This chapter introduces comics as a distinctly spatial, infrastructural, and urban form, comprised of narrative building blocks and an architecture all their own. Through a series of examples taken from the twentieth and twenty-first centuries, and from both the global North and the global South, it shows how graphic narratives are able to intervene into the socio-spatial dialectic of urban life. Urban comics not only reveal the infrastructure of the city as a material embodiment of competing and often invisible interests. They also recalibrate and re-conceive urban space towards more socially and spatially just ends – often from the ground up
Defined as “sequential art”, comics are a genre in which narration and spatiality are closely linked....
This reader takes a journey through different positions concerning form in the urban design discours...
In this paper we analyze the image of the city in the superhero film through: the study of the city ...
This chapter introduces comics as a distinctly spatial, infrastructural, and urban form, comprised o...
Comics, purely a spatial medium, represent the point where words, sequences and images meet, possess...
This paper reflects on the limits and potentialities of “comics-based research” (Kuttner et al., 202...
Since Winsor McCay’s Little Nemo, comic artists have been concerned with depicting architecture. The...
That New York City is a comics staple is as undeniable as it is unsurprising. Many comics creators h...
My interest is in the conscious role of space and time or of geography and history in contemporary u...
Since the development of a sequential and panoramatic vision, and since the birth of the languages o...
What can a comic book tell us about urban density? How might a comic represent the multiple relation...
What is the narrative of comic book history in the United States? For some comic scholars, a canon d...
This paper responds to the call for a deeper theoretical and methodological exchange between the di...
AbstractComic books, graphic novels, bandes dessinées in France, Fumetti in Italy, Tebeos in Spain, ...
On the basis of a shared emphasis on time as well as space, this paper argues for introducing elemen...
Defined as “sequential art”, comics are a genre in which narration and spatiality are closely linked....
This reader takes a journey through different positions concerning form in the urban design discours...
In this paper we analyze the image of the city in the superhero film through: the study of the city ...
This chapter introduces comics as a distinctly spatial, infrastructural, and urban form, comprised o...
Comics, purely a spatial medium, represent the point where words, sequences and images meet, possess...
This paper reflects on the limits and potentialities of “comics-based research” (Kuttner et al., 202...
Since Winsor McCay’s Little Nemo, comic artists have been concerned with depicting architecture. The...
That New York City is a comics staple is as undeniable as it is unsurprising. Many comics creators h...
My interest is in the conscious role of space and time or of geography and history in contemporary u...
Since the development of a sequential and panoramatic vision, and since the birth of the languages o...
What can a comic book tell us about urban density? How might a comic represent the multiple relation...
What is the narrative of comic book history in the United States? For some comic scholars, a canon d...
This paper responds to the call for a deeper theoretical and methodological exchange between the di...
AbstractComic books, graphic novels, bandes dessinées in France, Fumetti in Italy, Tebeos in Spain, ...
On the basis of a shared emphasis on time as well as space, this paper argues for introducing elemen...
Defined as “sequential art”, comics are a genre in which narration and spatiality are closely linked....
This reader takes a journey through different positions concerning form in the urban design discours...
In this paper we analyze the image of the city in the superhero film through: the study of the city ...