03010nam 2200697Ia 450 991082794840332120230802004248.00-8047-8178-810.1515/9780804781787(CKB)2550000000062996(EBL)802023(OCoLC)767502416(SSID)ssj0000741704(PQKBManifestationID)11420342(PQKBTitleCode)TC0000741704(PQKBWorkID)10744160(PQKB)10448634(SSID)ssj0000640130(PQKBManifestationID)12245782(PQKBTitleCode)TC0000640130(PQKBWorkID)10612631(PQKB)10778625(MiAaPQ)EBC802023(DE-B1597)563902(DE-B1597)9780804781787(Au-PeEL)EBL802023(CaPaEBR)ebr10509346(OCoLC)1198929585(EXLCZ)99255000000006299620110721d2012 uy 0engur|n|---|||||txtccrProjections[electronic resource] comics and the history of twenty-first-century storytelling /Jared GardnerStanford, CA Stanford University Press20121 online resource (241 p.)Post 45Description based upon print version of record.0-8047-7146-4 0-8047-7147-2 Includes bibliographical references and index.Contents; Preface; 1. Fragments of Modernity, 1889-1920; 2. Serial Pleasures, 1907-1938; 3. Fan-Addicts and the Comic Book, 1938-1955; 4. First-Person Graphic, 1959-2010; 5. Archives and Collectors, 1990-2010; 6. Coda: Comics, Film, and the Future of Twenty-First-Century Storytelling; Notes; IndexWhen Art Spiegelman's Maus won the Pulitzer Prize in 1992, it marked a new era for comics. Comics are now taken seriously by the same academic and cultural institutions that long dismissed the form. And the visibility of comics continues to increase, with alternative cartoonists now published by major presses and more comics-based films arriving on the screen each year. Projections argues that the seemingly sudden visibility of comics is no accident. Beginning with the parallel development of narrative comics at the turn of the 20th century, comics have long been a fPost 45.Comic books, strips, etcUnited StatesHistory and criticismMotion pictures and comic booksUnited StatesNarration (Rhetoric)Comic books, strips, etc.History and criticism.Motion pictures and comic booksNarration (Rhetoric)741.5/973Gardner Jared610248MiAaPQMiAaPQMiAaPQBOOK9910827948403321Projections4124689UNINA