How to Read Superhero Comics and Why
| Author | : | |
| Rating | : | 4.79 (556 Votes) |
| Asin | : | 0826414192 |
| Format Type | : | paperback |
| Number of Pages | : | 216 Pages |
| Publish Date | : | 0000-00-00 |
| Language | : | English |
DESCRIPTION:
This work will be followed by a complementary study of the same device in popular culture, (e.g. He was then admitted to Balliol College, Oxford. Geoff Klock is the author of How to Read Superhero Comics and Why (Continuum, 2002) a study guided by Harold Bloom's poetics of influence. For more information visit his website at geoffklock . Johnny Depp's portrayal of William Blake in Jim Jarmusch's Dead Man).Geoff Klock is twenty-seven years old, a
He avoids, at all costs, the temptation to refer to this movement as "Postmodern," "Deconstructionist," or something equally tedious. In simple terms, the Golden Age was the birth of the superhero proper out of the pulp novel characters of the early 1930s, and was primarily associated with the DC Comics Group. Superhero comic books are traditionally thought to have two distinct periods, two major waves of creativity: the Golden Age and the Silver Age. In this book, Geoff Klock presents a study of the Third Movement of superhero comic books. Analyzing the works of Frank Miller, Alan Moore, Warren Ellis, and Grant Morrison among others, and taking his cue from Harold Bloom, Klock unearths the birth of self-consciousness in the superhero narrative and guides us through an intricate world of traditions, influences, nostalgia and innovations - a world where comic books do indeed become literature.. In the early 1960s, Marvel Comics launched a co
A Customer said An Intellectual's Look at the Superhero Universe. Like a kid in a candy store, Klock brings an obviously top-notch education to bare on the red-headed step child of art and literture: the superhero comic. A fine study in both contemporary literary/cultural theory and superhero comic books (particularly of the more recent postmodern variety), How to Read Superhero Comics and Why is a romping rant well worth the read.. Fresh insight, but poor taste: way too much Moore J. Holt 4 stars, not 3 stars -- because Klock's use of Bloom's anxiety of influence is a great, novel way of reading comic books. I enjoyed reading (in about 2 days) although there were places where I don't think Klock really made his point well (and I consider myself somewhat informed by Bloom's criticism).My recommendation is: if you are interested in an intellectual view of comics (90s, and 00s comics) then this book is for you. Moreover, if you like Alan . CB said A Debatable Entry in Comic Book Scholarship. First off, it must be clarified that despite its title, "How to Read Superhero Comics and Why" is not an examination of the mechanics of the superhero genre in comic books a la Scott McCloud's Understanding Comics: The Invisible Art, which is one of the truly indispensable books on the subject of comic books. Instead, Klock's work is a scholarly examination of postmodernism in superhero comics over the last "A Debatable Entry in Comic Book Scholarship" according to CB. First off, it must be clarified that despite its title, "How to Read Superhero Comics and Why" is not an examination of the mechanics of the superhero genre in comic books a la Scott McCloud's Understanding Comics: The Invisible Art, which is one of the truly indispensable books on the subject of comic books. Instead, Klock's work is a scholarly examination of postmodernism in superhero comics over the last 25+ years, and a speculation on the future o. 5+ years, and a speculation on the future o
An entertaining readit's nice for a change to see comics taken seriously as subjects of literary criticism. I’m just glad someone finally had the balls to write it."—Joe Casey, writer of Wildcats and Automatic Kafk"Exceptional"—Today's Books"a fascinating exegesis of superhero comics, outlining how the main movement of the genre since its inception has been toward self-cannibalization, which some have chosen to call metafictionhe does a pretty good job explaining why they are what they are and why they're never likely