ANIME! A Beginners Guide To Japanese Animation by Helen McCarthy (Starbrite).cbr
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Download: ANIME! A Beginners Guide To Japanese Animation by Helen McCarthy (Starbrite).cbr
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Publication date 1993
Topics Movies, Cinema, Film, Video, TV, Animation, Manga, Anime, Cartoons, Japanese
Language English
Join Helen McCarthy, the UK's leading expert, on a tour of the wonderful world of Japanese animation - an exciting world of giant robots and cute school girls, rock stars and computer wizards, dwarves and dragons, cops and robbers, mad inventors and female warriors...
Learn about the history of anime and its amazing scope, and find out the key series and stars to watch out for! Take a look into the toyshop of spin-off merchandise created around the characters, and get advice on where to buy and see the films, and further reading ...
Find out just what makes anime an explosion on the verge of happening, and discover for yourself this vast and teeming adventure playground for the imagination ...
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1971 SANSONI FUMETTI
Catalog of an exhibition held at the Vancouver Art Gallery, May 17-Sept. 7, 2008
275 pages
Comics! Cartoons! Anime! Manga! Graphic Novels! Video Games! This book, companion to a landmark exhibition, celebrates the variety and growing significance of visual culture. Illustrated with eye-popping art, KRAZY! investigates the uniqueness of these forms and the ways they interconnect. Put together by some of the genres' most influential artists and cultural producers, it features commentary and interviews with Maus author Art Spiegelman, Sims creator Will Wright and comic artist Seth, along with Tim Johnson (codirector of Antz and Over the Hedge), Kiyoshi Kusumi (a global authority on manga), media theorist and critic Toshiya Ueno and visual arts curator Bruce Grenville.
“Excellent catalog.”
(New York Times 2009-03-13)
“Leaves the reader eager to explore aspects of each topic in greater depth.”
(World Literature Today 2010-11-09)
“What’s interesting about Krazy! is that it explores these art forms [and] present[s] them in a way in that forces the reader to never look at anime, manga, or video games [in the same way] again. . . . Bold, beautiful full-colored pictures illustrate it to give the reader the impression that they are at the exhibit themselves. . . . Embrace the kraziness.”
(Pop Matters 2008-08-14)
“The parade of animators and cartoonists is impressive. . . . Heart-stopping.”
(Metro Newspapers 2008-08-13)
“It is fascinating and satisfying to read essays that treat these forms of expression with the weight of both serious analysis and passionate appreciation.”
(Arcade Journal 2009-06-01)
Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman's Maus, David Beauchard's Epileptic, Marjane Satrapi's Persepolis, Alan Moore's Watchmen, and Gene Yang's American Born Chinese.
These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.
"This is a varied but well-focused collection of essays that is more thorough than anything else in print. Readers of graphic novels and autobiography will need to start here to learn the basic principles of discussion and terms of discourse."
—M. Thomas Inge, author of Comics as Culture
Tintin mon copain est un ouvrage de Léon Degrelle, paru en 2000 de façon confidentielle plusieurs années après son décès, survenu en mars 1994, aux prétendues « éditions du Pélican d'or » (les éditeurs réels préférant rester anonymes afin d'éviter des poursuites judiciaires). Celui-ci y affirme avoir inspiré le personnage de Tintin à Hergé. Cet ouvrage est surtout une autobiographie apocryphe de Léon Degrelle.
L’auteur utilise la notoriété d'Hergé et de ses personnages pour dire le mal qu'il pense de la démocratie et l'admiration qu'il porte au IIIe Reich.
Originellement tiré à 1 000 exemplaires, l'ouvrage a été interdit de vente en Belgique et en France pour contrefaçon au droit d'auteur après une plainte des ayants droit, Moulinsart SA. 850 exemplaires du premier tirage auraient été saisis et détruits1. Bien que l'ouvrage ait été depuis réimprimé, il fait l'objet d'un juteux marché spéculatif auprès des collectionneurs de Tintin et de Léon Degrelle grâce à sa supposée rareté.
Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'.
Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit.
The volume features illustrations from the works discussed and an extensive annotated bibliography.
Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.
Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'.
Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit.
The volume features illustrations from the works discussed and an extensive annotated bibliography.
Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.
"La storia attraverso le narrazioni, le emozioni, le evocazioni della opera grafica."
This book looks at the work of the celebrated Italian comic illustrator Segio Toppi. It presents examples of his work accompanied by an extensive text (in Italian) which examines the story and the influences on his work.
Tito Faraci per scrivere fumetti. Teorie e tecniche. Diabolik, Dylan Dog, Lupo Alberto, Topolino
Copertina flessibile – 1 mag 2004
Questo libro analizza e testimonia i diversi modi narrativi di Tito Faraci e fornisce alcuni strumenti teorici e pratici a chi si interessa di fumetto e sceneggiatura e volesse scoprirne i segreti tecnici e stilistici. Leggere un libro su uno sceneggiatore e le sue pagine scritte per lavoro, non fa diventare sceneggiatori, ma può illuminare la lettura dei fumetti e far riflettere su questa misconosciuta professione creativa. Davide Barzi ha pazientemente raccolto e selezionato brani da precedenti interviste su questi temi, e raccolto inedite osservazioni a commento delle varie sceneggiature che qui vengono presentate: da Topolino a Dylan Dog, da Diabolik a Lupo Alberto (anche nella versione animata).
James Robert Parish (Author)
Stan Lee: Comic-Book Writer and Publisher profiles the life and career of the creator of Spider-Man, The Incredible Hulk, and many other famous comic-book characters.
Authors: Clifford Ross, Karen Wilkin, Edward Gorey (Illustrator)
Hardcover: 189 pages
Publisher: Harry N. Abrams (September 1, 1996)
Language: English
Edward Gorey is an author and an illustrator who has carved a unique niche creating macabre graphic novels that are part satire and part social commentary--comics for adults. Though often relating lurid tales of Victorian crime, Gorey eschews blood and gore in favor of atmosphere and humor. Here the editors have collected a representative sample of his work. Ross, an artist, and Wilkin, an art critic, also provide a useful introductory essay on Gorey's work and an informative interview with him. The book includes a complete bibliography and photographs of Gorey's library and studio.
Habitual watchers of PBS TV's long-running Mystery! may constitute the largest number of Edward Gorey fans--provided, of course, that they all love the show's animated introduction, for it is Gorey's contribution. Long before the show, Gorey had attracted a staunch band of admirers with his gravely humorous rhymed stories set in an Edwardian never-never land and illustrated in children's picture-book fashion, one drawing per page or line of verse. If your child had a somewhat morbid sense of humor, they could be marvelous children's books, but they were basically for adults fascinated by Gorey's literary and artistic allusions and the droll dreariness of his densely crosshatched style (although he rarely uses color, his thicket of lines ineluctably conjures them in the mind's eye; of course, all are the hues of dusk). Besides a little gallery of his work, this sampler includes a literate admiration by Wilkin and a splendidly amusing tete-a-tete with the artist by Ross. Ray Olson