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Author: Hillary L. Chute
Publisher: Harvard University Press
ISBN: 0674495667
Category : Literary Criticism
Languages : en
Pages : 372
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Book Description
In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima’s Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman’s first “Maus” story about his immigrant family’s survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa’s inaugural work of “atomic bomb manga,” the comic book Ore Wa Mita (“I Saw It”)—a title that alludes to Goya’s famous Disasters of War etchings. Chute explains how the form of comics—its collection of frames—lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.
Author: Hillary L. Chute
Publisher: Harvard University Press
ISBN: 0674495667
Category : Literary Criticism
Languages : en
Pages : 372
Get Book Here
Book Description
In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima’s Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman’s first “Maus” story about his immigrant family’s survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa’s inaugural work of “atomic bomb manga,” the comic book Ore Wa Mita (“I Saw It”)—a title that alludes to Goya’s famous Disasters of War etchings. Chute explains how the form of comics—its collection of frames—lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.
Author: Hillary L. Chute
Publisher: Harvard University Press
ISBN: 0674504518
Category : Art
Languages : en
Pages : 372
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Book Description
In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima’s Ground Zero, comics have shown a stunning capacity to bear witness to trauma. Hillary Chute explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.
Author: Aronsson-Storrier, Marie
Publisher: Edward Elgar Publishing
ISBN: 1839100303
Category : Law
Languages : en
Pages : 264
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Book Description
This timely book unpacks the idea of ‘disaster’ from a variety of approaches, broadening understanding and improving the usability of this complex and often contested concept. Including multidisciplinary perspectives from leading and emerging scholars, it offers reflections on how the concept of disaster has been shaped by and within various fields of research, providing complementary and thought-provoking comparisons across many domains.
Author: Hillary Chute
Publisher: HarperCollins
ISBN: 0062476815
Category : Literary Criticism
Languages : en
Pages : 472
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Book Description
A New York Times Notable Book Filled with beautiful color art, dynamic storytelling, and insightful analysis, Hillary Chute reveals what makes one of the most critically acclaimed and popular art forms so unique and appealing, and how it got that way. “In her wonderful book, Hillary Chute suggests that we’re in a blooming, expanding era of the art… Chute’s often lovely, sensitive discussions of individual expression in independent comics seem so right and true.” — New York Times Book Review Over the past century, fans have elevated comics from the back pages of newspapers into one of our most celebrated forms of culture, from Fun Home, the Tony Award–winning musical based on Alison Bechdel’s groundbreaking graphic memoir, to the dozens of superhero films that are annual blockbusters worldwide. What is the essence of comics’ appeal? What does this art form do that others can’t? Whether you’ve read every comic you can get your hands on or you’re just starting your journey, Why Comics? has something for you. Author Hillary Chute chronicles comics culture, explaining underground comics (also known as “comix”) and graphic novels, analyzing their evolution, and offering fascinating portraits of the creative men and women behind them. Chute reveals why these works—a blend of concise words and striking visuals—are an extraordinarily powerful form of expression that stimulates us intellectually and emotionally. Focusing on ten major themes—disaster, superheroes, sex, the suburbs, cities, punk, illness and disability, girls, war, and queerness—Chute explains how comics get their messages across more effectively than any other form. “Why Disaster?” explores how comics are uniquely suited to convey the scale and disorientation of calamity, from Art Spiegelman’s representation of the Holocaust and 9/11 to Keiji Nakazawa’s focus on Hiroshima. “Why the Suburbs?” examines how the work of Chris Ware and Charles Burns illustrates the quiet joys and struggles of suburban existence; and “Why Punk?” delves into how comics inspire and reflect the punk movement’s DIY aesthetics—giving birth to a democratic medium increasingly embraced by some of today’s most significant artists. Featuring full-color reproductions of more than one hundred essential pages and panels, including some famous but never-before-reprinted images from comics legends, Why Comics? is an indispensable guide that offers a deep understanding of this influential art form and its masters.
Author: Charles Fritz
Publisher:
ISBN:
Category :
Languages : en
Pages : 114
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Book Description
«Reading Fritz, it becomes clear that disaster provides not only opportunities and communities but a changed sense of self that matters.» (Rebecca Solnit in "A Paradise built in Hell") The text in this report was written in 1961. This raises an obvious question of why it remained unpublished for 35 years? Also, why did the Disaster Research Center (DRC) decide to publish it at this time as part of its Historical and Comparative Disaster Series? To understand part of the reasoning behind the latter decision requires some understanding of the answer to the first question. Reconstructing the past is not always easy. However, as part of an oral history of the early workers in the disaster research field in the United States, we have for the last ten years been conducting interviews with those involved, as well as collecting many personal and organizational documents, including letters and other records. From such an array of relevant primary and secondary data, we think we have been able to ascertain what happened concerning the original manuscript prepared by Fritz. (From the Foreword by E. L. Quarantelli)
Author: Kyle Cleveland
Publisher: University of Pennsylvania Press
ISBN: 0812252985
Category : Social Science
Languages : en
Pages : 344
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Book Description
"This book is about the 2011 Fukushima disaster in Japan. The disaster comprised a triple punch that began with an earthquake, which caused a tsunami, which triggered a meltdown at a nuclear plant"--
Author: Bob Cavnar
Publisher: Chelsea Green Publishing
ISBN: 1603583173
Category : Technology & Engineering
Languages : en
Pages : 250
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Book Description
Disaster on the Horizon is a behind-the-scenes investigative look at the worst oil well accident in US history, which led to the current environmental and economic catastrophe on the Gulf Coast. Cavnar uses his 30 years in the business to take readers inside the disaster, exposing the decisions leading up to the blowout and the immediate aftermath. It includes personal accounts of the survivors, assembled from testimony during various investigations, as well as personal interviews with survivors, witnesses, and family. It also provides a layman's look at the industry, its technology, people, and risks. It deconstructs events and decisions made by BP, Transocean, and the US Government before and after the disaster, and the effects of those decisions, both good and bad. Cavnar explains what happened in the Gulf, explores how we arrived at deep water drilling in the first place and then charts a course for how to avoid these disasters in the future.
Author: David Thomson
Publisher: Yale University Press
ISBN: 0300246943
Category : Performing Arts
Languages : en
Pages : 223
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Book Description
A deep--and darkly comic--dive into the nature of disasters, and the ways they shape how we think about ourselves in the world "In this brilliant book, David Thomson tells the story of how we came to make disaster and catastrophe our best friends--how we let terror cocoon and take over our imaginations to avoid seeing the things that really frighten us. Riveting and totally original."--Adam Curtis, BBC filmmaker and political journalist "Erudite. . . . Engaging. . . . A cri de coeur about art's struggle to keep up with reality."--Kirkus Reviews Audiences swell with the scale of disaster; humans have always been drawn to the rumors of our own demise. In this searching treatment, noted film historian David Thomson examines iconic disasters, both real and fictional, exposing the slippage between what occurs and what we observe. With reportage, film commentary, speculation, and a liberating sense of humor, Thomson shows how digital culture commodifies disaster and sates our desire to witness chaos while suffering none of its aftereffects. Ranging from Laurel and Hardy and Battleship Potemkin to Cormac McCarthy's The Road, and from the epic San Andreas to the intimate Don't Look Now, Thomson pulls back the curtain to reveal why we love watching disaster unfold--but only if it happens to others.
Author: Daniel P. Aldrich
Publisher: University of Chicago Press
ISBN: 0226012891
Category : Social Science
Languages : en
Pages : 246
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Book Description
The factor that makes some communities rebound quickly from disasters while others fall apart: “A fascinating book on an important topic.”—E.L. Hirsch, in Choice Each year, natural disasters threaten the strength and stability of communities worldwide. Yet responses to the challenges of recovery vary greatly and in ways that aren’t explained by the magnitude of the catastrophe or the amount of aid provided by national governments or the international community. The difference between resilience and disrepair, as Daniel P. Aldrich shows, lies in the depth of communities’ social capital. Building Resilience highlights the critical role of social capital in the ability of a community to withstand disaster and rebuild both the infrastructure and the ties that are at the foundation of any community. Aldrich examines the post-disaster responses of four distinct communities—Tokyo following the 1923 earthquake, Kobe after the 1995 earthquake, Tamil Nadu after the 2004 Indian Ocean Tsunami, and New Orleans post-Katrina—and finds that those with robust social networks were better able to coordinate recovery. In addition to quickly disseminating information and financial and physical assistance, communities with an abundance of social capital were able to minimize the migration of people and valuable resources out of the area. With governments increasingly overstretched and natural disasters likely to increase in frequency and intensity, a thorough understanding of what contributes to efficient reconstruction is more important than ever. Building Resilience underscores a critical component of an effective response.
Author: Ramzi Fawaz
Publisher: NYU Press
ISBN: 147982349X
Category : Literary Criticism
Languages : en
Pages : 365
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Book Description
2017 The Association for the Studies of the Present Book Prize Finalist Mention, 2017 Lora Romero First Book Award Presented by the American Studies Association Winner of the 2012 CLAGS Fellowship Award for Best First Book Project in LGBT Studies How fantasy meets reality as popular culture evolves and ignites postwar gender, sexual, and race revolutions. In 1964, noted literary critic Leslie Fiedler described American youth as “new mutants,” social rebels severing their attachments to American culture to remake themselves in their own image. 1960s comic book creators, anticipating Fiedler, began to morph American superheroes from icons of nationalism and white masculinity into actual mutant outcasts, defined by their genetic difference from ordinary humanity. These powerful misfits and “freaks” soon came to embody the social and political aspirations of America’s most marginalized groups, including women, racial and sexual minorities, and the working classes. In The New Mutants, Ramzi Fawaz draws upon queer theory to tell the story of these monstrous fantasy figures and how they grapple with radical politics from Civil Rights and The New Left to Women’s and Gay Liberation Movements. Through a series of comic book case studies—including The Justice League of America, The Fantastic Four, The X-Men, and The New Mutants—alongside late 20th century fan writing, cultural criticism, and political documents, Fawaz reveals how the American superhero modeled new forms of social belonging that counterculture youth would embrace in the 1960s and after. The New Mutants provides the first full-length study to consider the relationship between comic book fantasy and radical politics in the modern United States.
