Authorship In Comics Journalism

'What is Comics Journalism,' and 'Why is the author not dead at all?' Because literature and journalism deal differently with "authorship" and "author," this work renegotiates these concepts. It analyzes the author's importance in comics journalism, especially concerning the verification and authentication of the production process. This study gives a broad and extensive overview of the various forms of contemporary comics journalism, and argues that authorship in comics journalism can only be adequately understood by considering the author both on the textual and extratextual level. By combining comics analyses with cultural, sociological, and literary studies approaches, this study introduces the 'comics journalistic pact,' which is an invisible agreement between author and reader, addressing issues of narration ('voice'), testimony ('face'), and journalistic engagement ('hands'). It categorizes comics journalism as a borderline genre between literature, culture, art, and journalism due to its interdisciplinary nature.

This book provides student journalists, artists, designers, creative writers and web producers with the tools and techniques they need to tell nonfiction stories visually and graphically. Weaving together history, theory, and practical advice, seasoned nonfiction comics professors and scholars Randy Duncan, Michael Ray Taylor and David Stoddard present a hands-on approach to teach readers from a range of backgrounds how to develop and create a graphic nonfiction story from start to finish. The book offers guidance on: -how to find stories and make use of appropriate facts and visuals; -nonfiction narrative techniques; -artist's tools and techniques; -print, digital, and multimedia production; -legal and ethical considerations. Interviews with well-known nonfiction comics creators and editors discuss best practices and offer readers inspiration to begin creating their own work, and exercises at the end of each chapter encourage students to hone their skills.

This book provides student journalists, artists, designers, creative writers and web producers with the tools and techniques they need to tell nonfiction stories visually and graphically. Weaving together history, theory, and practical advice, seasoned nonfiction comics professors and scholars Randy Duncan, Michael Ray Taylor and David Stoddard present a hands-on approach to teach readers from a range of backgrounds how to develop and create a graphic nonfiction story from start to finish. The book offers guidance on: -how to find stories and make use of appropriate facts and visuals; -nonfiction narrative techniques; -artist's tools and techniques; -print, digital, and multimedia production; -legal and ethical considerations. Interviews with well-known nonfiction comics creators and editors discuss best practices and offer readers inspiration to begin creating their own work, and exercises at the end of each chapter encourage students to hone their skills.

Named a Notable Scholarly Publication of 2015 by the Comics Studies Society Contributions by Georgiana Banita, Lan Dong, Ann D'Orazio, Kevin C. Dunn, Alexander Dunst, Jared Gardner, Edward C. Holland, Isabel Macdonald, Brigid Maher, Ben Owen, Rebecca Scherr, Maureen Shay, Marc Singer, Richard Todd Stafford, and Øyvind Vågnes The Comics of Joe Sacco addresses the range of his award-winning work, from his early comics stories as well as his groundbreaking journalism Palestine (1993) and Safe Area to Goražde (2000), to Footnotes in Gaza (2009) and his most recent book The Great War (2013), a graphic history of World War I. First in the series, Critical Approaches to Comics Artists, this edited volume explores Sacco's comics journalism and features established and emerging scholars from comics studies, cultural studies, geography, literary studies, political science, and communication studies. Sacco's work has already found a place in some of the foundational scholarship in comics studies, and this book solidifies his role as one of the most important comics artists today. Sections focus on how Sacco's comics journalism critiques and employs the standard of objectivity in mainstream reporting, what aesthetic principles and approaches to lived experience can be found in his comics, how Sacco employs the space of the comics page to map history and war, and the ways that his comics function in the classroom and as human rights activism. The Comics of Joe Sacco offers definitive, exciting approaches to some of the most important--and necessary--comics today, by one of the most acclaimed journalist-artists of our time.

A Companion to Media Authorship “Gray and Johnson have brought together a stellar group of authors whose works deftly explicate the complexities of negotiating ‘authorship’ across a range of cultural production sites. This definitive collection is an important and long-overdue contribution to contemporary media studies.” Serra Tinic, author of On Location: Canada’s Television Industry in a Global Market “Wide-ranging and global, historical and contemporary, brimming with insights enlarging our understanding of media production and reception, this book is an important contribution to the study of authorship.” Michael Z. Newman, author of Indie: An American Film Culture While the idea of authorship has transcended the literary to play a meaningful role in the cultures of film, television, games, comics, and other emerging digital forms, our understanding of it is still too often limited to assumptions about solitary geniuses and individual creative expression. A Companion to Media Authorship is a ground-breaking collection that reframes media authorship as a question of culture in which authorship is as much a construction tied to authority and power as it is a constructive and creative force of its own. Gathering together the insights of leading media scholars and practitioners, 28 original chapters map the field of authorship in a cutting-edge, multi-perspective, and truly authoritative manner. The contributors develop new and innovative ways of thinking about the practices, attributions, and meanings of authorship. They situate and examine authorship within collaborative models of industrial production, socially networked media platforms, globally diverse traditions of creativity, complex consumption practices, and a host of institutional and social contexts. Together, the essays provide the definitive study on the subject by demonstrating that authorship is a field in which media culture can be transformed, revitalized, and reimagined.

This collection of new essays explores various ways of reading, interpreting and using digital comics. Contributors discuss comics made specifically for web consumption, and also digital reproductions of print-comics. Written for those who may not be familiar with digital comics or digital comic scholarship, the essays cover perspectives on reading, criticism and analysis of specific titles, the global reach of digital comics, and how they can be used in educational settings.

Contributions by Bart Beaty, T. Keith Edmunds, Eike Exner, Christopher J. Galdieri, Ivan Lima Gomes, Charles Hatfield, Franny Howes, John A. Lent, Amy Louise Maynard, Shari Sabeti, Rob Salkowitz, Kalervo A. Sinervo, Jeremy Stoll, Valerie Wieskamp, Adriana Estrada Wilson, and Benjamin Woo The Comics World: Comic Books, Graphic Novels, and Their Publics is the first collection to explicitly examine the production, circulation, and reception of comics from a social-scientific point of view. Designed to promote interdisciplinary dialogue about theory and methods in comics studies, this volume draws on approaches from fields as diverse as sociology, political science, history, folklore, communication studies, and business, among others, to study the social life of comics and graphic novels. Taking the concept of a “comics world”—that is, the collection of people, roles, and institutions that “produce” comics as they are—as its organizing principle, the book asks readers to attend to the contexts that shape how comics move through societies and cultures. Each chapter explores a specific comics world or particular site where comics meet one of their publics, such as artists and creators; adaptors; critics and journalists; convention-goers; scanners; fans; and comics scholars themselves. Through their research, contributors demonstrate some of the ways that people participate in comics worlds and how the relationships created in these spaces can provide different perspectives on comics and comics studies. Moving beyond the page, The Comics World explores the complexity of the lived reality of the comics world: how comics and graphic novels matter to different people at different times, within a social space shared with others.

"Sacco brings the conflict down to the most human level, allowing us to imagine our way inside it, to make the desperation he discovers, in some small way, our own."—Los Angeles Times Rafah, a town at the bottommost tip of the Gaza Strip, has long been a notorious flashpoint in the bitter Middle East conflict. Buried deep in the archives is one bloody incident, in 1956, that left 111 Palestinians shot dead by Israeli soldiers. Seemingly a footnote to a long history of killing, that day in Rafah—cold-blooded massacre or dreadful mistake—reveals the competing truths that have come to define an intractable war. In a quest to get to the heart of what happened, Joe Sacco immerses himself in the daily life of Rafah and the neighboring town of Khan Younis, uncovering Gaza past and present. As in Palestine and Safe Area Goražde, his unique visual journalism renders a contested landscape in brilliant, meticulous detail. Spanning fifty years, moving fluidly between one war and the next, Footnotes in Gaza—Sacco's most ambitious work to date—transforms a critical conflict of our age into intimate and immediate experience.