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Graphic Memories of the Civil Rights Movement : Reframing History in Comics / Jorge Santos.

By: Material type: TextTextSeries: World Comics and Graphic Nonfiction SeriesPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2019Description: 1 online resource (256 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781477318287
Subject(s): DDC classification:
  • 741.5/3587392 23
LOC classification:
  • PN6714 .S26 2019
  • PN6714 .S26 2019
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction. Graphic Memories in “Black and White” -- Chapter 1. The Icon of the Once and Future King -- Chapter 2. Bleeding Histories on the March -- Chapter 3. On Photo-Graphic Narrative -- Chapter 4. The Silence of Our Friends and Memories of Houston’s Civil Rights History -- Chapter 5. Tropes, Transfer, Trauma -- Epilogue. Cyclops Was Right -- Appendix. A Conversation with Ho Che Anderson, Author-Artist of King -- Notes -- Works Cited -- Index
Summary: The history of America’s civil rights movement is marked by narratives that we hear retold again and again. This has relegated many key figures and turning points to the margins, but graphic novels and graphic memoirs present an opportunity to push against the consensus and create a more complete history. Graphic Memories of the Civil Rights Movement showcases five vivid examples of this: Ho Che Anderson's King (2005), which complicates the standard biography of Martin Luther King Jr.; Congressman John Lewis's three-volume memoir, March (2013–2016); Darkroom (2012), by Lila Quintero Weaver, in which the author recalls her Argentinian father’s participation in the movement and her childhood as an immigrant in the South; the bestseller The Silence of Our Friends, by Mark Long, Jim Demonakos, and Nate Powell (2012), set in Houston's Third Ward in 1967; and Howard Cruse's Stuck Rubber Baby (1995), whose protagonist is a closeted gay man involved in the movement. In choosing these five works, Jorge Santos also explores how this medium allows readers to participate in collective memory making, and what the books reveal about the process by which history is (re)told, (re)produced, and (re)narrativized. Concluding the work is Santos’s interview with Ho Che Anderson.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781477318287

Frontmatter -- Contents -- Acknowledgments -- Introduction. Graphic Memories in “Black and White” -- Chapter 1. The Icon of the Once and Future King -- Chapter 2. Bleeding Histories on the March -- Chapter 3. On Photo-Graphic Narrative -- Chapter 4. The Silence of Our Friends and Memories of Houston’s Civil Rights History -- Chapter 5. Tropes, Transfer, Trauma -- Epilogue. Cyclops Was Right -- Appendix. A Conversation with Ho Che Anderson, Author-Artist of King -- Notes -- Works Cited -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

The history of America’s civil rights movement is marked by narratives that we hear retold again and again. This has relegated many key figures and turning points to the margins, but graphic novels and graphic memoirs present an opportunity to push against the consensus and create a more complete history. Graphic Memories of the Civil Rights Movement showcases five vivid examples of this: Ho Che Anderson's King (2005), which complicates the standard biography of Martin Luther King Jr.; Congressman John Lewis's three-volume memoir, March (2013–2016); Darkroom (2012), by Lila Quintero Weaver, in which the author recalls her Argentinian father’s participation in the movement and her childhood as an immigrant in the South; the bestseller The Silence of Our Friends, by Mark Long, Jim Demonakos, and Nate Powell (2012), set in Houston's Third Ward in 1967; and Howard Cruse's Stuck Rubber Baby (1995), whose protagonist is a closeted gay man involved in the movement. In choosing these five works, Jorge Santos also explores how this medium allows readers to participate in collective memory making, and what the books reveal about the process by which history is (re)told, (re)produced, and (re)narrativized. Concluding the work is Santos’s interview with Ho Che Anderson.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)