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Liminality, Mestiza Consciousness, and Comix as Decolonization in Lynda Barry's ONE HUNDRED DEMONS.

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Presentation on theme: "Liminality, Mestiza Consciousness, and Comix as Decolonization in Lynda Barry's ONE HUNDRED DEMONS."— Presentation transcript:

1 Liminality, Mestiza Consciousness, and Comix as Decolonization in Lynda Barry's ONE HUNDRED DEMONS

2 Lynda Barry (b. 1956) Created Ernie Pook’s Comeek, distributed nationally in alternative newspapers Author of over 11 books of collected cartoons Published her first novel, Cruddy, in 1999 0ne Hundred Demons (2002), a collection of 20 panel full-color cartoons that explore her childhood and adolescence in Seattle in the 1960’s, won the coveted Eisner Award in 2003.

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5 “There is literally no place besides comix where you can find women speaking the truth and using their pictures to show you, in vivid detail, what it means to live your life outside of the stereotypes and delusions that we see on television, in shopping malls and at newsstands” (1995, 7). Twisted Sisters: Drawing the Line, Susie Bright

6 Significance of Lynda Barry’s Art The Village Voice calls her “the best cartoonist in the world” Developed the autobiographical narrative style which characterizes New Comix and Wimmin’s comix Incorporates peminist experience and history in her cartoons Developed a narrative style of storytelling she terms “autobifictionography” One of the first cartoonists of color to gain worldwide attention

7 Stereotypes of Asian/American Women in the Media Exotic, erotic Dragon Lady Passive, submissive Lotus Blossom Gangbanger, prostitute, school girl, martial arts machine, nail salon owner, computer geek Invisibility of Filipina Americans from concept of AA women overall

8 “New Comix” Term emphasizes the co-mixture of text and graphics Art Spiegelman’s term to describe independent cartoon art which is very different from corporate syndicated comic strips like “Garfield.” Examples include: Julie Doucet, Los Bros Hernandez, Roberta Gregory, Charles Burns

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13 Peminism Peminism is Filipina American feminism; with the “p” signifies specifically “Pinay/Pilipina” Barry's work in One Hundred Demons reclaims and theorizes the experiences and stories of her foremothers and is an important peminist contribution to Asian American women's studies, FilAm culture, wimmin's comix, and comix in general.

14 “You asked if I consider myself to be a feminist, peminist/pinayist etc. And to this I say, HELL YES! THAT AND MORE! Actually I'm basically a hermit who loves to draw pictures and write stories! I am on the side of the people! I am against the MAN! I don't know if you have ever seen my picture but I look like the most white middle-aged old lady hippie possible. Kind of a cross between Granny Clampett and The Cowardly Lion. It's a weird way to be Filipina! My mom is half white. My dad is a whiter shade of pale. But N'ako! My Lola is from Ilo-Ilo, naman! She is very matapang [brave]! She will even kill the aswang! And I was raised on adobo and lumpia!” Lynda Barry, email, 14 December 2001

15 Liminality and Mestiza Consciousness Filipino American identity issues related to dual colonization; liminality Conceptions to mestiza-ness Barry's use of comix to critique white/mestiza identity Barry's work provides tools for reimagining; for decolonization

16 “Common Scents” From One Hundred Demons

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22 “The Visitor” From One Hundred Demons

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28 “The Aswang” from One Hundred Demons

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34 “Girlness” from One Hundred Demons

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37 From One Hundred Demons

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