This anthology explores tensions between the individualistic artistic ideals and the collective industrial realities of contemporary cultural production with eighteen all-new chapters presenting pioneering empirical research on the complexities and controversies of comics work.
Art Spiegelman. Alan Moore. Osamu Tezuka. Neil Gaiman. Names such as these have become synonymous with the medium of comics. Meanwhile, the large numbers of people without whose collective action no comic book would ever exist in the first place are routinely overlooked. Cultures of Comics Work unveils this hidden, global industrial labor of writers, illustrators, graphic designers, letterers, editors, printers, typesetters, publicists, publishers, distributors, translators, retailers, and countless others both directly and indirectly involved in the creative production of what is commonly thought of as the comic book. Drawing upon diverse theoretical and methodological perspectives, an international and interdisciplinary cohort of cutting-edge researchers and practitioners intervenes in debates about cultural work and paves innovative directions for comics scholarship.
About the Author
Casey Brienza is Lecturer in the Department of Sociology and the Centre for Culture and the Creative Industries at City University London, UK. She is author ofManga in America: Transnational Book Publishing and the Domestication of Japanese Comicsand editor ofGlobal Manga: “Japanese” Comics without Japan?.
Paddy Johnston is a comics scholar, cartoonist, and writer, currently working as a Doctoral Researcher in the English department at the University of Sussex, UK. He has published articles on comics inThe Comics Grid, Comics Forum, andNetworking Knowledge.
Table of Contents
Introduction; Casey Brienza and Paddy Johnston
Part I: Locating Labor
1 Between Art and the Underground in India; Jeremy Stoll
2 For the Love of the Craft: Industry, Identity, and Australian Comics; Amy Louise Maynard
3 Imagining US-Mexican Cooperation in the World War II Propaganda Comic Book Nuestro Futuro; Elena D. Hristova
4 From Turtles to Topao: A Brief History of Comics Production in the Pioneer Valley; Ryan Cadrette
5 Recognizing Comics as Brazilian National Popular Culture: CEPTA and the Debates over Professional Identities in Comics; Ivan Lima Gomes
6 Gatekeeping by Belgian Comics Publishing Houses Dupuis and Lombard in the mid-1980s; Pascal Lefèvre
Part II: Illustrating Workers
7 An Anatomy of Collaboration in Comics: Romantic Genius vs. The Team; Brenna Clarke Gray and Peter Wilkins
8 Creating Comics as Artisans: The Comics Creators of Columbia, 1998-2014; Fernando Suárez and Enrique Uribe-Jongbloed
9 Under the Radar: John Porcellino's King-Cat Comics and Self-Publishing as Cultural Work; Paddy Johnston
10 Bearing Witness and Telling It How It Is: The Collaborative Creation of Dans les griffes de la vipère; Annick Pelligrin
11 Negotiating Artistic Identity in Comics Collaboration; Ahmed Jameel
12 Comic Book Rock Stars? Making Sense of Work in Comics; Benjamin Woo
Part III: Pushing the Boundaries
13 Subcultural Clusters and Blurry Boundaries: Localized Manga Production in Hungary; Zoltan Kacsuk
14 The Tail That Wags the Dog: The Impact of Distribution on the Development and Direction of the American Comics Industry; David K. Palmer
15 Drawing Fatherhood: The Working Father Figure in the Autobiographical Novels of Guy Delisle; Roei Davidson
16 Towards Maturity: Analyzing the Tetrahedral System of the Comics Industry in Spain; José Andre's Santiago Iglesias
17 Crowdfunding and Comics in Brazil; André Pereira de Carvalho
18 A Fumetto, a Comic, and a BD Walk into a Bar: Translation of Humor in Comics; Alex Valente