Carl Barks and the Disney Comic Book: Unmasking the Myth of Modernity

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The first full-length critical study of the genius who created Duckburg and Uncle Scrooge
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Overview


The first full-length critical study of the genius who created Duckburg and Uncle Scrooge
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Product Details

  • ISBN-13: 9781578068579
  • Publisher: University Press of Mississippi
  • Publication date: 7/28/2006
  • Pages: 306
  • Product dimensions: 6.00 (w) x 9.30 (h) x 1.10 (d)

Table of Contents

1 Rereading Donald Duck 3
2 The duck man 31
3 From Burbank to Duckburg 61
4 American gothic 109
5 The garden in the machine 157
6 Resurrecting the self-made man 187
7 The postmodern crack-up 228
A Carl Barks filmography 279
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  • Posted January 22, 2009

    Sociological perspectives and critiques in Carl Barks' comics

    Certainly Carl Barks is well-known for his vivid, singular drawings of the Donald Duck characters in the Disney comics and cartoons. He would have a place in the pantheon of 20th-century comic illustrators for the imagination of his portrayals and scenes on the basis of their entertainment value alone. But beneath the prodigious output were deep undertones reflecting concerns and mores of popular culture and an implicit critique of many of these--which aspects of Barks's comic illustrations Andrae fully brings out. 'Barks's tales are inextricably linked to the politics of his time and offer one of the most trenchant critiques of patriarchal capitalism in any popular media.' One sees this inhering in the character Uncle Scrooge with his boundless love of lucre and joy in diving into his swimming pool filled with coins. Born in 1900, Barks lived to be nearly 100. He teamed with Disney in the 1930s. In his later decades, Barks evolved from implicit perspectives on general foibles such as greed and materialism to criticisms of specific aspects of U. S. politics and its effects. Many of these later strips 'call into question the tentacle-like homogenization of both the Third World and the United States by consumerism and global capitalism.' Andrae covers amply all of the layers of Barks's illustration art from unique style with lasting appeal to incorporation of issues of popular culture and often critiques of these. Readers will look forward to subsequent books following this first in the publisher's Great Comic Artists Series.

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