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This book examines the scope and nature of Donald Duck and his
family's popularity in Germany, in contrast to the diminished role
they play in America. This is achieved through examination of the
respective fan communities, business practices, and universality of
the characters. This work locates and understands the aspects of
translation and adaptation that inform the spread of culture that
have as yet been underexplored in the context of comic books. It
represents a large-scale attempt to incorporate adaptation and
translation studies into comics studies, through a lens of fan
studies (used to examine both the American and German fan
communities, as well as the work of Don Rosa). This work builds on
the efforts of other scholars, including Janet Wasko and Illaria
Meloni, while expanding the historical understanding of what might
be the world's best-selling comics. Peter Cullen Bryan is Lecturer
at Pennsylvania State University, USA. His areas of study include
American Studies, Intercultural Communications, and 21st Century
American culture, emphasizing comic art and fan communities. His
research has appeared in the Journal of Fandom Studies, The Journal
of American Culture, and Popular Culture Studies Journal. He serves
on the boards of the Mid-Atlantic Popular Culture Association and
the Popular Culture Association, as well as Secretary for the
Intercultural Communication section of the International
Communication Association.
This book examines the scope and nature of Donald Duck and his
family's popularity in Germany, in contrast to the diminished role
they play in America. This is achieved through examination of the
respective fan communities, business practices, and universality of
the characters. This work locates and understands the aspects of
translation and adaptation that inform the spread of culture that
have as yet been underexplored in the context of comic books. It
represents a large-scale attempt to incorporate adaptation and
translation studies into comics studies, through a lens of fan
studies (used to examine both the American and German fan
communities, as well as the work of Don Rosa). This work builds on
the efforts of other scholars, including Janet Wasko and Illaria
Meloni, while expanding the historical understanding of what might
be the world's best-selling comics. Peter Cullen Bryan is Lecturer
at Pennsylvania State University, USA. His areas of study include
American Studies, Intercultural Communications, and 21st Century
American culture, emphasizing comic art and fan communities. His
research has appeared in the Journal of Fandom Studies, The Journal
of American Culture, and Popular Culture Studies Journal. He serves
on the boards of the Mid-Atlantic Popular Culture Association and
the Popular Culture Association, as well as Secretary for the
Intercultural Communication section of the International
Communication Association.
Fans and scholars have long regarded the 1980s as a significant
turning point in the history of comics in the United States, but
most critical discussions of the period still focus on books from
prominent creators such as Frank Miller, Alan Moore, and Art
Spiegelman, eclipsing the work of others who also played a key role
in shaping comics as we know them today. The Other 1980s: Reframing
Comics' Crucial Decade offers a more complicated and multivalent
picture of this robust era of ambitious comics publishing. The
twenty essays in The Other 1980s illuminate many works hailed as
innovative in their day that have nonetheless fallen from critical
view, partly because they challenge the contours of conventional
comics studies scholarship: open-ended serials that eschew the
graphic-novel format beloved by literature departments; sprawling
superhero narratives with no connection to corporate universes;
offbeat and abandoned experiments by major publishers, including
Marvel and DC; idiosyncratic and experimental independent comics;
unusual genre exercises filtered through deeply personal
sensibilities; and oft-neglected offshoots of the classic
""underground"" comics movement of the 1960s and 1970s. The
collection also offers original examinations of the ways in which
the fans and critics of the day engaged with creators and
publishers, establishing the groundwork for much of the
contemporary critical and academic discourse on comics. By
uncovering creators and works long ignored by scholars, The Other
1980s revises standard histories of this major period and offers a
more nuanced understanding of the context from which the iconic
comics of the 1980s emerged.
Fans and scholars have long regarded the 1980s as a significant
turning point in the history of comics in the United States, but
most critical discussions of the period still focus on books from
prominent creators such as Frank Miller, Alan Moore, and Art
Spiegelman, eclipsing the work of others who also played a key role
in shaping comics as we know them today. The Other 1980s: Reframing
Comics' Crucial Decade offers a more complicated and multivalent
picture of this robust era of ambitious comics publishing. The
twenty essays in The Other 1980s illuminate many works hailed as
innovative in their day that have nonetheless fallen from critical
view, partly because they challenge the contours of conventional
comics studies scholarship: open-ended serials that eschew the
graphic-novel format beloved by literature departments; sprawling
superhero narratives with no connection to corporate universes;
offbeat and abandoned experiments by major publishers, including
Marvel and DC; idiosyncratic and experimental independent comics;
unusual genre exercises filtered through deeply personal
sensibilities; and oft-neglected offshoots of the classic
""underground"" comics movement of the 1960s and 1970s. The
collection also offers original examinations of the ways in which
the fans and critics of the day engaged with creators and
publishers, establishing the groundwork for much of the
contemporary critical and academic discourse on comics. By
uncovering creators and works long ignored by scholars, The Other
1980s revises standard histories of this major period and offers a
more nuanced understanding of the context from which the iconic
comics of the 1980s emerged.
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