Comics and cartoons range from single panels to short strips to lengthy graphic novels. They often first appear in serial form in newspapers, and provide both an escape from and a dialogue with the more “serious” topics that surround them. They can appear to be ephemeral, compared with other cultural forms–after all, they are thrown away when the newspaper is discarded–but they are also often long-running, appearing over years with their marginal, sometimes humorous or satirical, take on the world around them.
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- Cosse, Isabella. "Mafalda: Middle Class, Everyday Life, and Politics in Argentina, 1964–1973"
- Mafalda comic strips (four pages)
- Oesterheld, Héctor Germán, and Francisco Solano López, The Eternaut (selection)
The Eternaut videos
(Note that apparently a Netflix version is in production!)
60 Segundos de Oscuridad – Homenaje a El Eternauta:
ETERNAUTA : Una pelicula encontrada:
El Eternauta – versión completa – FHD (1920 x 1080 pixels), audio español (castellano)
Mafalda videos
Mafalda la película:
Mafalda – TV (English Subs):
LA HISTORIA DE MAFALDA | MINIDOCUMENTAL:
Muere Quino, autor de Mafalda, a los 88 años: así fue la vida del caricaturista argentino:
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- Catalá Carrasco, Jorge L. , Paulo Drinot, and James Scorer, eds. Comics and Memory in Latin America. Pittsburgh: University of Pittsburgh Press, 2017
- Cosse, Isabella. Mafalda: A Social and Political History of Latin America's Global Comic. Durham, NC: Duke University Press 2019.
- Espinoza, Mauricio. "Neoliberalism in the Gutter: Latin American Comics and Society since the 1990s". Studies in Twentieth and Twenty-First Century Literature 42.1 (Winter 2017).
- King, Edward. Posthumanism and the graphic novel in Latin America. London: UCL Press, 2017.
- Merino, Ana. "Comics in Latin America". The Routledge Companion to Comics. Ed. Frank Bramlett, Roy Cook, and Aaron Meskin. London: Routledge, 2016. 70-78.
- Scorer, James, ed. Comics Beyond the Page in Latin America. London: UCL Press, 2020.
- What are the different ways in which words and images interact in comics?
- What kinds of relationship do comics published in newspapers establish with the more "serious" articles that surround them?
- What are the effects and consequences of comics' serial appearance, every day or every week? How do we read them differently when they are collected together in a book?
- The Eternaut's translater calls it "a seminal work of Latin American literature." What claims do comics have to "literary" status?
- To what extent do you think that the characters represented in The Eternaut are typical of their time and place?
- Mafalda comments on the adult world from (apparently) a child's perspective. What kinds of insight does this enable?
- Cosse argues that the Mafalda strip is specifically about (and targeted to) the growing Argentine middle class. Does that make it less popular than other forms of popular culture?
- Cosse tells us that the last time Quino (Mafalda's author) saw Héctor Oesterheld (author of The Eternaut and victim of the Argentine military dictatorship), "they had argued over the relation between art and politics" (67). What do you think might have been the two positions taken in this argument?
The Eternaut questions
are you more scared or relieved when thinking of the apocalypse?
How else can these dismissive attitudes in The Eternaut be interpreted in the context of Latin American popular culture?
how do you think that this attitude of ‘not thinking about it’ plays into Latin American culture?
In what ways does the comic “Eternaut” showcase the unique perspective of the Argentines (of Latin Americans) during the Cold War era? How is it unique from that of the Canadian or American experience?
For you, what type of story has more potential for promoting change and reflections, fictional or real stories?
Mafalda questions
What were some of your favourite comics when you were young?
Have you learned an important life lesson through comics or cartoons? If yes, please give an example.
In your opinion, what is it about comics that draw in readers? What makes comics so popular?
through this type of medium is there a line between a comic being just art and it being taken serious? And does this make conversations differ from how people interpret it?
Do you think Mafalda has made a significant contribution to Argentine national unity and pride?
How do comics like Mafalda increase accessibility to social justice issues?
I wonder if comics are more powerful or resilient against censorship than other forms of art? What is the role of artists in political struggle? Do you think it’s their responsibility to engage in political struggle?
To what extent can we trust popular art to accurately represent the cultures it originates from? Does it have a responsibility to do so? If so, should it even have that responsibility?
For you, what type of story has more potential for promoting change and reflections, fictional or real stories?
Why do you think the Author of Mafalda, Joaquı´n Lavado, stopped writing these comics 1973? Not even 10 years after the original strip was published in 1964.
Taken from our readings. “humor operates ‘‘in a sociopositive way to solidify a group’’ and favors ‘‘social self-reflection.’’ Along with humor, what are some other aspects of social life that you believe can operate in similar ways? Possibly there are some in the previous topics we discussed.
At what point does a portrait of popular culture itself become a part of popular culture?
Notes from class discussion (March 31, 2021)
