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Krantz, Gunnar. "Fanzines and Swedish Comics Memory." Comics Memory. Archives and Styles. Eds. Maaheen Ahmed and Benoît Crucifix. Palgrave Studies in Comics and Graphic Novels. New York [etc.]: Palgrave Macmillan, 2018. 267–76. Added by: Okwuchi Mba (9/5/18, 4:08 PM) |
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| Resource type: Book Chapter Language: en: English DOI: 10.1007/978-3-319-91746-7_15 BibTeX citation key: Krantz2018 Email resource to friend View all bibliographic details  |
Categories: General Creators: Ahmed, Crucifix, Krantz Publisher: Palgrave Macmillan (New York [etc.]) Collection: Comics Memory. Archives and Styles |
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Until the mid-1960s, only a handful of Swedish intellectuals regarded comics as worthy of serious attention and scholarly study. However, this changed as a result of the success of Pop Art. Works by Roy Lichtenstein and others were exhibited in Stockholm in early 1964, which was followed by a small, avant-garde gallery exhibition called Seriernas fantastiska värld (The Fantastic World of Comics) in January 1965. This exhibition is considered instrumental for the creation of comics fandom in Sweden. As most of the comics-related activities (exhibitions, books, awards, articles, and radio and television shows) were organized and headed by one man, journalist Sture Hegerfors, it was not until others began to debate in crudely printed fanzines that differences emerged in the field concerning, in particular definitions of comics.
Added by: joachim Last edited by: joachim |