For over seventy-five years, Archie and the gang at Riverdale High have been America's most iconic teenagers, delighting generations of readers with their never-ending exploits. But despite their ubiquity, "Archie "comics have been relatively ignored by scholars--until now.
"Twelve-Cent Archie" is not only the first scholarly study of the "Archie "comic, it is an innovative creative work in its own right. Inspired by "Archie's "own concise storytelling format, renowned comics scholar Bart Beaty divides the book into a hundred short chapters, each devoted to a different aspect of the "Archie "comics. Fans of the comics will be thrilled to read in-depth examinations of their favorite characters and motifs, including individual chapters devoted to Jughead's hat and Archie's sweater-vest. But the book also has plenty to interest newcomers to Riverdale, as it recounts the behind-the-scenes history of the comics and analyzes how "Archie "helped shape our images of the American teenager.
As he employs a wide range of theoretical and methodological approaches, Beaty reveals that the "Archie "comics themselves were far more eclectic, creative, and self-aware than most critics recognize. Equally comfortable considering everything from the representation of racial diversity to the semiotics of Veronica's haircut, "Twelve-Cent Archie" gives a fresh appreciation for America's most endearing group of teenagers.

Bart Beaty and Benjamin Woo work to historicize why it is that certain works or creators have come to define the notion of a "quality comic book," while other works and creators have been left at the fringes of critical analysis.

Originally published in France and long sought in English translation, Jean-Paul Gabilliet's "Of Comics and Men: A Cultural History of American Comic Books" documents the rise and development of the American comic book industry from the 1930s to the present. The book intertwines aesthetic issues and critical biographies with the concerns of production, distribution, and audience reception, making it one of the few interdisciplinary studies of the art form. A thorough introduction by translators and comics scholars Bart Beaty and Nick Nguyen brings the book up to date with explorations of the latest innovations, particularly the graphic novel.

The book is organized into three sections: a concise history of the evolution of the comic book form in America; an overview of the distribution and consumption of American comic books, detailing specific controversies such as the creation of the Comics Code in the mid-1950s; and the problematic legitimization of the form that has occurred recently within the academy and in popular discourse.

Viewing comic books from a variety of theoretical lenses, Gabilliet shows how seemingly disparate issues--creation, production, and reception--are in fact connected in ways that are not necessarily true of other art forms. Analyzing examples from a variety of genres, this book provides a thorough landmark overview of American comic books that sheds new light on this versatile art form.

For over seventy-five years, Archie and the gang at Riverdale High have been America's most iconic teenagers, delighting generations of readers with their never-ending exploits. But despite their ubiquity, Archie comics have been relatively ignored by scholars-until now. Twelve-Cent Archie is not only the first scholarly study of the Archie comic, it is an innovative creative work in its own right. Inspired by Archie's own concise storytelling format, renowned comics scholar Bart Beaty divides the book into a hundred short chapters, each devoted to a different aspect of the Archie comics. Fans of the comics will be thrilled to read in-depth examinations of their favorite characters and motifs, including individual chapters devoted to Jughead's hat and Archie's sweater-vest. But the book also has plenty to interest newcomers to Riverdale, as it recounts the behind-the-scenes history of the comics and analyzes how Archie helped shape our images of the American teenager. As he employs a wide range of theoretical and methodological approaches, Beaty reveals that the Archie comics themselves were far more eclectic, creative, and self-aware than most critics recognize. Equally comfortable considering everything from the representation of racial diversity to the semiotics of Veronica's haircut, Twelve-Cent Archie gives a fresh appreciation for America's most endearing group of teenagers.

Nominee for the 2021 Eisner Awards Best Academic/Scholarly Work In the twenty-first century, the field of comics studies has exploded. Scholarship on graphic novels, comic books, comic strips, webcomics, manga, and all forms of comic art has grown at a dizzying pace, with new publications, institutions, and courses springing up everywhere. The field crosses disciplinary and cultural borders and brings together myriad traditions. Comics Studies: A Guidebook offers a rich but concise introduction to this multifaceted field, authored by leading experts in multiple disciplines. It opens diverse entryways to comics studies, including history, form, audiences, genre, and cultural, industrial, and economic contexts. An invaluable one-stop resource for veteran and new comics scholars alike, this guidebook represents the state of the art in contemporary comics scholarship.  

For over seventy-five years, Archie and the gang at Riverdale High have been America's most iconic teenagers, delighting generations of readers with their never-ending exploits. But despite their ubiquity, Archie comics have been relatively ignored by scholars-until now. Twelve-Cent Archie is not only the first scholarly study of the Archie comic, it is an innovative creative work in its own right. Inspired by Archie's own concise storytelling format, renowned comics scholar Bart Beaty divides the book into a hundred short chapters, each devoted to a different aspect of the Archie comics. Fans of the comics will be thrilled to read in-depth examinations of their favorite characters and motifs, including individual chapters devoted to Jughead's hat and Archie's sweater-vest. But the book also has plenty to interest newcomers to Riverdale, as it recounts the behind-the-scenes history of the comics and analyzes how Archie helped shape our images of the American teenager. As he employs a wide range of theoretical and methodological approaches, Beaty reveals that the Archie comics themselves were far more eclectic, creative, and self-aware than most critics recognize. Equally comfortable considering everything from the representation of racial diversity to the semiotics of Veronica's haircut, Twelve-Cent Archie gives a fresh appreciation for America's most endearing group of teenagers.

In the twenty-first century, the field of comics studies has exploded. Scholarship on graphic novels, comic books, comic strips, webcomics, manga, and all forms of comic art has grown at a dizzying pace, with new publications, institutions, and courses springing up everywhere. The field crosses disciplinary and cultural borders and brings together myriad traditions. Comics Studies: A Guidebook offers a rich but concise introduction to this multifaceted field, authored by leading experts in multiple disciplines. It opens diverse entryways to comics studies, including history, form, audiences, genre, and cultural, industrial, and economic contexts. An invaluable one-stop resource for veteran and new comics scholars alike, this Guidebook represents the state of the art in contemporary comics scholarship.

This edition of Thierry Groensteen's "The System of Comics" makes available in English a groundbreaking work on comics by one of the medium's foremost scholars. In this book, originally published in France in 1999, Groensteen explains clearly the subtle, complex workings of the medium and its unique way of combining visual, verbal, spatial, and chronological expressions. The author explores the nineteenth-century pioneer Rodolphe Topffer, contemporary Japanese creators, George Herriman's Krazy Kat, and modern American autobiographical comics.

The System of Comics uses examples from a wide variety of countries including the United States, England, Japan, France, and Argentina. It describes and analyzes the properties and functions of speech and thought balloons, panels, strips, and pages to examine methodically and insightfully the medium's fundamental processes.

From this, Groensteen develops his own coherent, overarching theory of comics, a "system" that both builds on existing studies of the "word and image" paradigm and adds innovative approaches of his own. Examining both meaning and appreciation, the book provides a wealth of ideas that will challenge the way scholars approach the study of comics. By emphasizing not simply "storytelling techniques" but also the qualities of the printed page and the reader's engagement, the book's approach is broadly applicable to all forms of interpreting this evolving art.

Thierry Groensteen is a comics scholar and translator in Brussels, Belgium. He is the author of "La bande dessinee: Une litterature graphique" and "La construction de la cage," among other books. Bart Beaty is associate professor of communication and culture at the University of Calgary. Nick Nguyen is an archivist at Library and Archives Canada, in Ottawa, Ontario."

On the surface, the relationship between comics and the 'high' arts once seemed simple; comic books and strips could be mined for inspiration, but were not themselves considered legitimate art objects. Though this traditional distinction has begun to erode, the worlds of comics and art continue to occupy vastly different social spaces.

Comics Versus Art examines the relationship between comics and the most important institutions of the art world; including museums, auction houses, and the art press. Bart Beaty's analysis centres around two questions: why were comics excluded from the history of art for most of the twentieth century, and what does it mean that comics production is now more closely aligned with the art world? Approaching this relationship for the first time through the lens of the sociology of culture, Beaty advances a completely novel approach to the comics form.

In the last fifteen years or so, a wide community of artists working in a variety of western European nations have overturned the dominant traditions of comic book publishing as it has existed since the end of the Second World War. These artists reject both the traditional form and content of comic books (hardcover, full-colour 'albums' of humour or adventure stories, generally geared towards children), seeking instead to instil the medium with experimental and avant-garde tendencies commonly associated with the visual arts. Unpopular Culture addresses the transformation of the status of the comic book in Europe since 1990. Increasingly, comic book artists seek to render a traditionally degraded aspect of popular culture un-popular, transforming it through the adoption of values borrowed from the field of 'high art.' The first English-language book to explore these issues, Unpopular Culture represents a challenge to received histories of art and popular culture that downplay significant historical anomalies in favour of more conventional narratives. In tracing the efforts of a large number of artists to disrupt the hegemony of high culture, Bart Beaty raises important questions about cultural value and its place as an important structuring element in contemporary social processes.

In "The Origins of Comics: From William Hogarth to Winsor McCay," Thierry Smolderen presents a cultural landscape whose narrative differs in many ways from those presented by other historians of the comic strip. Rather than beginning his inquiry with the popularly accepted "sequential art" definition of the comic strip, Smolderen instead wishes to engage with the historical dimensions that inform that definition. His goal is to understand the processes that led to the twentieth-century comic strip, the highly recognizable species of picture stories that he sees crystallizing around 1900 in the United States.

Featuring close readings of the picture stories, caricatures, and humoristic illustrations of William Hogarth, Rodolphe Topffer, Gustave Dore, and their many contemporaries, Smolderen establishes how these artists were immersed in a very old visual culture in which images--satirical images in particular--were deciphered in a way that was often described as hieroglyphical. Across eight chapters, he acutely points out how the effect of the printing press and the mass advent of audiovisual technologies (photography, audio recording, and cinema) at the end of the nineteenth century led to a new twentieth-century visual culture. In tracing this evolution, Smolderen distinguishes himself from other comics historians by following a methodology that explains the present state of the form of comics on the basis of its history, rather than presenting the history of the form on the basis of its present state. This study remaps the history of this influential art form."

Originally published in France and long sought in English translation, Jean-Paul Gabilliet's "Of Comics and Men: A Cultural History of American Comic Books" documents the rise and development of the American comic book industry from the 1930s to the present. The book intertwines aesthetic issues and critical biographies with the concerns of production, distribution, and audience reception, making it one of the few interdisciplinary studies of the art form. A thorough introduction by translators and comics scholars Bart Beaty and Nick Nguyen brings the book up to date with explorations of the latest innovations, particularly the graphic novel. The book is organized into three sections: a concise history of the evolution of the comic book form in America; an overview of the distribution and consumption of American comic books, detailing specific controversies such as the creation of the Comics Code in the mid-1950s; and the problematic legitimization of the form that has occurred recently within the academy and in popular discourse. Viewing comic books from a variety of theoretical lenses, Gabilliet shows how seemingly disparate issues--creation, production, and reception--are in fact connected in ways that are not necessarily true of other art forms. Analyzing examples from a variety of genres, this book, now in English for the first time, provides a thorough landmark overview of American comic books that shed new light on this versatile art form.

Too often remembered solely as the psychiatrist and cultural critic whose testimony in Senate subcommittees sparked the creation of the Comics Code, Fredric Wertham was a far more complex man. Author Bart Beaty traces the evolution of Wertham's attitudes toward popular culture and reassesses his place in the debate about pop culture's effects on youth and society.

When "The Seduction of the Innocent" was published in 1954, Wertham (1895-1981) became instantly known as an authority on child psychology. Although he had published several books before "Seduction," its sharp criticism of popular culture in general--and comic books in particular--made it a touchstone for debate about issues of censorship, child protection, and freedom of speech.

"Fredric Wertham and the Critique of Mass Culture," a fresh perspective on Wertham's career, reinterprets his intellectual legacy and challenges notions about his alleged cultural conservatism. Drawing upon Wertham's published works as well as his unpublished private papers, correspondence, and notes, Beaty reveals a man whose opinions, life, and career offer more subtlety of thought than previously assumed. In particular, the book examines Wertham's change of heart in the 1970s, when he began to claim that comics could be a positive influence in American society.

The Wertham that emerges is a critic who was significantly more progressive and multifaceted than his reputation would suggest.

Bart Beaty is associate professor of communication and culture at the University of Calgary. His work has been published in the "Comics Journal," "International Journal of Comic Art," "Canadian Journal of Communication," "Essays in Canadian Writing," and "Canadian Review of American Studies."