Part I - Forms
Published online by Cambridge University Press: 17 August 2023
Edited by
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- The Cambridge Companion to Comics , pp. 23 - 122Publisher: Cambridge University PressPrint publication year: 2023
References
Primary Sources
Duval, Marie. “Rinkophobia.” Judy, or the London Serio-Comic Journal, vol. 20, 22 November 1876, p. 62.Google Scholar
Madden, Matt. Ninety-nine Ways to Tell a Story: Exercises in Style. Jonathan Cape, 2007.Google Scholar
Secondary Sources
Allen, Robert. Vaudeville and Film 1895:1915: A Study in Media Interaction. University of Iowa Press, 1977.Google Scholar
Bakhtin, Mikhail. Problems in Dostoevski’s Poetics. University of Minnesota Press, 1977.Google Scholar
Berlatsky, Eric. “Lost in the Gutter: Within and between Frames in Narrative and Narrative Theory.” Narrative, vol. 17, no. 2, 2009, pp. 162–187.CrossRefGoogle Scholar
Brake, Laurel. “Writing, Cultural Production, and the Periodical Press in the Nineteenth Century.” Writing and Victorianism, edited by Bullen, J. B.. Addison Wesley Longman, 1997, pp. 54–72.Google Scholar
Brake, Laurel. Journalism and the Periodical Press in Nineteenth-Century Britain. Cambridge University Press, 2017.Google Scholar
Brienza, Casey. Manga in America: Transnational Book Publishing and the Domestication of Japanese Comics. Bloomsbury, 2016.Google Scholar
Cohn, Neil. “Beyond Word Balloons and Thought Bubbles: The Integration of Text and Image.” Semiotica, no. 197, 2013, pp. 35–63.Google Scholar
Eisner, Will. Comics and Sequential Art: Principles and Practices from the Legendary Cartoonist. W. W. Norton, 2008.Google Scholar
Foley, Shane. “Kracklin’ Kirby: Tracing the Advent of Kirby Krackle.” Jack Kirby Collector, no. 33, 2001. www.twomorrows.com/kirby/articles/33krackle.html Accessed 15 September 2021.Google Scholar
Forceville, Charles, Veale, Tony, and Feyaerts, Kurt. “Balloonics: The Visuals of Balloons in Comics.” The Rise and Reason of Comics and Graphic Literature: Critical Essays on the Form, edited by Goggin, Joyce and Hassler-Forest, Dan. McFarland, 2010, pp. 56–73.Google Scholar
Grennan, Simon. “The Influence of Manga on the Graphic Novel.” The Cambridge History of the Graphic Novel, edited by Baetens, Jan, Frey, Hugo, and Tabachnik, Stephen. Cambridge University Press, 2018, pp. 320–336.CrossRefGoogle Scholar
Grennan, Simon. “Marie Duval and the Technologies of Periodical Print.” Marie Duval: Maverick Victorian Cartoonist, edited by Grennan, Simon, Sabin, Roger, and Waite, Julian. Manchester University Press, 2020, pp. 118–133.CrossRefGoogle Scholar
Groensteen, Thierry. The System of Comics. Translated by Bart Beaty and Nick Nguyen. University Press of Mississippi, 2007.Google Scholar
Hague, Ian. Comics and the Senses: A Multisensory Approach to Comics and Graphic Novels. Routledge, 2014.Google Scholar
Hall, David, ed. Cultures of Print: Essays in the History of the Book. University of Massachusetts Press, 1996.Google Scholar
Hikori, Hori. “Tezuka, Shōjo Manga and Hagio Moto.” Mechademia, vol. 8, 2013, pp. 299–311.CrossRefGoogle Scholar
Jauss, Hans Robert and Benzinger, Elizabeth. “Literary History as a Challenge to Literary Theory.” New Literary History, vol. 2, no. 1, 1970, pp. 7–37.CrossRefGoogle Scholar
Maidment, Brian. Into the 1830’s: Some Origins of Victorian Illustrated Journalism: Cheap Octavo Magazines of the 1820s and Their Influence. Manchester Polytechnic Library, 1992.Google Scholar
Maidment, Brian. Comedy, Caricature and the Social Order, 1820–1850. Manchester University Press, 2014.Google Scholar
Meyer, Leonard. Style and Music: Theory, History and Ideology. University of Chicago Press, 1989.Google Scholar
Morton, Drew. “Sketching under the Influence? Winsor McCay and the Question of Aesthetic Convergence between Comic Strips and Film.” Animation, vol. 5, no. 3, 2010, pp. 295–312.CrossRefGoogle Scholar
Peterson, Richard and Anand, Narasimhan. “The Production of Culture Perspective.” Annual Review of Sociology, vol. 30, 2004, pp. 311–334.CrossRefGoogle Scholar
Petherbridge, Deanna. The Primacy of Drawing: Histories and Theories of Practice. Yale University Press, 2004.Google Scholar
Postema, Barbara. Narrative Structure in Comics: Making Sense of Fragments. RIT Press, 2013.Google Scholar
Ross, Charles Henry and Wilson, Dower. Flirting Made Easy: A Guide for Girls. Dalziel Brothers, 1882.Google Scholar
Sattler, Peter R. “Ballet Méchanique: The Art of George Herriman.” Word & Image: Journal of Visual Enquiry, vol. 8, no. 2, 1992, pp. 133–153.CrossRefGoogle Scholar
Shinohara, K. and Matsunaka, Y. “Pictorial Metaphors of Emotion in Japanese Comics.” Multimodal Metaphor, edited by Forceville, Charles and Urios-Aparisi, Eduardo. De Gruyter, 2009, pp. 265–293.CrossRefGoogle Scholar
Smolderen, Thierry. The Origins of Comics: From William Hogarth to Windsor McCay. University Press of Mississippi, 2014.CrossRefGoogle Scholar
St. Fleur, Nicholas. “Oldest Known Drawing by Human Hands Discovered in South African Cave.” The New York Times, 2018. www.nytimes.com/2018/09/12/science/oldest-drawing-ever-found.html. Accessed 15 September 2021.Google Scholar
Szép, Eszter. Comics and the Body: Drawing, Reading and Vulnerability. Ohio State University Press, 2021.Google Scholar
Verstappen, Nicolas. “Crossing Panel Borders: Transnational Constrained Comics Composition and Mindful Development Communication.” Mindful Communications for Sustainable Development: Perspectives from Asia, edited by Seneviratne, Kalinga. Sage, 2018, pp. 236–261.Google Scholar
Whistler, C. T. “Fantasy and Reality: Tiepolo’s Poetic Language at Wutzburg, Verona and Madrid.” Verona Illustrata, vol. 2018, 2017, pp. 101–118.Google Scholar
Witek, Joseph. “The Arrow and the Grid.” A Comics Studies Reader, edited by Heer, Jeet and Worcester, Kent. University Press of Mississippi, 2009, pp. 149–156.Google Scholar
Outcault, Richard F. “The Yellow Kid Inspects the Streets of New York,” The New York Journal, 10 October 1898.Google Scholar
Beetham, Margaret. “Open and Closed: The Periodical as a Publishing Genre.” Victorian Periodicals Review, vol. 22, no. 3, Fall, 1989, pp. 96–100.Google Scholar
Davis, Blair. Movie Comics: Page to Screen, Screen to Page. Rutgers University Press, 2017.Google Scholar
Eco, Umberto. “The Myth of Superman.” Translated by Natalie Chilton. Diacritics, vol. 2, no. 1, 1972, pp. 14–22.CrossRefGoogle Scholar
Eco, Umberto. “Innovation and Repetition: Between Modern and Post-Modern Aesthetics.” Daedalus, vol. 114, no. 4. The Moving Image, 1985, pp. 161–184.Google Scholar
Freeman, Matthew. “Up, Up and Across: Superman, the Second World War and the Historical Development of Transmedia Storytelling.” Historical Journal of Film, Radio and Television, vol. 35, no. 2, 2015, pp. 215–239.Google Scholar
Friedenthal, Andrew J. Retcon Game: Retroactive Continuity and the Hyperlinking of America. University Press of Mississippi, 2017.Google Scholar
Gabilliet, Jean-Paul. Of Comics and Men: A Cultural History of American Comic Books. University Press of Mississippi, 2009.Google Scholar
Gabriele, Sandra and Moore, Paul S.. “The Globe on Saturday, the World on Sunday: Toronto Weekend Editions and the Influence of the American Sunday Paper, 1886–1895.” Canadian Journal of Communication, vol. 34, no. 3, 2009, pp. 337–358.CrossRefGoogle Scholar
Gardner, Jared. Projections: Comics and the History of Twenty-first-Century Storytelling. Stanford University Press, 2012.Google Scholar
Gardner, Jared. “A History of the Narrative Comic Strip.” From Comic Strips to Graphic Novels, edited by Stein, Daniel and Thon, Jan-Noël. De Gruyter, 2013, pp. 301–322.Google Scholar
Genette, Gérard. Palimpsests. Translated by Channa Newman and Claude Doubinsky. University of Nebraska Press, 1997.Google Scholar
Glaude, Benoît and Odaert, Olivier. “The Transnational Circulation of Comic Strips Before 1945.” Journal of European Popular Culture, vol. 5, no. 1, 2014, pp. 43–58.CrossRefGoogle Scholar
Gunning, Tom. “The Art of Succession: Reading, Writing, and Watching Comics.” Comics & Media, Critical Inquiry, vol. 40, no. 3, 2014, pp. 36–51.CrossRefGoogle Scholar
Jones, Gerard. Men of Tomorrow: Geeks, Gangsters and the Birth of Comic Book. Basic Books, 2004.Google Scholar
Kelleter, Frank, “‘Five Ways’ of Looking at Popular Seriality.” Media of Serial Narrative, edited by Kelleter, Frank. Ohio State University Press, 2017, pp. 7–34.Google Scholar
Latour, Bruno. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford University Press, 2005.CrossRefGoogle Scholar
Letourneux, Matthieu. “‘The editors have cast me in comic stories’, Comic books, western stars e transmedialità.” Bande à part 2, fumetto e transmedialita, edited by Benvenuti, Giuliana, Colaone, Sara, and Quaquarelli, Lucia. Morellini Editore, 2019, pp. 47–65.Google Scholar
Letourneux, Matthieu. “Penser les fictions sérielles en régime postfordiste.” Cahiers de Narratologie, no. 37, 2020. https://doi.org/10.4000/narratologie.10488Google Scholar
Meyer, Christina. Producing Mass Entertainment: The Serial Life of the Yellow Kid. Ohio State University Press, 2019.Google Scholar
Smolderen, Thierry. The Origins of Comics: From William Hogarth to Winsor McCay. Translated by Bart Beaty and Nick Nguyen. University Press of Mississippi, 2014.CrossRefGoogle Scholar
Turner, Mark W. “Periodical Time in the Nineteenth Century.” Media History, vol. 8, no. 2, 2002, pp. 183–196.Google Scholar
Turner, Mark W. “The Unruliness of Serials in the Nineteenth Century (and in the Digital Age).” Serialization in Popular Culture, edited by Allen, Rob and van der Berg, Thijs. Routledge, 2014, pp. 11–32.Google Scholar
Vaillant, Alain. “Portrait de l’humoriste moderne en serial rieur. À propos d’Alphonse Allais.” Belphégor, no. 14, 2016, Sérialités, n. pag. https://journals.openedition.org/belphegor/740Google Scholar
Beetham, Margaret. “Open and Closed: The Periodical as a Publishing Genre.” Victorian Periodicals Review, vol. 22, no. 3, Fall, 1989, pp. 96–100.Google Scholar
Davis, Blair. Movie Comics: Page to Screen, Screen to Page. Rutgers University Press, 2017.Google Scholar
Eco, Umberto. “The Myth of Superman.” Translated by Natalie Chilton. Diacritics, vol. 2, no. 1, 1972, pp. 14–22.CrossRefGoogle Scholar
Eco, Umberto. “Innovation and Repetition: Between Modern and Post-Modern Aesthetics.” Daedalus, vol. 114, no. 4. The Moving Image, 1985, pp. 161–184.Google Scholar
Freeman, Matthew. “Up, Up and Across: Superman, the Second World War and the Historical Development of Transmedia Storytelling.” Historical Journal of Film, Radio and Television, vol. 35, no. 2, 2015, pp. 215–239.Google Scholar
Friedenthal, Andrew J. Retcon Game: Retroactive Continuity and the Hyperlinking of America. University Press of Mississippi, 2017.Google Scholar
Gabilliet, Jean-Paul. Of Comics and Men: A Cultural History of American Comic Books. University Press of Mississippi, 2009.Google Scholar
Gabriele, Sandra and Moore, Paul S.. “The Globe on Saturday, the World on Sunday: Toronto Weekend Editions and the Influence of the American Sunday Paper, 1886–1895.” Canadian Journal of Communication, vol. 34, no. 3, 2009, pp. 337–358.CrossRefGoogle Scholar
Gardner, Jared. Projections: Comics and the History of Twenty-first-Century Storytelling. Stanford University Press, 2012.Google Scholar
Gardner, Jared. “A History of the Narrative Comic Strip.” From Comic Strips to Graphic Novels, edited by Stein, Daniel and Thon, Jan-Noël. De Gruyter, 2013, pp. 301–322.Google Scholar
Genette, Gérard. Palimpsests. Translated by Channa Newman and Claude Doubinsky. University of Nebraska Press, 1997.Google Scholar
Glaude, Benoît and Odaert, Olivier. “The Transnational Circulation of Comic Strips Before 1945.” Journal of European Popular Culture, vol. 5, no. 1, 2014, pp. 43–58.CrossRefGoogle Scholar
Gunning, Tom. “The Art of Succession: Reading, Writing, and Watching Comics.” Comics & Media, Critical Inquiry, vol. 40, no. 3, 2014, pp. 36–51.CrossRefGoogle Scholar
Jones, Gerard. Men of Tomorrow: Geeks, Gangsters and the Birth of Comic Book. Basic Books, 2004.Google Scholar
Kelleter, Frank, “‘Five Ways’ of Looking at Popular Seriality.” Media of Serial Narrative, edited by Kelleter, Frank. Ohio State University Press, 2017, pp. 7–34.Google Scholar
Latour, Bruno. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford University Press, 2005.CrossRefGoogle Scholar
Letourneux, Matthieu. “‘The editors have cast me in comic stories’, Comic books, western stars e transmedialità.” Bande à part 2, fumetto e transmedialita, edited by Benvenuti, Giuliana, Colaone, Sara, and Quaquarelli, Lucia. Morellini Editore, 2019, pp. 47–65.Google Scholar
Letourneux, Matthieu. “Penser les fictions sérielles en régime postfordiste.” Cahiers de Narratologie, no. 37, 2020. https://doi.org/10.4000/narratologie.10488Google Scholar
Meyer, Christina. Producing Mass Entertainment: The Serial Life of the Yellow Kid. Ohio State University Press, 2019.Google Scholar
Smolderen, Thierry. The Origins of Comics: From William Hogarth to Winsor McCay. Translated by Bart Beaty and Nick Nguyen. University Press of Mississippi, 2014.CrossRefGoogle Scholar
Turner, Mark W. “Periodical Time in the Nineteenth Century.” Media History, vol. 8, no. 2, 2002, pp. 183–196.Google Scholar
Turner, Mark W. “The Unruliness of Serials in the Nineteenth Century (and in the Digital Age).” Serialization in Popular Culture, edited by Allen, Rob and van der Berg, Thijs. Routledge, 2014, pp. 11–32.Google Scholar
Vaillant, Alain. “Portrait de l’humoriste moderne en serial rieur. À propos d’Alphonse Allais.” Belphégor, no. 14, 2016, Sérialités, n. pag. https://journals.openedition.org/belphegor/740Google Scholar
Beetham, Margaret. “Open and Closed: The Periodical as a Publishing Genre.” Victorian Periodicals Review, vol. 22, no. 3, Fall, 1989, pp. 96–100.Google Scholar
Davis, Blair. Movie Comics: Page to Screen, Screen to Page. Rutgers University Press, 2017.Google Scholar
Eco, Umberto. “The Myth of Superman.” Translated by Natalie Chilton. Diacritics, vol. 2, no. 1, 1972, pp. 14–22.CrossRefGoogle Scholar
Eco, Umberto. “Innovation and Repetition: Between Modern and Post-Modern Aesthetics.” Daedalus, vol. 114, no. 4. The Moving Image, 1985, pp. 161–184.Google Scholar
Freeman, Matthew. “Up, Up and Across: Superman, the Second World War and the Historical Development of Transmedia Storytelling.” Historical Journal of Film, Radio and Television, vol. 35, no. 2, 2015, pp. 215–239.Google Scholar
Friedenthal, Andrew J. Retcon Game: Retroactive Continuity and the Hyperlinking of America. University Press of Mississippi, 2017.Google Scholar
Gabilliet, Jean-Paul. Of Comics and Men: A Cultural History of American Comic Books. University Press of Mississippi, 2009.Google Scholar
Gabriele, Sandra and Moore, Paul S.. “The Globe on Saturday, the World on Sunday: Toronto Weekend Editions and the Influence of the American Sunday Paper, 1886–1895.” Canadian Journal of Communication, vol. 34, no. 3, 2009, pp. 337–358.CrossRefGoogle Scholar
Gardner, Jared. Projections: Comics and the History of Twenty-first-Century Storytelling. Stanford University Press, 2012.Google Scholar
Gardner, Jared. “A History of the Narrative Comic Strip.” From Comic Strips to Graphic Novels, edited by Stein, Daniel and Thon, Jan-Noël. De Gruyter, 2013, pp. 301–322.Google Scholar
Genette, Gérard. Palimpsests. Translated by Channa Newman and Claude Doubinsky. University of Nebraska Press, 1997.Google Scholar
Glaude, Benoît and Odaert, Olivier. “The Transnational Circulation of Comic Strips Before 1945.” Journal of European Popular Culture, vol. 5, no. 1, 2014, pp. 43–58.CrossRefGoogle Scholar
Gunning, Tom. “The Art of Succession: Reading, Writing, and Watching Comics.” Comics & Media, Critical Inquiry, vol. 40, no. 3, 2014, pp. 36–51.CrossRefGoogle Scholar
Jones, Gerard. Men of Tomorrow: Geeks, Gangsters and the Birth of Comic Book. Basic Books, 2004.Google Scholar
Kelleter, Frank, “‘Five Ways’ of Looking at Popular Seriality.” Media of Serial Narrative, edited by Kelleter, Frank. Ohio State University Press, 2017, pp. 7–34.Google Scholar
Latour, Bruno. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford University Press, 2005.CrossRefGoogle Scholar
Letourneux, Matthieu. “‘The editors have cast me in comic stories’, Comic books, western stars e transmedialità.” Bande à part 2, fumetto e transmedialita, edited by Benvenuti, Giuliana, Colaone, Sara, and Quaquarelli, Lucia. Morellini Editore, 2019, pp. 47–65.Google Scholar
Letourneux, Matthieu. “Penser les fictions sérielles en régime postfordiste.” Cahiers de Narratologie, no. 37, 2020. https://doi.org/10.4000/narratologie.10488Google Scholar
Meyer, Christina. Producing Mass Entertainment: The Serial Life of the Yellow Kid. Ohio State University Press, 2019.Google Scholar
Smolderen, Thierry. The Origins of Comics: From William Hogarth to Winsor McCay. Translated by Bart Beaty and Nick Nguyen. University Press of Mississippi, 2014.CrossRefGoogle Scholar
Turner, Mark W. “Periodical Time in the Nineteenth Century.” Media History, vol. 8, no. 2, 2002, pp. 183–196.Google Scholar
Turner, Mark W. “The Unruliness of Serials in the Nineteenth Century (and in the Digital Age).” Serialization in Popular Culture, edited by Allen, Rob and van der Berg, Thijs. Routledge, 2014, pp. 11–32.Google Scholar
Vaillant, Alain. “Portrait de l’humoriste moderne en serial rieur. À propos d’Alphonse Allais.” Belphégor, no. 14, 2016, Sérialités, n. pag. https://journals.openedition.org/belphegor/740Google Scholar
Ward, Lynd. Storyteller without Words: The Wood Engravings of Lynd Ward with Text by the Artist. Abrams, 1974.Google Scholar
Baetens, Jan. “Graphic Novels.” The Cambridge History of the American Novel, edited by Cassuto, Leonard, Cambridge University Press, 2011, pp. 1137–1153.Google Scholar
Baetens, Jan and Frey, Hugo. The Graphic Novel: An Introduction. Cambridge University Press, 2014.CrossRefGoogle Scholar
Beerbohm, Robert L. “Secret Origins of the Direct Market, Part One: ‘Affidavit Returns’ – The Scourge of Distribution.” Comic Book Artist, no. 6, Fall 1999, pp. 80–91.Google Scholar
Braun, Saul. “Shazam! Here Comes Captain Relevant.” New York Times, 2 May 1971, pp. SM32+.Google Scholar
Brienza, Casey. Manga in America: Transnational Book Publishing and the Domestication of Japanese Comics. Bloomsbury Academic, 2016.Google Scholar
Chute, Hillary. “Comics as Literature? Reading Graphic Narrative.” PMLA, vol. 123, no. 2, 2008, pp. 452–465.Google Scholar
Clarke, M. J. “The Production of the Marvel Graphic Novel Series: The Business and Culture of the Early Direct Market.” Journal of Graphic Novels and Comics, vol. 5, no. 2, 2014, pp. 192–210.CrossRefGoogle Scholar
Creef, Elena Tajima. “Following Her Own Road: The Achievement of Miné Okubo.” Robinson and Creef, pp. 3–10.Google Scholar
Duncan, Randy, Smith, Matthew J., and Levitz, Paul. The Power of Comics: History, Form, and Culture. 2nd ed., Bloomsbury Academic, 2015.Google Scholar
Flood, Alison. “New Comics Laureate Charlie Adlard Declares War on ‘The Graphic Novel.’” Guardian, 17 Oct. 2006, www.theguardian.com/books/2016/oct/17/new-comics-laureate-charlie-adlard-declares-war-on-the-graphic-novel. Accessed 10 May 2021.Google Scholar
Gabilliet, Jean-Paul. Of Comics and Men: A Cultural History of American Comic Books. Translated by Bart Beaty and Nick Nguyen, University Press of Mississippi, 2010.Google Scholar
Hatfield, Charles. Alternative Comics: An Emerging Literature. University Press of Mississippi, 2005.Google Scholar
Heer, Jeet. In Love with Art: Françoise Mouly’s Adventures in Comics with Art Spiegelman. Coach House, 2013.Google Scholar
Hong, Christine. Introduction. Citizen 13660, by Okubo, Miné [1946]. University of Washington Press, 2014, pp. vii–xxiv.Google Scholar
Johnson, Steve. “Are Comic Books Growing Up?” Chicago Tribune, 28 August 1986, pp. D1+.Google Scholar
Kashtan, Aaron. Between Pen and Pixel: Comics, Materiality, and the Book of the Future. Ohio State University Press, 2018.CrossRefGoogle Scholar
Kelly, Mike. “Art Spiegelman and His Circle: New York City Comix and the Downtown Scene.” International Journal of Comic Art, vol. 10, no. 1, 2008, pp. 313–339.Google Scholar
Kunzle, David. Father of the Comic Strip: Rodolphe Töpffer. University Press of Mississippi, 2007.Google Scholar
Kyle, Richard. “Graphic Story Review.” Fantasy Illustrated, no. 5, Spring 1966, pp. 3–4, 41–42.Google Scholar
Lehmann-Haupt, Hellmut. “The Picture Novel Arrives in America.” Publishers Weekly, 1 February 1930, pp. 609–612.Google Scholar
Lopes, Paul. Demanding Respect: The Evolution of the American Comic Book. Temple University Press, 2009.Google Scholar
Marshall, Alex. “Graphic Novel in Running for Man Booker Prize for First Time.” New York Times, 23 July 2018, www.nytimes.com/2018/07/23/books/booker-prize-graphic-novel-ondaatje.html. Accessed 2 February 2019.Google Scholar
McDowell, Edwin. “America is Taking Comic Books Seriously.” New York Times, 31 July 1988, p. E7.Google Scholar
Meyer, Christina. Producing Mass Entertainment: The Serial Life of the Yellow Kid. The Ohio State University Press, 2019.CrossRefGoogle Scholar
Moore, Alan. Interview. Blather.net, 17 October 2000, www.blather.net/projects/alan-moore-interview/northhampton-graphic-novel/. Accessed 10 May 2021.Google Scholar
Nyberg, Amy Kiste. Seal of Approval: The History of the Comics Code. University Press of Mississippi, 1998.Google Scholar
Phillips, Kimberley L. “To Keep a Record of Life: Miné Okubo’s Autographic Manga and Wartime History.” Robinson and Creef, pp. 99–110.Google Scholar
Pizzino, Christopher. Arresting Development: Comics at the Boundaries of Literature. University of Texas Press, 2016.Google Scholar
Reid, Calvin. “US Graphic Novel Market Hits $200M.” Publishers Weekly, 18 April 2005, p. 15.Google Scholar
Reid, Calvin. “BookExpo 2019: Graphic Novels for Everyone.” Publishers Weekly, 5 June 2019, www.publishersweekly.com/pw/by-topic/industry-news/bea/article/80364-bookexpo-2019-graphic-novels-for-everyone.html. Accessed 27 June 2020.Google Scholar
Reid, Calvin. “In Her First YA Graphic Novel, Lauren Myracle Takes on Catwoman.” Publishers Weekly, 20 March 2019, www.publishersweekly.com/pw/by-topic/industry-news/comics/article/79584-in-her-first-ya-graphic-novel-lauren-myracle-takes-on-catwoman.html. Accessed 27 June 2020.Google Scholar
Robinson, Greg and Creef, Elena Tajima, eds. Miné Okubo: Following Her Own Road. University of Washington Press, 2008.Google Scholar
Sabin, Roger. “Ally Sloper: The First Comics Superstar?” Image [&] Narrative, vol. 4, no. 1, 2003, www.imageandnarrative.be/inarchive/graphicnovel/rogersabin.htm. Accessed 31 May 2021.Google Scholar
Satrapi, Marjane. Interview. New York Times Magazine, 21 Oct. 2007, www.nytimes.com/2007/10/21/magazine/21wwwln-Q4-t.html#:~:text=I%20don’t%20very%20much,to%20be%20scared%20of%20comics. Accessed 10 May 2021.Google Scholar
Smolderen, Thierry. The Origins of Comics: From William Hogarth to Winsor McCay. 2000. Translated by Bart Beaty and Nick Nguyen, University Press of Mississippi, 2014.CrossRefGoogle Scholar
Ward, Lynd. Storyteller without Words: The Wood Engravings of Lynd Ward with Text by the Artist. Abrams, 1974.Google Scholar
Wright, Bradford W. Comic Book Nation: The Transformation of Youth Culture in America. Rev. ed., Johns Hopkins University Press, 2003.Google Scholar
Koike, Kazuo (w.), and Kojima, Gōseki (i). Lone Wolf and Cub (Kozure Ōkami). Kodansha, 1970–76.Google Scholar
Nakazawa, Keiji. Barefoot Gen (Hadashi no Gen), in Weekly Shōnen Jump and others, 1973–87.Google Scholar
Takemiya, Keiko. Poem of Wind and Trees (Kaze to ki no uta), in Weekly Shōjo Comic 1976–82, and in Petit Flower, 1982–84.Google Scholar
Tezuka, Osamu. New Treasure Island (Shintakarajima), text by Shichima Sakai. Ikuei, 1947.Google Scholar
Tezuka, Osamu. Buddha, in the magazines Kibō no tomo, Shōnen World and Comic Tom, 1972–83.Google Scholar
Abbott, Michael and Forceville, Charles. “Visual Representation of Emotion in Manga: ‘Loss of Control’ Is ‘Loss of Hands’ in Azumanga Daioh Volume 4.” Language and Literature, vol. 20, no. 2, 2011, pp. 91–112.Google Scholar
Antononoka, Olga. “Communicating Emotions: How Commercial Manga for Women Approaches 3.11.” Kritika Kultura, no. 26, 2016, pp. 222–242. DOI: 10.13185//KK2016.02612Google Scholar
Berndt, Jaqueline. “SKIM as GIRL: Reading a Japanese North American Graphic Novel through Manga Lenses.” Drawing New Color Lines: Transnational Asian American Graphic Narratives, edited by Chiu, Monica. Hong Kong University Press, 2014, pp. 257–278.CrossRefGoogle Scholar
Berndt, Jaqueline. “Takemiya Keiko: Mangaka with an Educational Mission.” Ibid. Manga: Media, Art, and Material. Leipzig University Press, 2015, pp. 107–137.Google Scholar
Beaty, Bart. “Jirō Taniguchi: France’s Mangaka.” Comics Studies Here and Now, edited by Aldama, Frederick L.. Routledge, 2018, pp. 144–160.CrossRefGoogle Scholar
Cohn, Neil. The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images. Bloomsbury, 2013.Google Scholar
Giannoulis, Elena and Wilde, Lukas R. A.. “Introduction.” Emoticons, Emoji and Kaomoji: The Transformation of Communication in the Digital Age, edited by Giannoulis, Elena and Wilde, Lukas R. A. Routledge, 2019, pp. 1–22.CrossRefGoogle Scholar
Gn, Joel. “A Lovable Metaphor: On the Affect, Language and Design of ‘Cute’.” East Asian Journal of Popular Culture, vol. 2, no. 1, 2016, pp. 49–61.CrossRefGoogle Scholar
Grennan, Simon. “The Influence of Manga on the Graphic Novel.” The Cambridge History of the Graphic Novel, edited by Baetens, Jan, Frey, Hugo, and Tabachnick, Stephen E.. Cambridge University Press, 2018, pp. 320–336.Google Scholar
Groensteen, Thierry. Comics and Narration. Translated by Anne Miller. University Press of Mississippi, 2013.Google Scholar
Harvey, Robert C. “Manga Now and Manga then: Tatsumi’s Gekiga and the Hokusai Origin of the Species.” The Comics Journal, no. 284, July 2007, pp. 167–174.Google Scholar
Kacsuk, Zoltan. “Re-Examining the ‘What is Manga’ Problematic: The Tension and Interrelationship between the ‘Style’ Versus ‘Made in Japan’ Positions.” Arts, vol. 7, no. 26, 2018, n.p. https://doi.org/10.3390/arts7030026CrossRefGoogle Scholar
Kajiya, Kenji. “How Emotions Work: The Politics of Vision in Nakazawa Kenji’s Barefoot Gen.” Comics Worlds and the World of Comics, edited by Berndt, Jaqueline. International Manga Research Center, 2010, pp. 227–243. http://imrc.jp/images/upload/lecture/data/245-261chap17Kajiya20101224.pdfGoogle Scholar
Lamarre, Thomas. “Manga Bomb: Between the Lines of Barefoot Gen.” Comics Worlds and the World of Comics, edited by Berndt, Jaqueline. International Manga Research Center, 2010, pp. 263–307. http://imrc.jp/images/upload/lecture/data/262-307chap18LaMarre20101224.pdfGoogle Scholar
McCloud, Scott. Understanding Comics, the Invisible Art [1993]. Harper Perennial, 1994.Google Scholar
McCloud, Scott. Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels. William Morrow, 2006.Google Scholar
Sabin, Roger. “Barefoot Gen in the US and UK: Activist Comic, Graphic Novel, Manga.” Reading Manga: Local and Global Perceptions of Japanese Comics, edited by Berndt, Jaqueline and Richter, Steffi. Leipzig University Press, 2006, pp. 39–58.Google Scholar
Schneider, Greice. “Affect.” Key Terms in Comics Studies, edited by La Cour, Erin, Grennan, Simon, and Spanjers, Rik. Palgrave Macmillan, 2021, pp. 10–11.Google Scholar
Schodt, Frederik L. Manga! Manga! The World of Japanese Comics. 1983. Kodansha International, 1998.Google Scholar
Spiegelman, Art. “Barefoot Gen: Comics after the Bomb.” Nakazawa, Keiji, Barefoot Gen: A Cartoon Story of Hiroshima, vol. 1, translated by Project Gen, Last Gasp, 2004, n.p.Google Scholar
Suter, Rebecca. “Japan/America, Man/Woman: Gender and Identity Politics in Adrian Tomine and Yoshihiro Tatsumi.” Paradoxa, no. 22, 2010, pp. 101–122.Google Scholar
Suzuki, Shige (CJ). “Teaching Manga: A Medium-Specific Approach Beyond Area Studies.” Manga!: Visual Pop-Culture in Art Education, edited by Toku, Masami and Dollase, Hiromi Tsuchiya. InSEA Publications, 2020, pp. 208–217.Google Scholar
Tsai, Yi-Shan. “Close-ups: An Emotive Language in Manga.” Journal of Graphic Novels and Comics, vol. 9, no. 5, 2018, pp. 473–489.CrossRefGoogle Scholar
Vidu (Victor Dulon). “L’immeuble.” T, le portail TURBOMEDIA, 2019. https://turbointeractive.fr/limmeuble/ [Accessed 31 July 2022].Google Scholar
Weinersmith, Zach. “AI”. Saturday Morning Breakfast Cereal, 11 June 2022 [Accessed 31 July 2022].Google Scholar
Aggleton, Jennifer. “The Proper Serious Work of Preserving Digital Comics.” UK Web Archive Blog. The British Library, 9 August, 2017, https://blogs.bl.uk/webarchive/2017/08/digital-comics.html [Accessed 31 July 2022].Google Scholar
Balak (Yves Bigerel). About Digital Comics, 2009. http://balak01.deviantart.com/art/about-DIGITAL-COMICS-111966969 [Accessed 31 July 2022].Google Scholar
Baudry, Julien. “Paradoxes of Innovation in French Digital Comics.” The Comics Grid: Journal of Comics Scholarship, vol. 8, no. 1, 2018, pp. 1–24.Google Scholar
Boudissa, Magali. “Typologie des bandes dessinées numériques.” Bande dessinée et numérique, edited by Robert, Pascal. CNRS Éditions, 2016, pp. 79–99.Google Scholar
Busi Rizzi, Giorgio. “Il fumetto digitale tra sperimentazione e partecipazione: Il caso Homestuck.” H-ermes. Journal of Communication, no. 18, 2020, pp. 45–72.Google Scholar
Carroll, Noël. “Medium Specificity.” The Palgrave Handbook of the Philosophy of Film and Motion Pictures, edited by Carroll, Noël et al. Palgrave Macmillan, 2019, pp. 29–47.Google Scholar
Chun, Wendy H. K. “The Enduring Ephemeral, or The Future Is a Memory.” Critical Inquiry, vol. 35, no. 1, Autumn 2008, pp. 148–171.CrossRefGoogle Scholar
Crucifix, Benoît and Dozo, Björn-Olav. “E-Graphic Novels.” The Cambridge History of the Graphic Novel, edited by Baetens, Jan et al. Cambridge University Press, 2018, pp. 574–590.Google Scholar
De Kosnik, Abigail. Rogue Archives: Digital Cultural Memory and Media Fandom. MIT Press, 2016.CrossRefGoogle Scholar
Di Paola, Lorenzo. L’inafferrabile medium. Una cartografia delle teorie del fumetto dagli anni Venti a oggi. Alessandro Polidoro Editore, 2019.Google Scholar
Gerrig, Richard. Experiencing Narrative Worlds: On the Psychological Activities of Reading. Yale University Press, 1993.CrossRefGoogle Scholar
Gordon, Ian. “Comic Strips.” Comics Studies: A Guidebook, edited by Hatfield, Charles and Beaty, Bart. Rutgers University Press, 2020, pp. 13–24.CrossRefGoogle Scholar
Groensteen, Thierry. Système de la bande dessinée. Presses Universitaires de France, 1999.Google Scholar
Hague, Ian. Comics and the Senses: A Multisensory Approach to Comics and Graphic Novels. Routledge, 2014.CrossRefGoogle Scholar
Iser, Wolfgang. The Act of Reading: A Theory of Aesthetic Response. John Hopkins University Press, 1978.Google Scholar
Kashtan, Aaron. Between Pen and Pixel: Comics, Materiality, and the Book of the Future. Ohio State University Press, 2018.CrossRefGoogle Scholar
Lamerichs, Nicolle. “Scrolling, Swiping, Selling: Understanding Webtoons and the Data-driven Participatory Culture around Comics.” Participations, vol. 17, no. 2, November 2020, pp. 211–229.Google Scholar
McCloud, Scott. Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form. Paradox, 2000.Google Scholar
Mondoux, André. Histoire sociale des technologies numériques. Éditions Nota Bene, 2011.Google Scholar
Priego, Ernesto and Wilkins, Peter. “The Question Concerning Comics as Technology: Gestell and Grid.” The Comics Grid: Journal of Comics Scholarship, no. 8, 2018, pp. 16–41.Google Scholar
Rouse, Rebecca. “Media of Attraction: A Media Archeology Approach to Panoramas, Kinematography, Mixed Reality and Beyond.” International Conference on Interactive Digital Storytelling, edited by Nack, Frank and Gordon, Andrew S.. Springer, 2016, pp. 97–107.Google Scholar
Shivener, Rick. “Re-theorizing the Infinite Canvas: A Space for Comics and Rhetorical Theories.” Perspectives on Digital Comics: Theoretical, Critical, and Pedagogical Essays, edited by Kirchoff, Jeffrey S. J. and Cook, Mike P.. McFarland, 2019, pp. 46–62.Google Scholar
Sinervo, Kalervo A. “Pirates and Publishers.” The Comics World: Comic Books, Graphic Novels, and Their Publics, edited by Woo, Benjamin and Stoll, Jeremy. University Press of Mississippi, 2021, pp. 208–233.CrossRefGoogle Scholar
Stevens, J. Richard and Bell, Christopher Edward. “Do Fans Own Digital Comic Books? Examining the Copyright and Intellectual Property Attitudes of Comic Book Fans.” International Journal of Communication, no. 6, 2012, pp. 751–772.Google Scholar
Thon, Jan-Noël and Wilde, Lukas. “Mediality and Materiality of Contemporary Comics.” Journal of Graphic Novels and Comics, vol. 7, no. 3, 2016, pp. 233–241.Google Scholar
Tirino, Mario. “Nuvole e pixel. Per una lettura sociologica del fumetto sperimentale contemporaneo.” Sguardi dalle scienze sociali, edited by Santoro, Alessandra and Bifulco, Luca. Funes, 2018, pp. 69–94.Google Scholar
Wershler, Darren, et al. “Digital Comics.” Comics Studies: A Guidebook, edited by Hatfield, Charles and Beaty, Bart. Rutgers University Press, 2020, pp. 253–266.Google Scholar