Use the Library of Congress Subject Headings (circled in red in the catalog record above) to quickly and easily locate the most relevant materials for your topic. Subject headings useful for locating information on graphic novels and comics include:
Comics by individual authors, comics anthologies, comics-related books, and graphic fiction are found on this campus in Memorial Library and in College Library's Open Book Collection and occasionally in the Art Library. Comics and graphic fiction can be searched by title, author or keywords. They are grouped together under the Library of Congress subject headings graphic novels or comic books, strips, etc. Here are some additional keywords to search that will help you browse comics, cartoons, and graphic novels in the library's online catalog:
Manga graphic novels are usually in black and white in a small, paperback size. They are to be read right to left, beginning at the \"back\" of the book, but are in English (here in the U.S.). Various subjects are covered.
Graphic novels in the BPCL are cataloged as separate items, like books are. Individual authors/artists usually are searchable. There are also a number of graphic novels and books on how to use them in the Curriculum Resource Center.
A cartoonist is a visual artist who specializes in both drawing and writing cartoons (individual images) or comics (sequential images). Cartoonists differ from comics writers or comic book illustrators in that they produce both the literary and graphic components of the work as part of their practice. Cartoonists may work in a variety of formats, including booklets, comic strips, comic books, editorial cartoons, graphic novels, manuals, gag cartoons, storyboards, posters, shirts, books, advertisements, greeting cards, magazines, newspapers, webcomics, and video game packaging.
Comics is a medium used to express ideas with images, often combined with text or other visual information. It typically takes the form of a sequence of panels of images. Textual devices such as speech balloons, captions, and onomatopoeia can indicate dialogue, narration, sound effects, or other information. There is no consensus amongst theorists and historians on a definition of comics; some emphasize the combination of images and text, some sequentiality or other image relations, and others historical aspects such as mass reproduction or the use of recurring characters. Cartooning and other forms of illustration are the most common image-making means in comics; fumetti is a form that uses photographic images. Common forms include comic strips, editorial and gag cartoons, and comic books. Since the late 20th century, bound volumes such as graphic novels, comic albums, and tankōbon have become increasingly common, while online webcomics have proliferated in the 21st century.
The European, American, and Japanese comics traditions have followed different paths. Europeans have seen their tradition as beginning with the Swiss Rodolphe Töpffer from as early as 1827 and Americans have seen the origin of theirs in Richard F. Outcault's 1890s newspaper strip The Yellow Kid, though many Americans have come to recognize Töpffer's precedence. Japan has a long history of satirical cartoons and comics leading up to the World War II era. The ukiyo-e artist Hokusai popularized the Japanese term for comics and cartooning, manga, in the early 19th century. In the 1930s Harry \"A\" Chesler started a comics studio, which eventually at its height employed 40 artists working for 50 different publishers who helped make the comics medium flourish in \"the Golden Age of Comics\" after World War II. In the post-war era modern Japanese comics began to flourish when Osamu Tezuka produced a prolific body of work. Towards the close of the 20th century, these three traditions converged in a trend towards book-length comics: the comic album in Europe, the tankōbon[a] in Japan, and the graphic novel in the English-speaking countries.
Outside of these genealogies, comics theorists and historians have seen precedents for comics in the Lascaux cave paintings in France (some of which appear to be chronological sequences of images), Egyptian hieroglyphs, Trajan's Column in Rome, the 11th-century Norman Bayeux Tapestry, the 1370 bois Protat woodcut, the 15th-century Ars moriendi and block books, Michelangelo's The Last Judgment in the Sistine Chapel, and William Hogarth's 18th-century sequential engravings, amongst others.[b]
Thin periodicals called comic books appeared in the 1930s, at first reprinting newspaper comic strips; by the end of the decade, original content began to dominate. The success in 1938 of Action Comics and its lead hero Superman marked the beginning of the Golden Age of Comic Books, in which the superhero genre was prominent. In the UK and the Commonwealth, the DC Thomson-created Dandy (1937) and Beano (1938) became successful humor-based titles, with a combined circulation of over 2 million copies by the 1950s. Their characters, including \"Dennis the Menace\", \"Desperate Dan\" and \"The Bash Street Kids\" have been read by generations of British children. The comics originally experimented with superheroes and action stories before settling on humorous strips featuring a mix of the Amalgamated Press and US comic book styles.
The popularity of superhero comic books declined following World War II, while comic book sales continued to increase as other genres proliferated, such as romance, westerns, crime, horror, and humour. Following a sales peak in the early 1950s, the content of comic books (particularly crime and horror) was subjected to scrutiny from parent groups and government agencies, which culminated in Senate hearings that led to the establishment of the Comics Code Authority self-censoring body. The Code has been blamed for stunting the growth of American comics and maintaining its low status in American society for much of the remainder of the century. Superheroes re-established themselves as the most prominent comic book genre by the early 1960s. Underground comix challenged the Code and readers with adult, countercultural content in the late 1960s and early 1970s. The underground gave birth to the alternative comics movement in the 1980s and its mature, often experimental content in non-superhero genres.
Japanese comics and cartooning (manga),[g] have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-century Chōjū-jinbutsu-giga, 17th-century toba-e and kibyōshi picture books, and woodblock prints such as ukiyo-e which were popular between the 17th and 20th centuries. The kibyōshi contained examples of sequential images, movement lines, and sound effects.
Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public. Wordless novels are books which use sequences of captionless images to deliver a narrative.
Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrate deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication of Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a \"grammar\" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a \"manga expression theory\",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean \"Japanese comics\" or \"Japanese-style comics\".
Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for \"comics\" in different languages. The French term for comics, bandes dessinées (\"drawn strip\") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.
The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: \"comics is a medium\" rather than \"comics are a medium\". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: \"Tom's comics are in the basement.\"
While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons. 59ce067264