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Comics and Cultural Work: Conclusion by Casey Brienza

30 Dec

As I wrote in my introduction to this Comics Forum Special Theme Month on Comics and Cultural Work:

[R]esearch into cultural work has thus far been broadly concerned with the following two questions: 1) Is cultural work distinctive from other forms of work? and 2) Is it exploitative? I will not rehearse the debates around these two questions as they have been performed in the study of other cultural sectors, from Hollywood to handicrafts, at this time. Instead, I ask you to watch this space and commend you to the thought-provoking contributions of Benjamin Woo, Paddy Johnston, and Tom Miller, which will be posted in the coming weeks. Each of these scholars has, each in his own way as researcher, reader, or cultural worker, begun to grapple with precisely these two questions.

(Brienza 2013)

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Posted by on 2013/12/30 in Comics and Cultural Work, Guest Writers

 

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Comics and Cultural Work: Introduction by Casey Brienza

02 Dec

‘All artistic work, like all human activity, involves the joint activity of a number, often a large number, of people. Through their cooperation, the art work we eventually see or hear comes to be and continues to be. The work always shows signs of that cooperation,’ wrote sociologist Howard Becker (1982, 1) in his seminal monograph on cultural production Art Worlds. Comic art is no exception to Becker’s basic insight. Writers, illustrators, graphic designers, letterers, editors, printers, typesetters, publicists, publishers, distributors, retailers, and countless others are both directly and indirectly involved in the creative production of what is commonly thought of as the comic book.

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Posted by on 2013/12/02 in Comics and Cultural Work, Guest Writers

 

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