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At the same time, the comic serves as a vehicle for reflection on the complex interactions between globalization and national culture. As Dorfman and Mattelart observed in 1971, the comic can also easily be co-opted as a means of imperialist propaganda, and the influx of foreign product often has deleterious effects on local comics industries.
Jan 31, 2017 · Though this history and terminology is a disputed one, I think it is important to reclaim the term “comics” for this proliferating body of work. If the pieces collected in this special issue of Words without Borders may not all be humorous—that is to say, they are not “comic” as such—they are still representative of the innovative developments in this remarkable medium.
- Dominic Davies
This chapter examines the globalization of British comedy as leading acts now flourish in the US, and their shows are syndicated and distributed globally. The chapter draws discussion to a close by opening up some of the important ethical and political challenges that persist, namely: the question of how to globalize British comedy in terms of race and gender.
The notion that comics as a form is somehow especially suited to representing the cultural politics of multiculturalism builds on Derek Parker Royal’s assertion, made five years earlier in his “Foreword” to Multicultural Comics, that “given its reliance on symbols and iconography, comic art [transcends] many of the national, cultural, and linguistic boundaries imposed by other media ...
By placing graphic narratives in the global flow of cultural production and reception, the book investigates controversial representations of transnational politics, examines transnational adaptations of superhero characters, and maps many of the translations and transformations that have come to shape contemporary comics culture on a global scale.
Oct 4, 2017 · In the mid 1930s, comics industries witnessed a boom in countries like Italy, France and Spain, largely due to the influence of imported American comics. Other nations followed different routes. The UK, for instance, acted as an exporting country towards the rest of Europe but imported little foreign production, and the British comics industry reached a peak only in the 1950s.
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Summary. This book has engaged with the practice and politics of everyday global resistance through a performative study of the emergence of British comedy. Against instrumental and critical approaches to the role of comedy and resistance in global politics, I argue that we need to pay more attention to the productive elements of humour.
