The 650-Cent Plague

Event review: Craving for New Images, Berlin

Whenever there’s an exhibition having a (sub)title like “From Broadsheet to Comic Strip”, issue when it comes to aficionado that is comic: just how much comics can there be actually? The aim of the Deutsches Historisches Museum (DHM) is to show how printed pictures changed the way ideas are communicated (with a focus on sensational news, propaganda, and education, the three sections in which the exhibition is organised) as a history museum. Hence the displays period from belated medieval woodcuts to provide time governmental cartoons, and this kind of wide time period will leave small space for comics, needless to say. (There’s also a marked but neither exclusive nor explicit focus on Germany. )

Still, some products on display are noteworthy in this context. The earliest are broadsheet image tales through the mid-nineteenth century college teen porn – possibly not exactly comics yet, but see Andreas Platthaus’s analysis of just one of those in their opening message that has been additionally posted in English.

Close to them we now have a little part of very very early US newsprint comic strips (shown as facsimiles), and within it there’s the highlight associated with the entire show: two Katzenjammer youngsters episodes, translated into German and posted in Lustige Blatter des Morgen-Journals in 1905 and 1908 (! ), correspondingly. Not quite since very early yet still remarkable is really a German gathered book version of Felix the Cat from 1927.

Famous but seldom exhibited is Pablo Picasso’s two-part etching, Sueno y mentira de Franco (1937), additionally mentioned by Platthaus.

By the end associated with the education part you will find three types of the best-selling comic mags in postwar Germany: Micky Maus number 1 (a duplicate regarding the valuable magazine that is original on display), Fix und Foxi from 1956 (original drawings by Werner Hierl plus published pages) and element of a 1974 Digedags story from Mosaik (drawings + published pages). Because interesting as they comics could be, however, we believe it is difficult to understand connection among them therefore the overall event subject.

That said, it is nevertheless an exhibition worth visiting in the event the interest just isn’t limited by comics alone, since you can find numerous fascinating prints that are non-comic see. Additionally, the DHM presently additionally hosts the superb and much larger show, 1917. Revolution. Russia and European countries, which means that your general museum visiting experience might be much better than my score below suggests.

Wanting for New photos: From Broadsheet to Comic Strip at Deutsches Historisches Museum, Berlin, continues to be available through to the 8th April 2018.

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Upcoming talk: Has Akira for ages been a cyberpunk comic?

In under a thirty days, i’m planning to take part in a panel on cyberpunk comics at michigan state university comics forum. Here’s the abstract for my paper, that is closely attached to my PhD research:

Involving the late 1980s and very very very early 1990s, curiosity about the cyberpunk genre peaked when you look at the Western globe, possibly many evidently when Terminator 2: Judgment Day became the highest-grossing movie of 1991. It was argued that the interpretation of Katsuhiro Otomo’s manga Akira into a few European languages at exactly that time (from 1988 in English, from 1991 in French, German, Italian and Spanish) ended up being no coincidence. In hindsight, cyberpunk tropes are often identified in Akira towards the degree that it’s nowadays commonly viewed as a classic cyberpunk comic. But has this for ages been the situation? Whenever Akira was initially published in the us and European countries, did visitors notice it included in a revolution of cyberpunk fiction? Did they draw the connections to past works regarding the cyberpunk genre across various news that today seem apparent? In this paper, mag reviews of Akira in English and German through the time with regards to first arrived on the scene within these languages are analysed to be able to assess the readers that are past genre understanding. The attribution associated with the cyberpunk label to Akira competed with other people including the post-apocalyptic, or technology fiction as a whole. Instead, Akira ended up being often seen as an excellent, unique work that transcended genre boundaries. In comparison, reviewers of this Akira anime adaptation, that has been released at approximately the time that is same the manga within the western (1989 in Germany as well as the united states of america), more readily drew comparisons to many other cyberpunk movies such as for instance Blade Runner.

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