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E-book Comics Beyond the Page in Latin America

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Penilaian

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ver the past two decades Latin America has seen an expansion in the publication and consumption of comics. This renaissance is benefiting from transnational dialogues and exchanges: in 2017, for example, the publishing house :e(m)r;, based in Rosario, Argentina, produced a groundbreaking compilation of comics by artists from over 10 Latin American countries. With a title suggesting an eruption not dissimilar to the explosion of the Boom in Latin American fiction in the 1960s and 1970s, El Volcán (The Volcano) (Sainz and Bidegaray 2017) reflects growing regional self-awareness of expansion, exposure and dissemination. In 2017, the book was presented at the Kuš! Komikss festival in Riga and at the Helsinki comics festival, alongside an exhibit of the book’s artwork. International attention of this kind has been magnified by efforts to create collaborative links across regions. The Fumetto festival in Switzerland, for example, which hosted the El Volcánexhibit in 2018, also included an exhibition of works produced as part of an artistic exchange set up between Brazilian and Swiss comics creators. The festival is looking to establish a similar programme with Colombian comics creators in future iterations.That El Volcán has been consumed both as a book and as an exhibit or discussion topic at festivals demonstrates that enthusiasm for Latin American comics is not confined to the page. From specialist festivals to art exhibitions, from university courses to school workshops, from murals to statues to subway art, and from digital comics to transnational collective blogs, Latin American comics are circulating in all manner of ways beyond traditional paper-based formats. This phenomenon is far rom being exclusively Latin American. Something about comics and their use of word and image allows them to be transposed and put into dialogue with different cultural media. These transmedial processes are integral to an epoch drawn to interdisciplinarity, dialogues and exchanges between different media, and the fluid relationships between humans and the material environment. Drawing on Rosalind Krauss’s theory of landscape art, the comics scholar Bart Beaty has referred to the idea of ‘comics in the expanded field’ (Baetens 2013, 185). That idea, which Beaty uses to frame a planned study of the relationship between form and transmedial-ity provisionally entitled Comics Off the Page, can be seen in several chapters in this book. But, unlike Beaty, the authors included here are generally less concerned with determining what constitutes or not a comic. Neither do they follow wholesale the more focused approach of Casey Brienza and Paddy Johnston’s fascinating Cultures of Comics Work (2016), which addresses the field of comics and ‘the primacy of collective creation rather than the formal properties of the comics art object’ (7). Even though it only occurs minimally, textual analysis of form and page is not entirely out of place in this book. If some contribu-tors are concerned with comics entirely off the page, others include analysis based on expanded notions of a text. For that reason, I prefer the notion of comics beyond the page for this book, a phrase that imparts the sense of being on a threshold that is not entirely abstracted from print cultures and the page.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

741.5 AGU c

Penerbit

London : UCL Press., 2020

Deskripsi Fisik

246 hlm

Bahasa

English

ISBN/ISSN

9781787357549

Klasifikasi

741.5

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

-

Subjek

Cartoons, Caricatures, Comics Drawings

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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