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Petrochemical Fantasies: The Art and Energy of American Comics: Studies in Comics and Cartoons

Autor Daniel Worden
en Limba Engleză Paperback – 15 aug 2024
In Petrochemical Fantasies, Daniel Worden reveals the entwined history of comics and fossil fuels in the United States. From the 1840s to the present, comics have depicted the power, pollution, and rapid expansion of energy systems—especially the explosive growth of coal and oil. In the 1930s, some of the first comic books were the gas station giveaways Gulf Funny Weekly and Standard Oil Comics. And in recent years, comics have become one of the major sites for visualizing life after oil, a striking reversal of the medium’s early boosterism. Surveying the work of acclaimed artists such as Nell Brinkley, George Herriman, Jack Kirby, Winsor McCay, and R. F. Outcault and recovering little-known works, Worden advances a new history of American comics in the Anthropocene. From late nineteenth- and early twentieth-century editorial cartoons and superhero comics that visualize our modern energy culture to contemporary comics grappling with climate crises, Petrochemical Fantasies places comics, environmental humanities, and energy studies in conversation with each other to unearth the crucial but overlooked history of comics’ place in US energy culture.
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Specificații

ISBN-13: 9780814259184
ISBN-10: 0814259189
Pagini: 212
Ilustrații: 25 b&w images and 25 color images
Dimensiuni: 152 x 229 x 18 mm
Greutate: 0.31 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Studies in Comics and Cartoons


Recenzii

“Combining insights from two of the most rapidly expanding areas of humanities inquiry—energy humanities and comics studies—Petrochemical Fantasies is highly relevant and the first major work in its area. Scholars in both fields will find new and valuable material.” —Bart Beaty, author of Unpopular Culture: Transforming the European Comic Book in the 1990s

“Convincing and compelling, Petrochemical Fantasies is certain to have an impact on academic conversations about energy sources and popular culture. Worden illuminates in rich detail how US comics articulate the hopes and anxieties bound up in fossil fuels.” —Paul Williams, author of The US Graphic Novel

Notă biografică

Daniel Worden is Professor of Art at the Rochester Institute of Technology, where he teaches and writes about comics, print, and visual cultures. He is the author of Neoliberal Nonfictions: The Documentary Aesthetic from Joan Didion to Jay-Z, the editor of The Comics of Joe Sacco: Journalism in a Visual World and The Comics of R. Crumb: Underground in the Art Museum, and the coeditor of New Directions in Print Culture Studies: Archives, Materiality, and Modern American Culture.

Extras

The history of American comics is fundamentally intertwined with fossil fuels. Coal, gas, and oil powered the development of the modern comics medium, quite literally. Comics emerged from the industrial printing press, thrived on the newsstand, and boasted characters who could “run faster than an express train.” Coal burned, gas combusted, and engines churned to produce and distribute print comics. Funded in part by corporate partnerships with the sprawling fossil fuel industry, comics documented the transition to fossil fuels as adventure, comedy, romance, and tragedy, and comics creators developed iconic characters like Superman who embody the superhuman properties of fossil fuel energy. Furthermore, comics artists adopted visual styles that conveyed the actions and speeds made possible in everyday life by fossil fuel energy. Early comics characters like R. F. Outcault’s Buster Brown, speeding along in a new automobile in 1903, and contemporary superheroes like Marvel Comics’ Cosmic Ghost Rider, traveling outer space on a motorcycle in 2018, achieve velocities that are drawn to be fantastical yet mundane, chaotic yet controllable. The transition to coal and oil in the nineteenth and twentieth centuries is reflected in these comics characters, whose powers and life spans increased in proportion with fossil fuel consumption in the United States.

The energetic associations that comics conglomerate stem from the medium’s historical ties to industrialism, and as Ramzi Fawaz has explained, the superheroes that emerged in American comics in the 1930s and 1940s “mimicked the capacities of industrial technologies.” In All-American Comics #16, for example, railroad engineer Alan Scott finds a magical lantern that “glows with energy!” In this superhero origin story, Scott harnesses “the light of the Green Lantern” with a metal ring. Tellingly, the 1940 Green Lantern’s only weakness is a preindustrial material. He exclaims, “Curious . . . Lead bullets and steel knives don’t get me . . . but wood does! Guess I’m only immune to metals!” This synthesis of story with industrialization makes comics a site of imaginative possibility in modern American culture, creating what Fawaz theorizes as “popular fantasy,” “expressions of fantasy that suture together current social and political realities with impossible happenings.” As Bart Beaty notes in a groundbreaking essay on superheroes and energy, “scholars seeking to understand the popularization of energy discourses and aesthetics will be well-served by turning to the vast collection of superhero comic books that have circulated for almost eight decades,” for those comics are a repository of the popular fantasies that have shaped US energy culture. Related to this insight, critic Mark Bould’s concept of the “anthropocene unconscious” refers to the presence of climate change in culture, even in stories that are not explicitly about climate change. Examples of the “Anthropocene unconscious,” like the comics characters Swamp Thing, Groot, and Man-Thing, possess a “nonhuman aliveness” that Bould links to the climate crisis. The comics that Bould discusses make the “Anthropocene unconscious” visible, and in the comics that I analyze in this book, fossil fuels are likewise present on the page, though not often the center of the story. By connecting the “popular fantasies” theorized by Fawaz with the “anthropocene unconscious” that Bould locates in popular media, this book analyzes how comics represent the widespread adoption of fossil fuels in the nineteenth- and twentieth-century US, participate in the normalization of fossil fuel consumption, and imagine a future beyond fossil fuels today.

As scholars in the field of the energy humanities have argued, fossil fuels shaped modern American culture in formative ways from the nineteenth century to the present. In the field of comics studies, scholars have established how American comics participated in the creation, production, and ubiquity of mass cultural forms from the captioned cartoon to the billion-dollar blockbuster film with its global network of licensed products and experiences. At turns a part of mass media as well as a distinctive art medium, comics offer ways of understanding how fossil fuels have intertwined with American cultural ideals, norms, and stories. Accordingly in this book, I explain how comics transformed fossil fuels into culture, distilling petrochemical fantasies from the new industries, materials, powers, sciences, and spectacles of fossil fuel capitalism as they unfolded from the nineteenth century to the present.

Cuprins

List of Illustrations Acknowledgments Introduction The Energy of Comics Chapter 1 Caricatures and Corporations Chapter 2 Cars in Cartoons Chapter 3 The Petrochemical Origins of the Comic Book Chapter 4 Plastic Man and Other Petrochemical Fantasies Chapter 5 The Climate of Comics Conclusion “This Is NOT Fine!!” Works Cited Index

Descriere

A new history of US comics in the Anthropocene that excavates the interdependence of comics, petrochemicals, and modern energy culture.