Tài liệu nổi bật
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Tamil comics: new media, revival, and the recovery of history
(Taylor & Francis, 2016) Swarnavel Eswaran Pillai
This essay focuses on the revival of Tamil comics mainly through a community of ardent fans and/or collectors during the last four years, by analyzing the blog by S. Vijayan, http://lion-muthucomics.blogspot. com, presently the editor of Lion and Muthu Comics. His father M. Soudrapandian founded Muthu Comics in 1971 which revolutionized the circulation of comics in Tamil Nadu and among the Tamil-speaking population in India and abroad. Most of the stories published were translations of the popular European ones, and several characters like The Spider, Tex Willer, and Lucky Luke became familiar names in Tamil households, the most popular being Irumbukkai Mayaavi or Steel Claw. However with the advent and ubiquity of cable channels and video, 1980s saw a drastic fall in the circulation of Tamil comics. This essay analyzes Vijayan’s blog along with that of his peers to explicate how the internet and social networking sites have revived interest among fans leading to the reprints of old issues and the publication of new ones on a monthly basis from Vijayan's Company in Sivakasi, a small town in South India.
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Remnants of a separation: a ghara and a gaz: from Lahore to Amritsar to Delhi
(Taylor & Francis, 2016) Aanchal Malhotra
The streets were empty in a way that Delhi streets never are. It was an early Sunday morning and the bylanes of North campus lay bare of their usual commotion. There were no groups of loitering college students cutting classes, no hawkers selling food and other items, no chaos of the pedestrians manoeuvering their way through the traffic, attempting to cross the street, and no endless rows of rickshaws eagerly awaiting passengers outside the metro station. There was no cacophony of the horns and the general bustle of city noise.
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Munnu: a boy from Kashmir
(Taylor & Francis, 2016) Torsa Ghosal
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Introduction
(Taylor & Francis, 2016) E. Dawson Varughese; Rajinder Dudrah
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‘IMPOSTERS’: an interview with graphic artist and designer Orijit Sen
(Taylor & Francis, 2016) E. Dawson Varughese
Artist’s statement
As a graphic artist and designer, I have always been interested in posters, particularly screen-printed posters. In some ways, the traditional printed poster is a marginalized form now – with the shrinking public spaces in our cities now dominated by large-scale, commercial digital printing; and with the Internet and social media having become the medium of choice for the delivery and consumption of announcements, publicity and propaganda of all kinds. Of course, posters continue to survive within certain specific contexts – such as at mainstream political rallies, or as part of the organizing efforts of social movements, or in college campuses. The very limitations of the old media – limited colours and tones, higher production costs and logistics of dissemination, etc. gave rise to graphic forms that were distinctive and beautiful. I am particularly fascinated by the ways that posters balance the need to grab attention with arresting graphics and type, and then draw the viewer into a more nuanced or layered exposition of the subject at hand. ‘Imposters’ explores the language of posters through a series of limited edition screen prints. Unlike conventional posters – such as announcements, which would usually speak to the future – these ‘imposters’ are retrospectively created, using full advantage of hindsight to investigate and play upon some of the influential events, people, cities and ideas of our time. In unpacking the iconic imagery of traditional poster art, these graphic renditions move between homage and spoof, between the real and the imaginary, between fiction and fact. Seen collectively, the images and texts on these posters also constitute a personal commentary on the many cultural and political histories we simultaneously strive to live with and live by.
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Immersions: Bombay/Mumbai
(Taylor & Francis, 2016) Ravi Shankar
