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S. BIBLIOGRAPHY BARKER, M. 1989. Comics. Ideology, power and the critics. Manchester: Manchester University Press. BURNS, C. 1990. Hard-boiled defective stories. London: Penguin. CARDINAL, R. 1978. Primitive painters. London: Thames and Hudson. CARTOON ART MUSEUM. 1990. Zap to Zippy. The impact of underground comix. A 25 year retrospective. San Francisco. CHARYN, J; BOUCQ, F. 1988. The magician's wife. London: Titan. COOPER, M; CHALFANT, H. 1988. Subway art. London: Thames and Hudson. COUPERIE, P; HORN, M. 1968. A history of the comic strip. trans. E.I. Hennessy. New York: Crown Publishers. DAVIDSON,S. 1982. The Penguin book of political comics. London: Penguin. DELANO, J; RIDGEWAY, J; ALCALA, A 1992. Hellblazer. New York: Warner Books. DISKI,J. 1990. Like Mother. London: Vintage. DORFMAN, A. 1983. The empire's old clothes. London: Pluto Press. DORFMAN, A; MATTELART, A 1984. How to read Donal Duck. Imperialist ideology in the Disney comic. trans. D. Kunzle. New York: International General. ERNST, M. 1981. The hundred headless woman (trans. D.Tanning) New York: George Braziller. FULLER, P. 1985. Images of God. The consolations of lost illusions. London; The Hogarth Press. GArMAN, N. 1993. The sandman. New York: D.C. Comics. GODFREY, J. 1990. A decade of i-deas. The encyclopaedia of the '80s. London: Penguin. GOODRICK, S; DONAHUE, D; LYNCH, J. 1981. The Apex treasury of underground comics. The best of Biiou Funnies. New York: Quick Fox. GOULART, R. 1991. Over 50 years of American comic books. Illinois: Publications International. GREENE, G; KAHN, C. 1985. Making a difference. Feminist literary criticism. London: Methuen. 160
GROlli, G; FIORE, R. 1988. The new comics. New York: Fantagraphics. HENDRICKSON, J. 1988. Lichtenstein. Cologne: Benedikt Taschen. HERNANDEZ, G. 1989. Human diastrophism. A heartbreak soup graphic novel. London: Titan. HERNANDEZ, J. 1987. Love and rockets. London: Titan. HERNANDEZ, J. 1992. House of raging women. London: Penguin. HEWLITT, J; MARTIN, A 1989. Tankgirl. London: Penguin. HICKS, A 1989. The School of London. The resurgence of contemporary painting. Oxford: Phaidon. HIGHWATER, J. 1994. The language of vision. New York: Grove Press. HORNBLOWER, M. 1993. "Beyond Mickey Mouse." Time (New York) November 1, p.53-58. HUYSSEN, A 1986. After the great divide. Modernism, mass culture. postmodernism. Indiana: Indiana University Press. INGE, M.T. 1990. Comics as culture. Jackson: University Press of Mississippi. LELAND, J. 1992. "Do you hear what I hear?" Newsweek (New York) January 27,1992, p.42-44. LUCIE-SMIlli, E. 1990. Art of the eighties. Oxford: Phaidon Press. MARCUS, G. 1990. Lipstick traces. A secret history of the twentieth century. London: Seeker and Warburg. MCCLOUD, S. 1994. Understanding comics. The invisble art. London: Harper Collins. MEYROWITZ, J. 1985. No sense of place. The impact of electronic media on social behaviour. New York: Oxford University Press. MILLER, F. 1986. The dark knight returns. New York: D.C. Comics. MILLER, F. 1992. Sin city. Milwaulkie: Dark Horse Comics. MILLIGAN, P; HEWLITT, J. 1991. Hewligan's haircut. London: Maxwell. MILLIGAN, P; BACHALO, C; BRYANT, R. 1992. Shade the changing man. New York: D.C. Comics. MITCHELL, W.J.T. 1980. The language of images. Chicago: University of Chicago Press. MOORE, A; GIBBONS, D. 1987. Watchmen. New York: D.C. Comics. MUSEUM OF MODERN ART, OXFORD. 1990. Art from South Africa. London: 161
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A CRITICAL ANALYSIS OF SOUTH AFRICA
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dialect differs from the language o
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"Does he paint? He fain would write
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1. INTRODUCTION What I am attemptin
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existence ... until food gets short
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is making comics respectable in the
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Most of these comics are produced a
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2. DEFINITIONS AND TERMINOLOGY The
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In addition, extraverbal sounds, or
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The decision as to whether visual l
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For the first two decades of the tw
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Wertham's book The Seduction of the
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Undergrounds were amoral, sexual, s
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coalesced into comics intended for
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3. ANALYSIS Four different groups o
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incomprehensible passages are incom
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positive shapes, even or especially
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3.2. KOMIKSOC The confessional aspe
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,0 ::l£~) \e B . f"'CM P'!~t .....
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Figure 2 Franklin After the Plagues
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Sididis's Tripping uses comic conve
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example of how the appearance of a
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M\..I.A i H !lVIE ou~ rut", """" ""
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The artist only solves this problem
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text. Yet the frames function in su
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of the text, which is the reason fo
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omb) are lost in an attempt at pers
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a single emotion, depicting various
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Figure 19 Breytenbach Eddie Jumped
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Content is sometimes allowed to esc
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Sorfa's technique saves, lives up t
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Figure 23 Casey Showcase: Item 1 pI
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Two people, a scriptwriter and an a
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Sorfa's collaboration with scriptwr
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Casey's understanding of blacks and
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From the whimsical, poetic scripts
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This same regularity forces pace to
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In previous comics, my 'visual writ
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The comic was drawn full-size on A4
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Text shifts between narrative, spee
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Teo iNTE.N5E · Figure 38 Sorfa Spi
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' .. Figure 1 T. Begg The Battle of
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The text of Bone Staircase, by Freu
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of solid blacks and a subjective vi
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Rue, by Sididis, begins well. The f
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completely resolved. Possibly his p
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seems to pick out elements, without
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The awkwardness of this comic is a
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3.4. BI'ITERKOMIX Bitterkomix start
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From Case No. 308, the story of Tom
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Figure 3 Botes, Dog The Tommy Saga:
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'Tj ~. (1) ..,. tj o OQ ;l ,(1) VEI
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etween form and content, but also p
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Another example is figure 8, from A
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structured. Familiar sources, conte
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Some verbal comic conventions are m
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Both artists make use of a great va
Page 116 and 117: character, Chico D, into a martyr a
Page 118 and 119: Figure 17 Van Zyl Die Besoek p5 112
Page 120 and 121: The transitions between panels are
Page 122 and 123: simply by its silence and inexplica
Page 124 and 125: Figure 22 Botes Die Mens 118
Page 126 and 127: Verdwaalde Harte [fig 23J, also by
Page 128 and 129: Figure 27 Dog, Winterbach Rewerie p
Page 130 and 131: In Die Hero van die Bitch [fig 29],
Page 132 and 133: draws the reader's attention to the
Page 134 and 135: Figure 32 Bates Siembamba 128
Page 136 and 137: The Proverbs are selected and reint
Page 138 and 139: In Klapmuts Polisie Slaan Toe, Bote
Page 140 and 141: Ina van Zyl is more concerned with
Page 142 and 143: I ROSIE is NUUT deur Ina van ;Zyl I
Page 144 and 145: M y DEliO !r1OTHER H I..4NG UP I LE
Page 146 and 147: Botes is very good at acidic social
Page 148 and 149: The second episode of Missileman, b
Page 150 and 151: In Kanker Botes' subject is again t
Page 152 and 153: coincides with the appearance of th
Page 154 and 155: closeup, then pulls away to explain
Page 156 and 157: stories in issue 1 are in English,
Page 158 and 159: 4. CONCLUSION The comics are all pr
Page 160 and 161: The most common genres (my definiti
Page 162 and 163: the first generation whose world is
Page 164 and 165: ways of creating this entrance poin
Page 168: Thames and Hudson. NEAL, C. 1987. T
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