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Extra info for Hanna-Barbera Pebbles Flintstone
New York: Harry N. Abrams, 1986. Marschall, Richard. America’s Great Comic-Strip Artists. From the Yellow Kid to Peanuts. New York: Stewart, Tabori & Chang, 1997 . Wiesing, Lambert. “Die Sprechblase. ), Realitätseffekte. Ästhetische Repräsentation des Alltäglichen im 20. Jahrhundert. Paderborn: Wilhelm Fink, 2008. 25–46. 3 The City as Archive in Jason Lutes’s Berlin ANTHONY ENNS I “The Author as Producer,” Walter Benjamin urges writers to “transcend . . the barrier between writing and image” by incorporating photographs and captions into their work (Benjamin 1978: 230).
Northampton: Kitchen Sink Press, 1995. “Hully gee, I’m a Hieroglyphe” 21 Standing in the foreground of Outcault’s cartoon is a bald little boy in a nightshirt — the testing ground, according to Waugh, for a fast-drying yellow dye, the color that had been missing in the successful implementation of four-color printing in newspapers. This step was important for tabloids. Bright colors were what caught the buyer’s eye. The success of four-color printing was seen as vital for sales, and only yellow had been reluctant to stay put on the pulpy paper — seeping where it shouldn’t seep, refusing to keep its tone.
Instead of answering this question directly, I would like to discuss three Sunday pages of the ﬁrst 25 years of the medium we nowadays call comics. My choice of series is not very exceptional: the Yellow Kid cartoons by George B. Luks; Little Nemo by Winsor McCay; and Krazy Kat by George Herriman. The thesis that should lead the reader is rather simple: These early Sunday pages reﬂect the conﬂict Michel de Certeau analyzes in the structure of their material. They enable another optical knowledge of the city that is not opposed to the panoramic view like walking is and instead puts both ways of perceiving in genuine play.