000			03640nam a22003614a 4500
999			_c61235 _d61235
003			IN-MiVU
005			20240719125558.0
006			m go d |
007			cr |||||||||||
008			240719s2022 xxu gob 001 0 eng
020			_a9781496838384 _cGBP478.87 _qe-book)
024	7		_2DOI: _ahttps://doi.org/10.14325/mississippi/9781496838339.001.0001
040			_beng _cIN-MiVU
082	0	4	_221 _a741.53529 _bBEN/B
100	1		_aBenson, J. _d1974- _eauthor. _q(Josef)
245	1	0	_aBandits, misfits, and superheroes: _bWhiteness and its borderlands in American comics and graphic novels / _cby Josef Benson, Doug Singsen. _h(electronic resource)
260	3		_aJackson : _bUniversity Press of Mississippi, _c2022.
300			_ae-book contains 298 pages
504			_aIncludes bibliographical references and index.
505	0	0	_aIntroduction -- Chapter one: Race and racism in the birth of the superhero -- Chapter two: The Southern outlaw and the white Indian in Western comics -- Chapter three: Colonialism and primitivism in US Comics - Chapter four: Civil rights and the limits of liberalism -- Chapter five: Robert Crumb's cathartic racism -- Chapter six: Jewish exceptionalism and assimilation in the 1970s and 1980s -- Chapter seven: Racial borderlands in alternative comics -- Chapter eight: The deconstruction of the white superhero in Watchmen -- Chapter nine: Frank Miller's hyper masculine whiteness and the defense of Western culture -- Chapter ten: Reskinning narratives: taking off the mask -- Conclusion -- Notes -- Bibliography -- Index.
520	3		_aAbstract American comics have for most of their existence reflected the white-supremacist culture out of which they arose. Superheroes and comic books in general are products of whiteness that both signal and hide its presence, blending into the cultural landscape as myths that serve to buttress and sustain white supremacy. Even when comics creators and publishers sought to advance an anti-racist agenda, very often a lack of awareness of their own whiteness and the ideological baggage that goes along with it undermined their efforts. Even the sacred cows of the industry, such as Jerry Siegel and Joe Shuster, Jack Jackson, William Gaines, Stan Lee, Robert Crumb, Will Eisner, and Frank Miller, have not been able to distance themselves from the problematic racism embedded in their narratives regardless of their intentions or explanations. Since ideologies of whiteness and white supremacy can be found across all types of comics, The Invisible Costume examines many genres, including western, horror, crime, funny animal, underground comix, autobiography, literary fiction, and historical fiction. This exciting and groundbreaking book assesses industry giants, highlights some of the most important episodes in American comic books history, and demonstrates how they relate to one another and form a larger pattern often in unexpected and surprising ways. _cProvided by publisher.
650		0	_aComic books, strips, etc. _zUnited States _xHistory and criticism.
650		0	_aComic books, strips, etc. _xSocial aspects _zUnited States.
650		0	_aRacism _zUnited States _vComic books, strips, etc.
650		0	_aRacism and the arts _zUnited States.
650		0	_aWhite people _xRace identity _zUnited States _vComic books, strips, etc.
650		0	_aOutlaws _vComic books, strips, etc.
650		0	_aSuperheroes _vComic books, strips, etc.
653	0	0	_aLiterary Studies - Graphic Novels
700	1		_aSingsen, D. _eauthor _q(Doug)
856	4	0	_3https://academic.oup.com/book/44242 _uhttps://academic.oup.com/book/44242 _yClick here
942			_2ddc _cEB