Is there a comic book industry?

Autores/as

DOI:

https://doi.org/10.11606/issn.2316-9877.v9i1p122-144

Palabras clave:

Comic book publishing, Political economy, Sales, Media industries

Resumen

The “American comic book industry” is not American, its true product is not comic books, and it may not even be an industry. This article uses a geospatial map of comic book and graphic novel publishers active in the US market as well as sales estimates derived from both the direct market of specialty comic book retailers and trade book stores to question inherited “mental maps” of comic book publishing, such as the divide between “mainstream” and “alternative”/“independent” publishing. Adopting a relational approach, it suggests that a sociology of comics publishing – and of the cultural industries more generally – must be cautious of taking on board un-sociological concepts like “industry.”

Descargas

Los datos de descarga aún no están disponibles.

Biografía del autor/a

  • Benjamin Woo, Carleton University

    Associate Professor of Communication and Media Studies, Carleton University, Ottawa, Canada.

Referencias

AMERICAN SPLENDOR. Director: Shari Springer Berman and Robert Pulcini. New York: Good Machine; Dark Horse Entertainment, 2003. 101 min, color.

BEATY, Bart.; WOO, Benjamin. The greatest comic book of all time: symbolic capital and the field of American comic books. New York: Palgrave Macmillan, 2016.

BECHDEL, Alison. Fun home: a family tragicomic. Boston, MA: Mariner Books, 2006.

BOURDIEU, Pierre. Distinction: a social critique of the judgement of taste. Abingdon, UK: Routledge, 2010.

BOURDIEU, Pierre. The field of cultural production, or: the economic world reversed. Poetics, v.12, n.4–5, p. 311–356, 1983.

BRIENZA, Casey; JOHNSTON, Paddy. (ed.). Cultures of comics work. New York: Palgrave Macmillan, 2016.

COOK, Roy T. Underground and alternative comics. In: BRAMLETT, Frank; COOK, Roy T.; MESKIN, Aaron. (org.) The Routledge companion to comics. New York: Routledge, 2016, p. 34–43.

FUN HOME. Music: Jeanine Tesori. Lyrics and Book: Lisa Kron. New York, Broadway: Circle in the Square Theatre, 2015.

GABILLIET, Jean-Paul. Of comics and men: a cultural history of American comic books. Jackson: University Press of Mississippi, 2010.

GANS, Herbert. J. Popular culture and high culture: an analysis and evaluation of taste. 2nd ed. New York: Basic Books, 1999.

GEARINO, Dan. Comic shop: the retail mavericks who gave us a new geek culture. Columbus: Ohio University Press; Swallow Press, 2017.

GORDON, Ian. Comics, creators, and copyright: on the ownership of serial narratives by multiple authors. In: GRAY, Jonathan; JOHNSON, Derek. (ed.) A companion to media authorship. Malden, MA: Wiley-Blackwell, 2013. p. 221–36.

GORDON, Ian. Superman: the persistence of an American icon. New Brunswick, NJ: Rutgers University Press, 2017.

HABERMAS, Jurgen. Lifeworld and system: a critique of functionalist reason. Theory of communicative action. Cambridge: Polity Press, 1987. v. 2.

HATFIELD, Charles. Alternative comics: an emerging literature. Jackson: University Press of Mississippi, 2005.

HESMONDHALGH, David. Indie: the institutional politics and aesthetics of a popular music genre. Cultural studies, v.13, n.1, p. 34–61, 1999.

HIBBS, Brian. Tilting at windmills #257: looking at BookScan 2016 – more than 10 million sold. March 7, 2017. Available at: http://www.comicsbeat.com/tilting-at-windmills-257-looking-at-bookscan-2016-more-than-10-million-sold/. Access on 20 out. 2020.

IT'S A BIRD... IT'S A PLANE... IT'S SUPERMAN. Music: Charles Strouse. Lyrics: Lee Adams. Book: David Newman and Robert Benton. New York, Broadway: Alvin Theatre, 1966.

KASHTAN, A. “Those aren’t really comics”: Raina Telgemeier and the limitations of direct-market centrism. COMIC ARTS FORUM, Seattle, WA, November, 2017.

MacDONALD, Heidi. Announcing: the comics industry person of the year 2014: Raina Telgemeier. The beat, Jan. 1, 2015.

Available at: http://www.comicsbeat.com/announcing-the-comics-industry-person-of-the-year-2014-raina-telgemeier/. Access on 20 Oct. 2020.

McALLISTER, Matthew P. Ownership concentration in the US comic book industry. In: _______; SEWELL, E. H.; GORDON, I. (ed.). Comics and ideology. New York: Peter Lang, 2001. p. 15–38.

McALLISTER, Matthew P; SEWELL, Edward H., Jr.; GORDON, Ian. Introducing comics and ideology. In: _______. (ed.). Comics and ideology. New York: Peter Lang, 2001. p. 1–13.

MIÈGE, Bernard. The cultural commodity. Media, culture and society, v.1, n. 3, p. 297–311, 1979.

MILLIOT, Jim. Adult nonfiction stayed hot in 2016. Publishers Weekly, Jan. 13, 2017. Available at: https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/72501-adult-nonfiction-stayed-hot-in-2016.html. Access on 19 out. 2020].

MOORE, Alan; BOLLAND, Brian. Batman: the killing joke. New York: DC Comics, 1988.

MOORE, Alan; GIBBONS, Dave. Watchmen. New York: DC Comics, 1986-1987. 12v.

NEWMAN, Michael Z. Indie culture: in pursuit of the authentic autonomous alternative. Cinema Journal, v. 48, n. 3, p. 16–34, 2009.

NORCLIFFE, Glen; RENDACE, Olivero. New geographies of comic book production in North America: the new artisan, distancing, and the periodic social economy. Economic Geography, v. 79, n. 3, p. 241–63, 2003.

PERREN, Alisa. Indie, inc.: Miramax and the transformation of Hollywood in the 1990s. Austin: University of Texas Press, 2012.

PERREN, Alisa. The trick of the trades: media industries studies and the American comic book industry. In: BANKS, Miranda; CONOR, Bridget; MAYER, Vichy. (ed.) Production studies, The sequel: cultural studies of global media industries. New York: Routledge, 2015, p. 227–37.

PUSTZ, Michael J. Comic book culture: fanboys and true believers. Jackson: University Press of Mississippi, 1999.

SHANK, Barry. Dissonant identities: the rock’n’roll scene in Austin, Texas. Hanover, NH: Wesleyan University Press, 1994.

SILVER, Daniel Aaron; CLARK, Terry Nichols. Scenescapes: how qualities of place shape social life. University of Chicago Press, 2016.

SIMON, Bart. (org.) Indie, eh? Loading…, v. 7, n. 11, 2013. Special issue.

SINGSEN, Doug. An alternative by any other name: genre-splicing and mainstream genres in alternative comics. Journal of Graphic Novels and Comics, v. 5, n. 2, p. 170–191, 2014.

SINGSEN, Doug. Critical perspectives on mainstream, groundlevel, and alternative comics in The Comics Journal, 1977 to 1996. Journal of Graphic Novels and Comics, v. 8, n. 2, p. 156–72, 2017.

SPIEGELMAN, Art. Maus. New York: Raw Books & Graphics, 1980-1991. 2v.

STERNE, Jonathan. There is no music industry. Media Industries, v. 1, n. 1, p. 50–55, 2014.

Disponível em: http://www.mediaindustriesjournal.org/index.php/mij/article/view/17. Acesso em 17 out. 2020.

STRAW, Will. Cultural scenes. Loisir et Société / Society and Leisure, v. 27, n. 2, p. 411–22, 2004.

STRAW, Will. Systems of articulation, logics of change: communities and scenes in popular music. Cultural Studies, v. 5, n. 3, p. 368–88, 1991.

VAUGHAM, Brian K; STAPLES, Fiona. Saga. Portland, OR: Image Comics, 2012.

WEISBARD, Eric. How do you solve a problem like a mainstream?: charting the musical middle. American Quarterly, v. 67, n. 1, p. 253–265, 2015a.

WILSON. Director: Craig Johnson. Los Angeles: Searchlight Pictures, 2017. 94 min., color.

WOO, Benjamin. Erasing the lines between leisure and labor: creative work in the comics world. Spectator, v. 35, n. 2, p. 57–64, 2015b.

WOO, Benjamin. Is there a comic book industry? Media Industries, v. 5, n. 1, p. 27-46, 2018.

WOO, Benjamin; POYNTZ, Stuart R.; RENNIE, Jamie. (ed.) Scene thinking: cultural studies from the scenes perspective. New York: Routledge, 2016.

ZORBAUGH, Harvey. The comics - there they stand! Journal of Educational Sociology, v. 18, n. 4, p. 196–203, 1944.

Publicado

2020-12-21

Número

Sección

Artigos

Cómo citar

Woo, B. (2020). Is there a comic book industry?. 9ª Arte (São Paulo), 9(1), 122-144. https://doi.org/10.11606/issn.2316-9877.v9i1p122-144