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AbstractHistoryArchive Description
'Mandy Ord‘s first graphic novel, Rooftops, is a personal and idiosyncratic view of a night in Melbourne. The book opens with Ord’s comic self rushing through the streets of the city to meet friends at a rooftop showing of Ghostbusters. Not only can Ord draw with real but understated graphic power but she has a rare ability to make unremarkable, even awkward, daily events come alive.' (Publication summary)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Memory Palaces
2012
single work
criticism
— Appears in: The Monthly , June no. 79 2012; (p. 48-50) 'Luke Davies on Australia's budding graphic novel scene.' -
In Search of the Great Australian (Graphic) Novel
2012
single work
criticism
— Appears in: Australasian Journal of Popular Culture , 16 February vol. 1 no. 1 2012; (p. 51-66) 'The critical acclaim enjoyed by such recent Australian graphic novels as Shaun Tan's The Arrival (2006) and Nicki Greenberg's adaptation of The Great Gatsby (2007) suggested that Australia had finally 'caught up' with the United States and Britain, by embracing the graphic novel as a legitimate creative medium, on a par with literature and cinema. The media interest generated by a succession of Australian graphic novels during recent years often implied that their very existence was a relatively new phenomenon. Accepting this premise without question, however, overlooks the evolution of the graphic novel in Australia, early examples of which - such as Syd Nicholls' Middy Malone: A Book Pirates (1941) - date back to the 1940s. Documenting how historical changes in the production and dissemination of graphic novels in Australia have influenced their critical and popular reception therefore creates new opportunities to explore a largely overlooked facet of Australian print culture. Furthermore, the study of the graphic novel in an exclusively Australian context provides a new perspective for re-examining the origins, definitions and, indeed, the limitations of the term 'graphic novel', and extends the parameters of the academic literature devoted to the medium beyond the traditionally dominant Anglo-American focus.' (Author's abstract)
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Picture This : The Future of Fiction
2009
single work
review
— Appears in: The Australian Literary Review , April vol. 4 no. 3 2009; (p. 24-25)
— Review of The Sacrifice : Robert Is a Pacifist in a World at War 2007 single work graphic novel ; The Great Gatsby : A Graphic Adaptation of the Novel by F. Scott Fitzgerald 2007 single work graphic novel ; Rooftops : A Graphic Novel 2007 single work graphic novel -
Fiction
2008
single work
review
— Appears in: The Age , 15 March 2008; (p. 26)
— Review of Consumed 2008 single work novel ; Rooftops : A Graphic Novel 2007 single work graphic novel -
Every Picture Tells a Story
2008
single work
column
— Appears in: The Age , 16 February 2008; (p. 16)
-
Fiction
2008
single work
review
— Appears in: The Age , 15 March 2008; (p. 26)
— Review of Consumed 2008 single work novel ; Rooftops : A Graphic Novel 2007 single work graphic novel -
Picture This : The Future of Fiction
2009
single work
review
— Appears in: The Australian Literary Review , April vol. 4 no. 3 2009; (p. 24-25)
— Review of The Sacrifice : Robert Is a Pacifist in a World at War 2007 single work graphic novel ; The Great Gatsby : A Graphic Adaptation of the Novel by F. Scott Fitzgerald 2007 single work graphic novel ; Rooftops : A Graphic Novel 2007 single work graphic novel -
Every Picture Tells a Story
2008
single work
column
— Appears in: The Age , 16 February 2008; (p. 16) -
In Search of the Great Australian (Graphic) Novel
2012
single work
criticism
— Appears in: Australasian Journal of Popular Culture , 16 February vol. 1 no. 1 2012; (p. 51-66) 'The critical acclaim enjoyed by such recent Australian graphic novels as Shaun Tan's The Arrival (2006) and Nicki Greenberg's adaptation of The Great Gatsby (2007) suggested that Australia had finally 'caught up' with the United States and Britain, by embracing the graphic novel as a legitimate creative medium, on a par with literature and cinema. The media interest generated by a succession of Australian graphic novels during recent years often implied that their very existence was a relatively new phenomenon. Accepting this premise without question, however, overlooks the evolution of the graphic novel in Australia, early examples of which - such as Syd Nicholls' Middy Malone: A Book Pirates (1941) - date back to the 1940s. Documenting how historical changes in the production and dissemination of graphic novels in Australia have influenced their critical and popular reception therefore creates new opportunities to explore a largely overlooked facet of Australian print culture. Furthermore, the study of the graphic novel in an exclusively Australian context provides a new perspective for re-examining the origins, definitions and, indeed, the limitations of the term 'graphic novel', and extends the parameters of the academic literature devoted to the medium beyond the traditionally dominant Anglo-American focus.' (Author's abstract)
-
Memory Palaces
2012
single work
criticism
— Appears in: The Monthly , June no. 79 2012; (p. 48-50) 'Luke Davies on Australia's budding graphic novel scene.'
Last amended 21 Oct 2014 17:37:07
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