By Casey Brienza, Paddy Johnston (eds.)

This anthology explores tensions among the individualistic creative beliefs and the collective commercial realities of latest cultural construction with eighteen all-new chapters providing pioneering empirical study at the complexities and controversies of comics work.

Art Spiegelman. Alan Moore. Osamu Tezuka. Neil Gaiman. Names comparable to those became synonymous with the medium of comics. in the meantime, the big numbers of individuals with out whose collective motion no comedian booklet may ever exist within the first position are oftentimes neglected. Cultures of Comics Work unveils this hidden, international business exertions of writers, illustrators, photo designers, letterers, editors, printers, typesetters, publicists, publishers, vendors, translators, shops, and numerous others either at once and ultimately keen on the artistic creation of what's generally considered the comedian publication. Drawing upon diversified theoretical and methodological views, a global and interdisciplinary cohort of state-of-the-art researchers and practitioners intervenes in debates approximately cultural paintings and paves cutting edge instructions for comics scholarship.

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Sociological Review 56(2): 275–292. Wang, An-Chih, and Bor-Shiuan Cheng. 2010. When Does Benevolent Leadership Lead to Creativity? The Moderating Role of Creative Role Identity and Job Autonomy. Journal of Organisational Behaviour 31(3): 106–121.  Patrick. 2011. Subcultural Theory: Traditions and Concepts. Cambridge: Polity Press. Woo, Benjamin. 2013. Why Is It So Hard to Think of Comics as Labour? Comics Forum, December 9. org/2013/12/09/ why-is-it-so-hard-to-think-about-comics-as-labour-by-benjamin-woo/ CHAPTER 3 Between Art and the Underground: From Corporate to Collaborative Comics in India Jeremy Stoll Historically, in Indian comics culture, a corporate model of production has predominated that is predicated upon a division of labor.

Besley, Tina. 2010. Digitised Youth: Constructing Identities in the Creative Knowledge Economy. Review of Contemporary Philosophy 9(1): 11–39. Blumenstein, David. 2013. Stanleys 2013: The Australian Cartoonists Association Conference (Part 1). Nakedfella Productions, October 28. com/blog/2013/10/ stanleys-2013-the-australian-cartoonists-association-conference-part-1/ Creative Industries Mapping Document. 2001. The Department of Culture, Media and Sport. London, UK.  2012. Media Work, Career Management and Professional Identity: Living Labour Precarity.

2012. Media Work, Career Management and Professional Identity: Living Labour Precarity. Northern Lights: Film and Media Studies Yearbook 10: 9–24.  1997. Notes from the Underground: Zines and the Politics of Alternative Culture. New York: Verso. FOR THE LOVE OF THE CRAFT: INDUSTRY, IDENTITY, AND AUSTRALIAN...  1998. ’ Comics and Censorship in the 1950s. In Bonzer: Australian Comics 1900s–1990s, ed. Annette Shiell, 49–55. Red Hill: Elgua Media. Hackley, Chris, and Arthur J. Kover. 2007. The Trouble with Creatives: Negotiating Creative Identity in Advertising Agencies.

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