Reframing the Graphic Novel: Long-Form Adult Comic Narratives in North America and the UK c.1973-82

重构图画小说：北美和英国的长篇成人漫画叙事 c.1973-82

• 批准号: AH/L00965X/1
• 负责人: Paul Williams
• 金额: $ 18.32万
• 依托单位: UNIVERSITY OF EXETER
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2014
• 资助国家: 英国
• 起止时间: 2014 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FL00965X%2F1
• 关键词: Reframing; Graphic; Novel; Long; Form

While the graphic novel has become an important area of contemporary academic research, scholars have paid little attention to the 1970s and early 1980s, a seminal period in its development. Using unexplored archives in Britain and North America, and culminating in a three-month exhibition at London's Cartoon Museum in 2016, 'Reframing the Graphic Novel' will reconstruct the creative practices and business decisions that saw comics being published in book form for adult readers. A handful of texts frequently recur in histories of comics, notably Will Eisner's A Contract with God (1978), but new graphic novels were created every year from the early 1970s to the early 1980s. This project will uncover those forgotten works and outline the institutional contexts that produced them, from the superhero-dominated comic book industry, to the book trade, to the underground comix scene associated with the 1960s counterculture. The story told in 'Reframing the Graphic Novel' proves that no single country had a monopoly on the graphic novel's development; creators in the United Kingdom, Canada and the United States were working concurrently on the form, and all were influenced by the 48-page albums published by the French comics industry.The material format of these comics-published-as-books was crucial to the literary status that their creators sought to attain, as was the rhetorical invocation of the 'graphic novel' (or 'graphic album' or 'visual novel', as they were sometimes called). 'Reframing the Graphic Novel' will demonstrate that the characteristics ascribed to graphic novels (being published as a book, having pretensions to literariness, having long narratives, and challenging adult readers with formal experimentation and controversial content) could be found in a variety of comics printed during the 1970s and early 1980s. By displaying seminal texts from this era at the Cartoon Museum, members of the public can see how the material form of early graphic novels was a bid to sell comics as long-lasting art objects deserving to be shelved next to literary classics. The exhibition attached to this project is not only about 1970s texts, and it will feature original art from the nineteenth century to the present in order to tell the story of Britain's history of graphic novels - something no exhibition has attempted before.In the mid-1980s the media commotion surrounding the so-called 'Big Three' (volume one of Art Spiegelman's Maus [1986], Frank Miller's Batman: The Dark Knight Returns [1986], and Alan Moore and Dave Gibbons's Watchmen [1987]) turned graphic novels into objects of public discussion. The publication of MetaMaus in 2011 and films such as Watchmen (2009) and The Dark Knight Rises (2012) have kept these major mid-1980s texts in the consciousness of the reading and viewing public. But there is a world of graphic novels preceding the 'Big Three', and this project will bring that world to light, showing the artistic ambitions of the 1970s graphic novelists and the currents of the comic industry that they had to negotiate in order to create their innovative, complex, book-length comics.

虽然图画小说已成为当代学术研究的一个重要领域，但学者们对20世纪70年代和80年代初期这一图画小说发展的重要时期却鲜有关注。 “重塑图画小说”将利用英国和北美未经探索的档案，并于 2016 年在伦敦卡通博物馆举办为期三个月的展览，以重建漫画以书籍形式为成人读者出版的创作实践和商业决策。少数文本经常出现在漫画史上，特别是威尔·艾斯纳的《与上帝的契约》（1978 年），但从 20 世纪 70 年代初到 1980 年代初，每年都会创作新的图画小说。该项目将揭开那些被遗忘的作品，并概述产生这些作品的制度背景，从超级英雄主导的漫画行业，到图书贸易，再到与 20 世纪 60 年代反主流文化相关的地下漫画场景。 《重构图画小说》中讲述的故事证明，没有任何一个国家能够垄断图画小说的发展；英国、加拿大和美国的创作者们同时进行形式创作，都受到了法国漫画界出版的48页画册的影响。这些以书形式出版的漫画的素材格式至关重要。它们的创作者寻求获得的文学地位，就像对“图画小说”（或“图画册”或“视觉小说”，有时被称为“图画小说”）的修辞调用一样。 “重塑图画小说”将展示图画小说的特征（以书的形式出版、自命文学性、叙事长、以正式的实验和有争议的内容挑战成年读者）可以在各种漫画中找到于 20 世纪 70 年代和 80 年代初印刷。通过在卡通博物馆展示这个时代的重要文本，公众可以看到早期图画小说的物质形式是如何将漫画作为值得与文学经典并列的经久不衰的艺术品来出售的。这个项目附带的展览不仅是关于20世纪70年代的文本，还将展示从19世纪至今的原创艺术，以讲述英国图画小说的历史故事——这是以前没有展览尝试过的。 20 世纪 80 年代，围绕所谓“三巨头”（Art Spiegelman 的《鼠族》第一卷 [1986]、Frank Miller 的《蝙蝠侠：黑暗骑士归来》）的媒体骚动[1986]，以及艾伦·摩尔和戴夫·吉本斯的《守望者》[1987]）将图画小说变成了公众讨论的对象。 2011 年出版的《MetaMaus》以及《守望者》(Watchmen) (2009) 和《黑暗骑士崛起》(The Dark Knight Rises) (2012) 等电影让这些 20 世纪 80 年代中期的重要文本一直留在阅读和观看公众的意识中。但在“三巨头”之前还有一个图画小说的世界，这个项目将揭示这个世界，展示 20 世纪 70 年代图画小说家的艺术抱负，以及他们为了创作而必须协商的漫画行业潮流。他们的创新、复杂、长达一本书的漫画。

项目成果

Dreaming the Graphic Novel: The Novelization of Comics

梦想图画小说：漫画的小说化

• 发表时间: 2020
• 作者: Williams P

"The Strange Case of Byron Preiss Visual Publications"

《拜伦·普莱斯视觉出版物奇案》

• 发表时间: 2019
• 期刊: Journal of American Studies
• 影响因子: 0.3
• 作者: Williams P

"Art Spiegelman's 'Little Signs of Passion' and the emergence of hard-core pornographic feature film"

“阿特·斯皮格曼的《激情的小迹象》与硬核色情故事片的出现”

• 发表时间: 2019
• 期刊: Textual Practice
• 影响因子: 0.3
• 作者: Williams P

A Contract with God and Other Stories of Dropsie Avenue

与上帝的契约以及德罗西大街的其他故事

• 发表时间: 2022
• 作者: Williams; P.
• 通讯作者: P.

The Cambridge History of the Graphic Novel

剑桥图画小说史

• 发表时间: 2018
• 作者: Williams; PG
• 通讯作者: PG