Name: Komiks: Comic Art in Russia (en Inglés)
SKU: 54554808
Price: 772.13 MXN
Availability: InStock
Author: Alaniz, José
ISBN: 9781628460506

portada Komiks: Comic Art in Russia (en Inglés)

Formato

Libro Físico

Autor

José Alaniz

Editorial

University Press of Mississippi

Idioma

Inglés

N° páginas

280

Encuadernación

Tapa Blanda

Dimensiones

22.1x14.5x2.5 cm

Peso

0.41 kg.

ISBN13

9781628460506

Categorías

Rusia
Urss, unión soviética
Estudios literarios: ficción, novelistas y prosistas
Cultura popular
Historia de otras zonas y regiones geográficas
Novela gráfica / cómic: guías y reseñas

Komiks: Comic Art in Russia (en Inglés)

José Alaniz (Autor) · University Press of Mississippi · Tapa Blanda

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Reseña del libro "Komiks: Comic Art in Russia (en Inglés)"

José Alaniz explores the problematic publication history of komiks--an art form much-maligned as "bourgeois" mass diversion before, during, and after the collapse of the USSR--with an emphasis on the last twenty years. Using archival research, interviews with major artists and publishers, and close readings of several works, Komiks: Comic Art in Russia provides heretofore unavailable access to the country's rich--but unknown--comics heritage. The study examines the dizzying experimental comics of the late Czarist and early revolutionary era, caricature from the satirical journal Krokodil, and the postwar series Petia Ryzhik (the "Russian Tintin"). Detailed case studies include the Perestroika-era KOM studio, the first devoted to comics in the Soviet Union; post-Soviet comics in contemporary art; autobiography and the work of Nikolai Maslov; and women's comics by such artists as Lena Uzhinova, Namida, and Re-I. Alaniz examines such issues as anti-Americanism, censorship, the rise of consumerism, globalization (e.g., in Russian manga), the impact of the internet, and the hard-won establishment of a comics subculture in Russia Komiks have often borne the brunt of ideological change--thriving in summers of relative freedom, freezing in hard winters of official disdain. This volume covers the art form's origins in religious icon-making and book illustration, and later the immensely popular lubok or woodblock print. Alaniz reveals comics' vilification and marginalization under the Communists, the art form's economic struggles, and its eventual internet "migration" in the post-Soviet era. This book shows that Russian comics, as with the people who made them, never had a "normal life."