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7 Politics

  • Stephan Packard
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Handbook of Comics and Graphic Narratives
This chapter is in the book Handbook of Comics and Graphic Narratives

Abstract

The political dimensions of comics are many and heterogeneous. This chapter outlines three different fields of interactions between realms of politics and this art form, beginning with comics that contain or serve as utterances with a more or less direct political purpose, engaged in political advocacy or education (1). The chapter then moves on from these treatments of politics in the comics to the subjection of comics under political discourses, encompassing direct censorship and other forms of media control as well as politically engaged criticism of individual comic books and genres as well as the art form as a whole (2). While all of these aspects concern effects of individual comics or comic genres that either topicalize obviously political matters or are rendered as the object of policy, the third part of the chapter will discuss different ideas on a possibly fundamentally political aesthetics of comics (3), asking whether there is a critical stance to the very use of their signs that informs a basic political attitude and whether that disposition is then to be considered ineluctable.

Abstract

The political dimensions of comics are many and heterogeneous. This chapter outlines three different fields of interactions between realms of politics and this art form, beginning with comics that contain or serve as utterances with a more or less direct political purpose, engaged in political advocacy or education (1). The chapter then moves on from these treatments of politics in the comics to the subjection of comics under political discourses, encompassing direct censorship and other forms of media control as well as politically engaged criticism of individual comic books and genres as well as the art form as a whole (2). While all of these aspects concern effects of individual comics or comic genres that either topicalize obviously political matters or are rendered as the object of policy, the third part of the chapter will discuss different ideas on a possibly fundamentally political aesthetics of comics (3), asking whether there is a critical stance to the very use of their signs that informs a basic political attitude and whether that disposition is then to be considered ineluctable.

Chapters in this book

  1. Frontmatter i
  2. Editors’ Preface v
  3. Contents vii
  4. Comics Studies: Survey of the Field 1
  5. Part I: Systematic Aspects
  6. 1 Comics Terminology and Definitions 11
  7. 2 History, Formats, Genres 35
  8. 3 Text-Image Relations 81
  9. 4 Comics Narratology 99
  10. 5 Seriality 121
  11. 6 Adaptation 141
  12. Part II: Contexts and Themes
  13. 7 Politics 167
  14. 8 World-Building 181
  15. 9 Life Writing 201
  16. 10 Gender 219
  17. 11 Queerness 231
  18. 12 Science Comics 247
  19. 13 Postcolonial Perspectives 265
  20. 14 DocuComics in the Classroom 289
  21. 15 Superheroes
  22. 15.1 Historical Overview 311
  23. The Golden Age: Batman 317
  24. 15.3 The Silver Age: Nick Fury 331
  25. 15.4 The Dark Age: Superheroes in the 1980s 343
  26. Part III: Close Readings
  27. 16 Richard F. Outcault: The Yellow Kid 361
  28. 17 George Herriman: Krazy Kat 379
  29. 18 Winsor McCay: Little Nemo in Slumberland 387
  30. 19 Dave Sim: Cerebus 405
  31. 20 Will Eisner: A Contract with God 431
  32. 21 Raymond Briggs: When the Wind Blows 451
  33. 22 Art Spiegelman: Maus 467
  34. 23 Robert Crumb 481
  35. 24 Alan Moore: From Hell 499
  36. 25 Neil Gaiman: The Sandman 513
  37. 26 Alison Bechdel: Dykes to Watch Out For 529
  38. 27 Chris Ware: Jimmy Corrigan – The Smartest Kid on Earth 545
  39. 28 Daniel Clowes: Ghost World 561
  40. 29 Martin Rowson: The Life and Opinions of Tristram Shandy, Gentleman 573
  41. 30 Marjane Satrapi: Persepolis 589
  42. 31 Grant Morrison: Flex Mentallo 601
  43. Index of Subjects 619
  44. Index of Names 629
  45. List of Contributors 635
https://doi.org/10.1515/9783110446968-008

Chapters in this book

  1. Frontmatter i
  2. Editors’ Preface v
  3. Contents vii
  4. Comics Studies: Survey of the Field 1
  5. Part I: Systematic Aspects
  6. 1 Comics Terminology and Definitions 11
  7. 2 History, Formats, Genres 35
  8. 3 Text-Image Relations 81
  9. 4 Comics Narratology 99
  10. 5 Seriality 121
  11. 6 Adaptation 141
  12. Part II: Contexts and Themes
  13. 7 Politics 167
  14. 8 World-Building 181
  15. 9 Life Writing 201
  16. 10 Gender 219
  17. 11 Queerness 231
  18. 12 Science Comics 247
  19. 13 Postcolonial Perspectives 265
  20. 14 DocuComics in the Classroom 289
  21. 15 Superheroes
  22. 15.1 Historical Overview 311
  23. The Golden Age: Batman 317
  24. 15.3 The Silver Age: Nick Fury 331
  25. 15.4 The Dark Age: Superheroes in the 1980s 343
  26. Part III: Close Readings
  27. 16 Richard F. Outcault: The Yellow Kid 361
  28. 17 George Herriman: Krazy Kat 379
  29. 18 Winsor McCay: Little Nemo in Slumberland 387
  30. 19 Dave Sim: Cerebus 405
  31. 20 Will Eisner: A Contract with God 431
  32. 21 Raymond Briggs: When the Wind Blows 451
  33. 22 Art Spiegelman: Maus 467
  34. 23 Robert Crumb 481
  35. 24 Alan Moore: From Hell 499
  36. 25 Neil Gaiman: The Sandman 513
  37. 26 Alison Bechdel: Dykes to Watch Out For 529
  38. 27 Chris Ware: Jimmy Corrigan – The Smartest Kid on Earth 545
  39. 28 Daniel Clowes: Ghost World 561
  40. 29 Martin Rowson: The Life and Opinions of Tristram Shandy, Gentleman 573
  41. 30 Marjane Satrapi: Persepolis 589
  42. 31 Grant Morrison: Flex Mentallo 601
  43. Index of Subjects 619
  44. Index of Names 629
  45. List of Contributors 635
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