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Please use this identifier to cite or link to this item: https://hdl.handle.net/2440/109457
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dc.contributor.authorMaynard, A.-
dc.contributor.editorBrienza, C.-
dc.contributor.editorJohnston, P.-
dc.date.issued2016-
dc.identifier.citationCultures of Comics Work, 2016 / Brienza, C., Johnston, P. (ed./s), Ch.2, pp.21-33-
dc.identifier.isbn1137554770-
dc.identifier.isbn9781137554772-
dc.identifier.urihttp://hdl.handle.net/2440/109457-
dc.description.abstractArt Spiegelman. Alan Moore. Osamu Tezuka. Neil Gaiman. Names such as these have become synonymous with the medium of comics.-
dc.description.statementofresponsibilityAmy Louise Maynard-
dc.language.isoen-
dc.publisherPalgrave Macmillan-
dc.relation.ispartofseriesPalgrave Studies in Comics and Graphic Novels-
dc.rights© The Editor(s) (if applicable) and The Author(s) 2016-
dc.source.urihttp://www.springer.com/gp/book/9781137554772-
dc.subjectSocial Science-
dc.titleFor the love of the craft: Industry, identity and Australian comics-
dc.typeBook chapter-
dc.identifier.doi10.1057/978-1-137-55090-3_2-
dc.publisher.placeNew York, NY-
pubs.publication-statusPublished-
Appears in Collections:Aurora harvest 3
Media Studies publications

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