitely flexible medium that combines words and images, stories and bodies, thoughts and actions, subjective and objective experience.
Crumb, rejected The New Yorker cover (2009). Front and back endpapers: Seth, sketches of conference participants. Cover Page Contents Critical Inquiry 40 (Spring 2014): 1–10 Special Issue: Comics & Media Hillary Chute and Patrick Jagoda Introduction Why does it make sense for a professor who specializes in what we might think of as the “old” media form of comics (with its instantiation, in the US, in newsprint) and one who specializes in new media studies (with an emphasis on digital forms) to collaborate on a special issue of Critical Inquiry?