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Comics Beyond the Page in Latin America is a cutting-edge study of the expanding worlds of Latin American comics. Despite lack of funding and institutional support, not since the mid-twentieth century have comics in the region been so dynamic, so diverse and so engaged with pressing social and cultural issues. Comics are being used as essential tools in debates about, for example, digital cultures, gender identities and political disenfranchisement.

Rather than analysing the current boom in comics by focusing just on the printed text, however, this book looks at diverse manifestations of comics 'beyond the page'. Contributors explore digital comics and social media networks; comics as graffiti and stencil art in public spaces; comics as a tool for teaching architecture or processing social trauma; and the consumption and publishing of comics as forms of shaping national, social and political identities.
Bringing together authors from across Latin America and beyond, and covering examples from Argentina, Brazil, Colombia, Mexico, Peru and Uruguay, the book sets out a panoramic vision of Latin American comics, whether in terms of scholarly contribution, geographical diversity or interdisciplinary methodologies.

Abstract
In this article, I explore the way that Alberto Breccia, one of Latin America's most important comics artists, engages with the history and cityscape of the neighbourhood of Mataderos in Buenos Aires, Argentina. I focus on two of his comics set in this meat-packing district: the series Un tal Daneri (1974–77), written by Carlos Trillo, and the short-story 'El aire' (1976), written by Guillermo Saccomanno. Created during a period of increasing political violence, I analyse how these works express the material practice of animal slaughter as well as the slaughterhouse's potent political symbolism. In particular I argue that the highly material, embodied techniques that Breccia uses, including cuts with blades, paper tears and collage, present Mataderos as an assemblage where human, animal and non-human fuse together. They also remind us of the material labour processes that underpin both these images and the neighbourhood itself. As a result, I suggest, these works both suggest an alternative to the dichotomy of civilization and barbarism that has dominated the Argentine political and urban imaginary, and also demonstrate how artistic practice can be used to embody the materiality of marginal bodies and spaces.

Analysing the last Argentine dictatorship in the light of contemporary re‐examinations of war, this article argues that the 1976–1983 dictatorship can be understood as a shift in war(s), from la guerra sucia to the Falklands/Malvinas conflict, from a limitless and unsustainable internal war to a bracketed external war. That external war is shown to be an attempt to re‐found a nation imploding through disappearance. Drawing on the history of disappearance in Argentina reveals that, despite obvious differences, there are many continuities between the dictatorship and other regimes, emphasising the dangers of a politics that encourages a nation 're‐malvinizada'.

Latin America's long history of showing how racism can co-exist with racial mixture and conviviality offers useful ammunition for strengthening anti-racist stances. This volume asks whether cultural production has a particular role to play within discourses and practices of anti-racism in Latin America and the Caribbean. The contributors analyse music, performance, education, language, film and art in diverse national contexts across the region. The book also places Latin American and Caribbean racial formations within a broader global context. It shows that the region provides valuable opportunities for thinking about anti-racism, not least when recent political events worldwide have shown that, far from a 'post-racial' age, we are living in an era of intensified racist expression and racial injustice.