Английская Википедия:Comics
Шаблон:Short description Шаблон:Hatgrp Шаблон:Good article Шаблон:Use shortened footnotes
Шаблон:Not a typo a medium used to express ideas with images, often combined with text or other visual information. It typically Шаблон:Not a typo the form of a sequence of panels of images. Textual devices such as speech balloons, captions, and onomatopoeia can indicate dialogue, narration, sound effects, or other information. There is no consensus among theorists and historians on a definition of comics; some emphasize the combination of images and text, some sequentiality or other image relations, and others historical aspects such as mass reproduction or the use of recurring characters. Cartooning and other forms of illustration are the most common image-making means in comics; Photo comics is a form that uses photographic images. Common forms include comic strips, editorial and gag cartoons, and comic books. Since the late 20th century, bound volumes such as graphic novels, comic albums, and Шаблон:Transl have become increasingly common, along with webcomics as well as scientific/medical comics.[1]
The history of comics has followed different paths in different cultures. Scholars have posited a pre-history as far back as the Lascaux cave paintings. By the mid-20th century, comics flourished, particularly in the United States, western Europe (especially France and Belgium), and Japan. The history of European comics is often traced to Rodolphe Töpffer's cartoon strips of the 1830s, while Wilhelm Busch and his Max and Moritz also had a global impact from 1865 on,[2][3][4][5] and became popular following the success in the 1930s of strips and books such as The Adventures of Tintin. American comics emerged as a mass medium in the early 20th century with the advent of newspaper comic strips; magazine-style comic books followed in the 1930s, in which the superhero genre became prominent after Superman appeared in 1938. Histories of Japanese comics and cartooning (Шаблон:Transl) propose origins as early as the 12th century, Japanese comics are generally held separate from the evolution of Euro-American comics and Western comic art probably originated in 17th Italy,[6] modern Japanese comic strips emerged in the early 20th century, and the output of comics magazines and books rapidly expanded in the post-World War II era (1945–) with the popularity of cartoonists such as Osamu Tezuka. Шаблон:Not a typo had a lowbrow reputation for much of their history, but towards the end of the 20th century began to find greater acceptance with the public and academics.
The English term comics is used as a singular noun when it refers to the medium itself (e.g. "Comics is a visual art form."), but becomes plural when referring to works collectively (e.g. "Comics are popular reading material.").Шаблон:TOC limit
Origins and traditions
- Examples of early comics
-
Ally Sloper in Some of the Mysteries of Loan and Discount
Charles Henry Ross, 1867
The European, American, and Japanese comics traditions have followed different paths.Шаблон:Sfn Europeans have seen their tradition as beginning with the Swiss Rodolphe Töpffer from as early as 1827 and Americans have seen the origin of theirs in Richard F. Outcault's 1890s newspaper strip The Yellow Kid, though many Americans have come to recognize Töpffer's precedence. Wilhelm Busch directly influenced Rudolph Dirks and his Katzenjammer Kids.[7][8][9][10]Шаблон:Sfnm Japan has a long history of satirical cartoons and comics leading up to the World War II era. The ukiyo-e artist Hokusai popularized the Japanese term for comics and cartooning, Шаблон:Transl, in the early 19th century.Шаблон:Sfnm In the 1930s Harry "A" Chesler started a comics studio, which eventually at its height employed 40 artists working for 50 different publishers who helped make the comics medium flourish in "the Golden Age of Comics" after World War II.[11] In the post-war era modern Japanese comics began to flourish when Osamu Tezuka produced a prolific body of work.Шаблон:Sfnm Towards the close of the 20th century, these three traditions converged in a trend towards book-length comics: the comic album in Europe, the Шаблон:TranslШаблон:Efn in Japan, and the graphic novel in the English-speaking countries.Шаблон:Sfn
Outside of these genealogies, comics theorists and historians have seen precedents for comics in the Lascaux cave paintingsШаблон:Sfnm in France (some of which appear to be chronological sequences of images), Egyptian hieroglyphs, Trajan's Column in Rome,Шаблон:Sfn the 11th-century Norman Bayeux Tapestry,Шаблон:Sfnm the 1370 Шаблон:Lang woodcut, the 15th-century Шаблон:Lang and block books, Michelangelo's The Last Judgment in the Sistine Chapel,Шаблон:Sfn and William Hogarth's 18th-century sequential engravings,Шаблон:Sfn amongst others.Шаблон:SfnШаблон:Efn
English-language comics
Шаблон:Multiple image Шаблон:Main
Illustrated humour periodicals were popular in 19th-century Britain, the earliest of which was the short-lived The Glasgow Looking Glass in 1825.[12] The most popular was Punch,Шаблон:Sfn which popularized the term cartoon for its humorous caricatures.Шаблон:Sfn On occasion the cartoons in these magazines appeared in sequences;Шаблон:Sfn the character Ally Sloper featured in the earliest serialized comic strip when the character began to feature in its own weekly magazine in 1884.Шаблон:Sfn
American comics developed out of such magazines as Puck, Judge, and Life. The success of illustrated humour supplements in the New York World and later the New York American, particularly Outcault's The Yellow Kid, led to the development of newspaper comic strips. Early Sunday strips were full-pageШаблон:Sfn and often in colour. Between 1896 and 1901 cartoonists experimented with sequentiality, movement, and speech balloons.Шаблон:Sfn An example is Gustave Verbeek, who wrote his comic series "The UpsideDowns of Old Man Muffaroo and Little Lady Lovekins" between 1903 and 1905. These comics were made in such a way that one could read the 6-panel comic, flip the book and keep reading. He made 64 such comics in total. In 2012 a remake of a selection of the comics was made by Marcus Ivarsson in the book 'In Uppåner med Lilla Lisen & Gamle Muppen'. (Шаблон:ISBN)
Shorter, black-and-white daily strips began to appear early in the 20th century, and became established in newspapers after the success in 1907 of Bud Fisher's Mutt and Jeff.Шаблон:Sfn In Britain, the Amalgamated Press established a popular style of a sequence of images with text beneath them, including Illustrated Chips and Comic Cuts.Шаблон:Sfn Humour strips predominated at first, and in the 1920s and 1930s strips with continuing stories in genres such as adventure and drama also became popular.Шаблон:Sfn
Thin periodicals called comic books appeared in the 1930s, at first reprinting newspaper comic strips; by the end of the decade, original content began to dominate.Шаблон:Sfn The success in 1938 of Action Comics and its lead hero Superman marked the beginning of the Golden Age of Comic Books, in which the superhero genre was prominent.Шаблон:Sfn In the UK and the Commonwealth, the DC Thomson-created Dandy (1937) and Beano (1938) became successful humor-based titles, with a combined circulation of over 2 million copies by the 1950s. Their characters, including "Dennis the Menace", "Desperate Dan" and "The Bash Street Kids" have been read by generations of British children.Шаблон:Sfn The comics originally experimented with superheroes and action stories before settling on humorous strips featuring a mix of the Amalgamated Press and US comic book styles.Шаблон:Sfn
The popularity of superhero comic books declined in the years following World War II,Шаблон:Sfn while comic book sales continued to increase as other genres proliferated, such as romance, westerns, crime, horror, and humour.Шаблон:Sfn Following a sales peak in the early 1950s, the content of comic books (particularly crime and horror) was subjected to scrutiny from parent groups and government agencies, which culminated in Senate hearings that led to the establishment of the Comics Code Authority self-censoring body.Шаблон:Sfn The Code has been blamed for stunting the growth of American comics and maintaining its low status in American society for much of the remainder of the century.Шаблон:Sfn Superheroes re-established themselves as the most prominent comic book genre by the early 1960s.Шаблон:Sfn Underground comix challenged the Code and readers with adult, countercultural content in the late 1960s and early 1970s.Шаблон:Sfn The underground gave birth to the alternative comics movement in the 1980s and its mature, often experimental content in non-superhero genres.Шаблон:Sfnm
Comics in the US has had a lowbrow reputation stemming from its roots in mass culture; cultural elites sometimes saw popular culture as threatening culture and society. In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.Шаблон:Sfn
The graphic novel—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978).Шаблон:Sfn The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid-1980s.Шаблон:Sfnm In the 21st century graphic novels became established in mainstream bookstoresШаблон:Sfn and librariesШаблон:Sfn and webcomics became common.Шаблон:Sfn
Franco-Belgian and European comics
The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827,Шаблон:Sfn and published theories behind the form.Шаблон:Sfn Wilhelm Busch first puplished his Max and Moritz in 1865.[13] Cartoons appeared widely in newspapers and magazines from the 19th century.Шаблон:Sfn The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate.Шаблон:Sfnm The Adventures of Tintin, with its signature clear line style,Шаблон:Sfnm was first serialized in newspaper comics supplements beginning in 1929,Шаблон:Sfn and became an icon of Franco-Belgian comics.Шаблон:Sfnm
Following the success of Шаблон:Lang (est. 1934),Шаблон:Sfn dedicated comics magazinesШаблон:Sfnm like Spirou (est. 1938) and Tintin (1946–1993), and full-colour comic albums became the primary outlet for comics in the mid-20th century.Шаблон:Sfn As in the US, at the time comics were seen as infantile and a threat to culture and literacy; commentators stated that "none bear up to the slightest serious analysis",Шаблон:Efn and that comics were "the sabotage of all art and all literature".Шаблон:SfnШаблон:Efn
In the 1960s, the term Шаблон:Lang ("drawn strips") came into wide use in French to denote the medium.Шаблон:Sfn Cartoonists began creating comics for mature audiences,Шаблон:Sfnm and the term "Ninth Art"Шаблон:Efn was coined, as comics began to attract public and academic attention as an artform.Шаблон:Sfn A group including René Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo's The Adventures of Asterix appeared in itШаблон:Sfn and went on to become the best-selling French-language comics series.Шаблон:Sfn From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.Шаблон:Sfn
Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in 1972. Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing prestige-format adult comics.Шаблон:Sfn
From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums.Шаблон:Sfn Smaller publishers such as L'AssociationШаблон:Sfn that published longer worksШаблон:Sfn in non-traditional formatsШаблон:Sfn by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.Шаблон:Sfn
Japanese comics
Japanese comics and cartooning (Шаблон:Transl),Шаблон:Efn have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-century Шаблон:Transl, 17th-century Шаблон:Transl and Шаблон:Transl picture books,Шаблон:Sfn and woodblock prints such as ukiyo-e which were popular between the 17th and 20th centuries. The Шаблон:Transl contained examples of sequential images, movement lines,Шаблон:Sfn and sound effects.Шаблон:Sfn
Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan,Шаблон:Sfn as well as some American comic strips.Шаблон:Sfn 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense,Шаблон:Sfn and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip.Шаблон:Sfnm By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.Шаблон:Sfnm
The modern era of comics in Japan began after World War II, propelled by the success of the serialized comics of the prolific Osamu TezukaШаблон:Sfn and the comic strip Sazae-san.Шаблон:Sfnm Genres and audiences diversified over the following decades. Stories are usually first serialized in magazines which are often hundreds of pages thick and may contain over a dozen stories;Шаблон:Sfnm they are later compiled in Шаблон:Transl-format books.Шаблон:Sfn At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics.Шаблон:Sfnm Translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.Шаблон:Sfn
Forms and formats
Comic strips are generally short, multipanel comics that have, since the early 20th century, most commonly appeared in newspapers. In the US, daily strips have normally occupied a single tier, while Sunday strips have been given multiple tiers. Since the early 20th century, daily newspaper comic strips have typically been printed in black-and-white and Sunday comics have usually been printed in colour and have often occupied a full newspaper page.Шаблон:Sfn
Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicalsШаблон:Sfnm usually published in colour.Шаблон:Sfn European and Japanese comics are frequently serialized in magazines—monthly or weekly in Europe,Шаблон:Sfn and usually black-and-white and weekly in Japan.Шаблон:Sfnm Japanese comics magazine typically run to hundreds of pages.Шаблон:Sfn
Book-length comics take different forms in different cultures. European comic albums are most commonly colour volumes printed at A4-size, a larger page size than used in many other cultures.Шаблон:SfnmШаблон:Sfn In English-speaking countries, the trade paperback format originating from collected comic books have also been chosen for original material. Otherwise, bound volumes of comics are called graphic novels and are available in various formats. Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works.Шаблон:Sfnm Japanese comics are collected in volumes called Шаблон:Lang following magazine serialization.Шаблон:Sfn
Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image.Шаблон:Sfn Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"Шаблон:Efn was first used to describe them in 1843 in the British humour magazine Punch.Шаблон:Sfn
Webcomics are comics that are available on the internet, first being published the 1980s. They are able to potentially reach large audiences, and new readers can often access archives of previous installments.Шаблон:Sfn Webcomics can make use of an infinite canvas, meaning they are not constrained by the size or dimensions of a printed comics page.Шаблон:Sfnm
Some consider storyboardsШаблон:Sfn and wordless novels to be comics.Шаблон:Sfn Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public.Шаблон:Sfn Wordless novels are books which use sequences of captionless images to deliver a narrative.Шаблон:Sfn
Comics studies
Similar to the problems of defining literature and film,Шаблон:Sfn no consensus has been reached on a definition of the comics medium,Шаблон:Sfn and attempted definitions and descriptions have fallen prey to numerous exceptions.Шаблон:Sfn Theorists such as Töpffer,Шаблон:Sfn R.C. Harvey, Will Eisner,Шаблон:Sfn David Carrier,Шаблон:Sfn Alain Rey,Шаблон:Sfn and Lawrence Grove emphasize the combination of text and images,Шаблон:Sfn though there are prominent examples of pantomime comics throughout its history.Шаблон:Sfn Other critics, such as Thierry GroensteenШаблон:Sfn and Scott McCloud, have emphasized the primacy of sequences of images.Шаблон:Sfn Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.Шаблон:Sfn
European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s.Шаблон:Sfn Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure".Шаблон:Sfn In 1987, Henri Vanlier introduced the term Шаблон:Lang, or "multiframe", to refer to the comics page as a semantic unit.Шаблон:Sfn By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices.Шаблон:Sfn Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "Шаблон:Lang" (or "drawn literatures").Шаблон:Sfn French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions.Шаблон:Sfn In the mid-2000s, Neil Cohn began analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.Шаблон:Sfn
Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrate deep roots in the past, such as to the Шаблон:Transl picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga.Шаблон:Sfn The first historical overview of Japanese comics was Seiki Hosokibara's Шаблон:TranslШаблон:Efn in 1924.Шаблон:Sfnm Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication of Tomofusa Kure's Modern Manga: The Complete Picture,Шаблон:Efn which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of Шаблон:Transl studies increased rapidly, with numerous books on the subject appearing in the 1990s.Шаблон:Sfn Formal theories of Шаблон:Transl have focused on developing a "manga expression theory",Шаблон:Efn with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element.Шаблон:Sfn Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics Шаблон:SmallШаблон:Efn was established in 2001 to promote comics scholarship.Шаблон:Sfn The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".Шаблон:Sfn
Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947).Шаблон:Sfn Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective.Шаблон:Sfn Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea";Шаблон:Sfnm Scott McCloud defined comics as "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer",Шаблон:Sfnm a strictly formal definition which detached comics from its historical and cultural trappings.Шаблон:Sfn R.C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa".Шаблон:Sfnm Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons,Шаблон:Sfn and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content".Шаблон:Sfn Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.Шаблон:Sfn
Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages.Шаблон:Sfn The French term for comics, Шаблон:Lang ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor,Шаблон:Sfnm which can imply the exclusion of even photographic comics.Шаблон:Sfn The term Шаблон:Transl is used in Japanese to indicate all forms of comics, cartooning,Шаблон:Sfn and caricature.Шаблон:Sfn
Terminology
The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement."Шаблон:Sfnm
Panels are individual images containing a segment of action,Шаблон:Sfn often surrounded by a border.Шаблон:Sfn Prime moments in a narrative are broken down into panels via a process called encapsulation.Шаблон:Sfn The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events.Шаблон:Sfn The size, shape, and arrangement of panels each affect the timing and pacing of the narrative.Шаблон:Sfn The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.Шаблон:Sfnm
Text is frequently incorporated into comics via speech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case of thought balloons), with tails pointing at their respective speakers.Шаблон:Sfnm Captions can give voice to a narrator, convey characters' dialogue or thoughts,Шаблон:Sfnm or indicate place or time.Шаблон:Sfnm Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics.Шаблон:Sfn Sound effects mimic non-vocal sounds textually using onomatopoeia sound-words.Шаблон:Sfn
Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes;Шаблон:Sfnm mixed media and digital technology have become common. Cartooning techniques such as motion linesШаблон:Sfnm and abstract symbols are often employed.Шаблон:Sfnm
While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan.Шаблон:Sfn Particularly in American superhero comic books,Шаблон:Sfn the art may be divided between a penciller, who lays out the artwork in pencil;Шаблон:Sfn an inker, who finishes the artwork in ink;Шаблон:Sfnm a colourist;Шаблон:Sfn and a letterer, who adds the captions and speech balloons.Шаблон:Sfn
Etymology
The English-language term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips, but usage of the term has become standard for non-humorous works as well. The alternate spelling comix – coined by the underground comix movement – is sometimes used to address such ambiguities.Шаблон:Sfn The term "comic book" has a similarly confusing history since they are most often not humorous and are periodicals, not regular books.Шаблон:Sfn It is common in English to refer to the comics of different cultures by the terms used in their languages, such as Шаблон:Transl for Japanese comics, or Шаблон:Lang for French-language Franco-Belgian comics.Шаблон:Sfn
Many cultures have taken their word for comics from English, including Russian (Шаблон:Lang, Шаблон:Transl)Шаблон:Sfn and German (Шаблон:Lang).Шаблон:Sfn Similarly, the Chinese term Шаблон:TranslШаблон:Sfnm and the Korean Шаблон:TranslШаблон:Sfn derive from the Chinese characters with which the Japanese term Шаблон:Transl is written.Шаблон:Sfnm
See also
See also lists
- List of best-selling comic series
- List of best-selling manga
- List of comic books
- List of comics by country
- List of comics creators
- List of comics publishing companies
- List of comic strip syndicates
- List of Franco-Belgian comics series
- List of newspaper comic strips
- Lists of manga
- List of manga artists
- List of manga magazines
- List of manga publishers
- List of years in comics
Notes
References
Works cited
Books
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Academic journals
- Шаблон:Cite journal
- Шаблон:Cite journal
- Шаблон:Cite journal
- Шаблон:Cite journal
- Шаблон:Cite journal
- Шаблон:Cite journalШаблон:Dead link
Web
Further reading
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
External links
Academic journals
- The Comics Grid: Journal of Comics Scholarship
- ImageTexT: Interdisciplinary Comics Studies
- Image [&] Narrative Шаблон:Webarchive
- International Journal of Comic Art
- Journal of Graphic Novels and Comics
Archives
- Billy Ireland Cartoon Library & Museum
- Michigan State University Comic Art Collection
- Comic Art Collection at the University of Missouri
- Cartoon Art Museum of San Francisco
- Time Archives' Collection of Comics
- Шаблон:Cite web
Databases
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