Footnotes in Gaza, Notes from a Defeatist, Palestine (Comics), Safe Area Gorazde, the Fixer (Comics), War's End
Author: Source Wikipedia
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 24. Chapters: Footnotes in Gaza, Notes from a Defeatist, Palestine (comics), Safe Area Gora de, The Fixer (comics), War's End.
An expanded edition of a classic American Book Award-winning work includes previously unpublished supplemental material including the creator's background notes, sketches, and photographic references, in a volume that illustrates life on the front lines of the war-devastated region.
Award-winning comix-journalist Joe Sacco goes behind the scene of war correspondence to reveal the anatomy of the big scoop. He begins by returning us to the dying days of Balkan conflict and introduces us to his own fixer; a man looking to squeeze the last bit of profit from Bosnia before the reconstruction begins.
In late 1995 and early 1996, cartoonist/reporter Joe Sacco travelled four times to Gorazde, a UN-designated safe area during the Bosnian War, which had teetered on the brink of obliteration for three and a half years. Still surrounded by Bosnian Serb forces, the mainly Muslim people of Gorazde had endured heavy attacks and severe privation to hang on to their town while the rest of Eastern Bosnia was brutally 'cleansed' of its non-Serb population. But as much as SAFE AREA GORAZDE is an account of a terrible siege, it presents a snapshot of people who were slowly letting themselves believe that a war was ending and that they had survived. Since it was first published in 2000, SAFE AREA GORAZDE has been recognized as one of the absolute classics of graphic non-fiction. We are delighted to publish it in the UK for the first time, to stand beside Joe Sacco's other books on the Cape list - PALESTINE, THE FIXER and NOTES FROM A DEFEATIST.
Set in the early '90s when Sacco roadied with punk band the Miracle Workers (a CD of their live shows is included) on their European tour, this book is a low-scale bacchanal of booze, groupies and dangerous hygiene.
Cult cartoonist David Collier has fans such as Chris Ware, R. Crumb and Joe Sacco patiently waiting for his next comic. This new 192 page Collier trade paperback will deliver all expectations and beyond with a quirky collection of stories about his family, living life in the army and the search for information on a local artist he discovers, Frank Ritza. Along with the story, Collier provides over 100 sketch book pages from London, Los Angeles and Saskatchewan. This book is a natural companion to the entire D+Q line (especially Seth's It's a Good Life and Joe Sacco's Notes From a Defeatist.)
A collection of works by the late Palestinian political cartoonist offers insight into his childhood in a refugee camp and discovery by poet Ghassan Kanafani, in a volume that reflects his non-allegiance to a political party and his use of stark and symbolic imagery.
Patriotism and Propaganda from WWII through Operation Iraqi Freedom
Author: Cord Scott
Pubpsher: Naval Institute Press
Illustration has been an integral part of human history. Particularly before the advent of media such as photography, film, television, and now the Internet, illustrations in all their variety had been the primary visual way to convey history. The comic book, which emerged in its modern form in the 1930s, was another form of visual entertainment that gave readers, especially children, a form of escape. As World War II began, however, comic books became a part of propaganda as well, providing information and education for both children and adults. This book looks at how specific comic books of the war genre have been used to display patriotism, adventure through war stories, and eventually to tell of the horrors of combat—from World War II through the current conflicts in Iraq and Afghanistan in the first decade of the twenty-first century. This book also examines how war- and patriotically-themed comics evolved from soldier-drawn reflections of society, eventually developing along with the broader comic book medium into a mirror of American society during times of conflict. These comic books generally reflected patriotic fervor, but sometimes they advanced a specific cause. As war comic books evolved along with American society, many also served as a form of protest against United States foreign and military policy. During the country’s most recent wars, however, patriotism has made a comeback, at the same time that the grim realities of combat are depicted more realistically than ever before. The focus of the book is not only on the development of the comic book medium, but also as a bell-weather of society at the same time. How did they approach the news of the war? Were people in favor or against the fighting? Did the writers of comics promote a perception of combat or did they try to convey the horrors of war? All of these questions were important to the research, and serve as a focal point for what has been researched only in limited form previously. The conclusions of the book show that comic books are more than mere forms of entertainment. Comic books were also a way of political protest against war, or what the writers felt were wider examples of governmental abuse. In the post 9/11 era, the comic books have returned to their propagandistic/patriotic roots.