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WOMEN AND THE COMIC. X

(PROGRAMME thousand words. 26 NOVEMBER 2009)

Tilden First you did not macho, the intention of talking about women and comics is not intended as a listing of female characters displayed by the cartoons, but it is the day I write this is 25 November, a day that is remembered that there is still a macho culture and violence against which struggle and no end. Tracing

network for more documentation I have entered two main variants in the treatment of post "Women in comics", this feminist analysis of the role of women in the world of historeta and on the other side The "analysis" male characters appearing in comic strips. Ie which of the heroines' is more or less good. "

and many quotes are used from the beginning of this post, are on purpose, I would be very careful with this stuff and not fall into expressions that can be misinterpreted.

is obvious that the comic is primarily visual language and that it are drawn characters who have a physical splendor. The funny thing is that most of the comics that we can come to the imagination, and tend to be the superhero, men have a spectacular musculature and women are drawn highlighting their feminine attributes and with a garment that stands out.

The image of other comics is much more prissy, and, in many comics, women are helpless to those who need protection and care because they are unable to fend for themselves. Asexual beings are valid only as mothers or sisters. Or worse, are lousy, the villains, the man-eating, which show a much stronger sex.

However, only analysis of women in comics focusing on superhero comics, is very partial. Since the beginning of the story has been women in comics and their role and treatment varied depending on the seasons and the various achievements of women in society. I will speak only of a certain moment I want to emphasize.

Women American comics of the 30 is dependent on the hero, but independent economic, social and labor. The heroines of Terry and the Pirates, Superman, Flash Gordon and Tarzan, fighting, acting, have their own life, yes, about the hero. Not cease to be a reflection of the advancement of American society of the 30's, much more advanced in certain respects that of Europe, and in which women had begun to work and kept some independence, but not pull himself up to high places society.

English comics in the role of women has been lost, and often the woman is a housewife, Ulises Families, Chive and Trebizond, and Zape Zipi or work but as a secretary, or bologna and Anacleto Philemon. It is also the reflection of a society that enshrines in law the submission of women to men. Cases other than those of literature in comics aimed at girls, which topics do not go beyond how to marry well and be a perfect wife. Lily, Sissy, Azucena, My Girl, Florita, Mary News, part of the culture that said women could not but interpret what men actually gave. Getting out of that role were Doña Tula, Doña Urraca, and Sigrid, the first two because they showed a different woman, hardened and calloused by the war and its aftermath, vicious and hard to man, so they had problems with censorship. A woman could not hit a man About the limit!. Sigrid is another woman, endowed with great beauty and independent, with censor problems came on the other hand, politics and concubinage.

The progressive women's independence, independence itself but because they were not handcuffed, he discovered that they themselves own their bodies and sexuality. This results in that, in the late 60's, and for all 70, both film and comics, the representation of nudity and sexual connotations have intellectuals and freedom, not just sexual. Is the time of Vampirella, Barbarella, Milo Manara, Guido Crepax, etc ... This led

that over time and distorted the above sense, emergence of a comic in which women ceased to be hero and became just a sex object, tinged with pornography. (Kiss Comix, Penthouse Comics and various publications of purely masturbatory dyes).

But women do not only maintain a relationship only character in the comic but are authors and readers. As readers have been the most abused among all those who are targeted comics. Not because it is necessary to have specific publications for them, but because the authors have almost never considered that she read what they do and have cut off, by default, about half the world we inhabit.

As the authors properly emphasize that Maitena and Marjane Satrapi are not alone. Frank Miller's wife, Lynn Varley, appears in the credits of 300, I am sure that there is a reason of condescension, but because his contribucioón to color in this work is essential. This paper, ink or colored, has traditionally been the industry left in the hands of women or children because they felt their smaller hands could give more precision to work. The problem is that you never have recognized its merits.

This is changing and we can name a handful of Women: Claire

• Bretécher, French great, much appreciated by critics, with illustrations and albums seem very original and fun, inspiring Bretécher Maitena is the author Argentina's current popularity.
• Mary Fleener, American feminist of the seventies, considered a pioneer of comics feminine and feminist.
• Jessica Abel, very modern both in its design as it recreates the world.
• Julie Doucet, Canadian comic autobiographical responsible brave and without makeup.
• Cathy Guisewite, American genius who portrays the world actual y las difícil comunicación con el llamado "sexo fuerte".
• Lynn Jonston, canadiense, autora de historietas inspiradas en su propia vida de madre de familia.
• Phoebe Gloekner, norteamericana, autora autobiográfica muy destacada por la crítica.
• Debbie Drechsler, también estadounidense que denuncia en sus álbumes los abusos sexuales que sufrió en su infancia.
• Marjane Satrapi responsable de un cómic muy personal, autobiográfico, en el que narra su infancia en el mundo cambiante de su país tras la caída del Sha.
• Maitena.

Valga

this to complete and confirm that in this world have no place separation and discrimination, but we move in a world so male.

To know more (this time without wikipedia):

http://portal.uam.es/portal/page/portal/UAM_ORGANIZATIVO/OrganosGobierno/VicerrectoradoInfraestructuraProm/Institutomujer/novedades/encuentros/Dossier % 20and% 20t% 20detalles% E9cnicos% 20Mujeres% 20creadoras% 20in% 20the% 20mund.pdf

http://www.entretodas.net/categoria/comic/

http://kemosabidrawing.googlepages. com / lasmujeresyelcomic

Http://www.guiadelcomic.com/comics/mujeres_alteradas.htm

http://www.kobaltronics.com/arigata/ver.php?id_diario=23

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THE MEETING OF COMIC AND ILLUSTRATION OF SEVILLE

( PROGRAM thousand words. 26 NOVEMBER 2009)

has held this past weekend, the X meeting of Comic and Illustration Sevilla. The truth is that it is gratifying to know that one is not alone in his love for comics and cartoon and commend those who keep the flame alive in this city.

Although activities on various fronts, the conference include Casino located in the Exhibition. Addition this headquarters, FNAC bookstores, Nostromo and Card Magic apartadobre develop a sample comics. Some bars of this, our city, forgive the paraphrase, develop signs about the kiss in the comic. And the Province House presents an exhibition of Sonia Pulido until January 2010. By this time a concert is expected to Lope de Vega on Cartoons and Music.

I should highlight the International Graphic Novel Prize Drawing for Jordi Bayarri Between Cultures by The Extraordinary Adventures of Nicholas Champion and Mordechai Feingold. Darwin's Lost Manuscript.

I was a participant of these conferences on Friday and Sunday, impressed by the deployment and effort, but less for the offer. So close to the crisis, and economic but not creative. One exception, Enki Bilal and Transit, the project faces observed at airports from which imagines a story is a success, and bilingual cubic assembly, as all attendees receiving a statement of intent.

http://www.encuentrocomicilustracionsevilla.com/

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FRESH AIR. WATCHMEN. SUMMARY

(PROGRAMME thousand words. 19 NOVEMBER 2009)

often we will meet with works of an artistic genre twilight depleted that are designed to close that chapter and, unwittingly, become the work reference. It is possible that in the work are all topics for which distinguishes that particular genre, but a work is exceptional. What are otherwise "Pale Rider", "Spartacus" and "Ran"? With Watchmen happens. Suddenly, a work published in a period of stagnation of superheroes get alter the fundamentals of the genre, fusing all the topics and become a work and not exceptional, but a teacher. Among the key works of the ninth art, among the top ten, without clarifying the position because a lot depends on personal taste.

Why do I say this? It is, of course, a bold assertion. Take into account that he says can not establish the comic nothing more than a great love and he knows what he's talking or does so empirically derived knowledge base read as possible. No formal training in this regard. But I know that no wrong, because each new reading of Watchmen provides greater depth to the work and because it is necessary to provide this book, returning it to us, let us know if he claims to have read, it has, and if he did, if you read that right, and if you understand.

should read Watchmen. I know many readers say they prefer the European comic strip, closer and more humanized, and that, therefore, should be superheroes for children. They are wrong because this story is not Marvel or DC comic books to use. This is something else.

In Spain, now reissued as a book, and has the appearance of a graphic novel, plus the first releases of Watchmen are a limited series of 12 episodes. So this work is considered one of the crowning works of the comic book and graphic novel can not be considered a work conceived only as a novel but as a series, but also as a current series, but a closed set, cyclical, recurring and certain one-way from the very moment of conception. Something like what happened with the first LP's conceptual Sargeant's Pepper of Beatles and Pet Sounds of The Beach Boys.

But it is this that makes Watchmen a reference. Imagine all the families of potential superheroes, their coalitions, their appearances in other series, their enemies, the evolution of his personality, imagine addition, a human depth behind each of these characters, and, last but not least, imagine that this climate of permanent crisis, nuclear fear, fear of war, would have existed without the Watergate and Richard Nixon was U.S. president The truth is that this cocktail in my hand may not lead to anything, but between Alan Moore and Dave Gibbons completed this masterpiece.

speak of the various species of superheroes, because from the 30 to 80, appeared superheroes who were masked men, others who had superpowers to suffer mutations, others who had some power mythical or mythological others were simple soldiers, ... All the families are here and their union does not squeak.

Depression, the crisis of identity of the characters, the sense of failure, internal issues of each of the superheroes, who had been outlined in other series. Characters like X-Men, Spiderman, Batman, had some internal struggle, not without a dose of "pop psychology." This inner dialogue is more profound, there are characters who feel they have failed in their post-life superhero, who lead a more nondescript deprives them a sense of their lives, others lowing to be superior to a destination or must preserve the values \u200b\u200bof a society that has disappeared, and others, from its status as superheroes, looking at other humans as mere spectators.

The struggle between good and evil, as Manichaean in American comics, so focused on the balance between superhero and supervillain, finally, after all, so childish, no longer is. The inner struggle of the characters are joined lust, sex, money, madness, passion for doing wrong ... The superheroes are adults.

was recently made into a movie, Alan Moore, without even seeing it, reneging on the tape. Why? Watchmen was conceived as a choral work, in terms of characters and in terms of technique. Are planned vignettes, dialogues, text inserts, works displayed (comic within the comic), symmetry, self-reference, .... The author understands that this is not possible to translate it into a movie. All special effects were worth the world to please the artist Dave Gibbons, but nothing else. Perhaps Pixar with The Incredibles, would capture a little more sense of human life superheroes, albeit in a watered down version and very slightly basad the idea of \u200b\u200bloss of identity of a superhero.

To finish, a council must read Watchmen, several times. Each time you read, you discover new things, both in drawing and in history. It's like any essential masterpiece. Like any work of art, expendable. Because our survival depends not read it or not, but it will bring to life a time of enjoyment or frustration, and perhaps a new nuance to live it.

Watchmen: quis custodiet ipsos custodes?

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We are in luck!

Well, first of all apologize for not updating this page much as we should. Discouragement has been some time and others simply routine. Sorry and thank all those that you still have the patience for stopping by occasionally and in cloudy cloudy.

As we say at the outset, we're in luck. Growing. Little by little. As the moss that appears in the photograph and that everything gets covered ... step by step. No hurry. With patience.

Bubok The editorial, which belongs to the novel, has reached an agreement with several libraries of the English territory to sell their books, physically speaking, and the reader, before acquiring them, and do not settle for a photo a website. Now you can play, browse, smell their freshly printed pages ... (Ahh, the smell of fresh book, a mystery that only one speech and a scent that is so deep and you have good memories to you over the years).

Well, as I roll it up, hehe. That's it. Leave the appropriate link to prove only from a click, in which library or libraries in your town can get. Minded, we are increasingly. And thanks again. A hug to everyone.

http://www.bubok.es/librerias/mapas

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. CAPTAIN THUNDER

(PROGRAMME thousand words. 3 NOVEMBER 2009)
Just recently, for my birthday a friend gave me a comic book, which is the adaptation of three stories by Edgar Allan Poe. This is The Black Cat, The Cask of Amontillado and Manuscript in a Bottle. Aside from being grateful for this gift, I recalled that during a great period of my life the horror comic was my favorite genre. In large part because it was an adult gender could escape Parental possible.
The spate of terror that has invaded us these days to Halloween to talk about several journals that formed the nucleus of terror in Spain. Creepy I mean, Rufus, Vampus, Vampirella and Black Dossier. I take this occasion, opportunistically, because looking old comic magazines that I keep, I rediscovered a genius who almost forgot, this is Berni Wrightson.
Creepy

(creepy) was the name of the magazine, but also the character, medium body, medium zombie, which appeared on the cover and, as a host, we would introduce in the stories that differs. Here in Spain it was known as Uncle Rufus or Uncle Creepy, and was more sympathetic than terrifying.
During that time he got what he achieved only genius, tell me that out of his work, there was nothing interesting, nothing worth reading. His works, many of them adaptations of works by EA Poe, HP Lovecraft, and, later, Stephen King, or taking arguments of works of B horror films were shocking for a very elaborate script for short stories, an atmosphere and a breathtaking setting and a very clean design, clear line, which contrasted with a dark stories.
All this fascination with the terror began in the movies. The 50 gave Roger Corman and his production company, American International Pictures, the opportunity to create a subgenre that escaped the Hays code. Together with British producer Hammer, and movies The Crow, The Mask of Red Death, The Pendulum , managed to impact a generation. In the silent comics had their mirror in the Warren Publishing, which started production autoconclusivas short stories 4 or 5 pages to be the final story booklet superhero or war stories from Marvel. This format was very successful since the mid-60, Warren began publishing Creepy , which lasted until the mid-80's.
Warren artists specialized in fantasy and terrifying. Many of the vampire myths of werewolves, ghosts, began here. Sources drank scary movies from the 40's and the Gothic novel, and soon resulted in stories that were introduced major concern at that time, UFOs, aliens, the atomic age, nuclear annihilation. Gradually this genre was transformed and series like Vampirella allowed show sexiest shades with very suggestive dresses heroines, vamps with a very strong sexuality, etc., This made the horror comic genre in a more adult and also moved to the cinema, where it already appeared not only the virginal victim but in which a very forced, like in the comics, they were naked, apropos of nothing.
came a time when the American artists that was not possible to keep pace Warren monthly publications, as Creepy, Eerie and Vampirella, weekly stories and other comic books. It was the landing of the English. The editor Joseph Toutain traveled to America to sell and promote the artists of his agency Illustrated Picks, the head of Warren met him in New York and was surprised at the good quality of work were shown and the price is so incredibly Deals of the American market.
The effects were curious. There was a Hispanicized of Creepy and Vampirella became a English products made in the USA, the result almost exclusively Jose Ortiz and Esteban Maroto. Both the Americans wrote to the direction of Creepy protesting because Creepy was too English. On the other hand, Toutain, after years of consolidation of English authors, began the publication of the English Creepy in 1979 and was widely criticized for heavy reliance on material out of the Warren and his Americanization. However, for many English authors almost unknown here, the publication of these magazines are supposed to know in Spain, where they arrived and with the patina of winners come from the USA and they had some recognition editorial. Creepy
The English was sold as the first magazine of English horror genre. Although this was not true at all, Vampus, Rufus, Vampirella and Black Dossier were earlier, but were mere translations and reprints of American magazines. And, much earlier, in the 50's, Inspector Dan introduced the horror genre in English cartoon. What happened is that it introduced Toutain unpublished material in the U.S. and created expressly for this magazine. Mixed material from the Warren, with new authors and with classic, what, and yes indeed, the magazine became the first English, through the ranks, not in time.
Regardless of the American edition and English, appeared as the aforementioned authors Berni Wrightson, which highlight Fair Monster " strongly influenced by film" Freaks "Tod Browning , Richard Corben with stories that mix the fantasy genre, horror and suspense with its particular aesthetic, see for example " The Fall of the House of Usher " José M ª BEA Beroy ...
A memory attached itself to these comics. One story struck me in my childhood was "big picture" Bruce Jones. Featured in Black Dossier and I read it incomplete because he lacked the back. For several years I was without knowing the end, until in 1984 found it in a kiosk. I read the end and I'll never know if it was better not to have read and imagine for a lifetime.

About:

http://es.wikipedia.org/wiki/Creepy

http://es.wikipedia.org/ wiki / Vampirella

http://es.wikipedia.org/wiki/Berni_Wrightson

http://es.wikipedia.org/wiki/Richard_Corben

Http://www.telefonica.net/web2/fantagore/index.html