Cultures of Comics Work 2016
DOI: 10.1057/978-1-137-55090-3_6
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Recognizing Comics as Brazilian National Popular Culture: CETPA and the Debates over Comics Professional Identities (1961–1964)

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“…The study of comics, like that of many other cultural forms, often applies a national frame. Approaches to Latin American comics (L'Hoeste and Poblete 2009;Manthei 2011;Vergueiro 2009;Ostuni et al n.d.;Gociol and Rosemberg 2000;Gomes 2016) are no exception. Ana Merino (2017, 70) has rightly argued that histories of comics production in different Latin American countries have been shaped by distinct socio-economic and political contexts and demand specificity of address and attention.…”
Section: Introductionmentioning
confidence: 99%
“…The study of comics, like that of many other cultural forms, often applies a national frame. Approaches to Latin American comics (L'Hoeste and Poblete 2009;Manthei 2011;Vergueiro 2009;Ostuni et al n.d.;Gociol and Rosemberg 2000;Gomes 2016) are no exception. Ana Merino (2017, 70) has rightly argued that histories of comics production in different Latin American countries have been shaped by distinct socio-economic and political contexts and demand specificity of address and attention.…”
Section: Introductionmentioning
confidence: 99%
“…The study of comics, like that of many other cultural forms, often applies a national frame. Approaches to Latin American comics (L'Hoeste and Poblete 2009;Manthei 2011;Vergueiro 2009;Ostuni et al n.d.;Gociol and Rosemberg 2000;Gomes 2016) are no exception. Ana Merino (2017, 70) has rightly argued that histories of comics production in different Latin American countries have been shaped by distinct socio-economic and political contexts and demand specificity of address and attention.…”
Section: Introductionmentioning
confidence: 99%