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Disabilities (Visible & Invisible) (Mental & Physical) Adult The Legion/X-Men Legacy - Simon Spurrier The Wendy Project - Melissa Jane Osborne Archival Quality - Ivy Noelle Weir Through Lya’s Eyes - Carbone Batgirl - Gail Simone Waterbaby - Sophie Campbell Bingo Love - Tee Franklin With the Light - Keiko Tobe Birds of Prey - Chuck Dixon Bitter Medicine - Olivier & Clem Martini Youth Calexit - Matteo Pizzolo Can’t We Talk About Something More All’sAvatar Airbender - various authors Pleasant? - Roz Chast Awkward - Svetlana Chmakova Daredevil - various authors El Deafo - Cece Bell Dodge City - Josh Trujillo Full Metal Alchemist - Hiromu Arakawa Doom Patrol - Grant Morrison Ghosts - Raina Telgemeier Epileptic - David B Goodnight Pun Pun - Inio Asano Fun Home - Alison Bechdel Hey Kiddo - Jarrett Krosoczka Hawkeye - Matt Fraction Joe the Barbarian - Grant Morrison Hyperbole and a half - Allie Brosh Joyride - Jackson Lanzing Marbles - Ellen Forney Mighty Jack - Ben Hatke Maus - Art Spiegelman Monstress - Marjorie Liu Mis(hadra) - Iasmin Omar Ata Ms. Peregrine’s Home for Peculiar Children - Mr. Miracle - Tom King Ransom Riggs Pedro & Me - Judd Winick Nimona - Noelle Stevenson Rock Steady - Ellen Forney Princeless: Raven the Pirate Princess - Sandman - Neil Gaiman Jeremy Whitley Sentences - Percy Carey Real Friends - Shannon Hale Sex Criminals - Matt Fraction Sheets - Brenna Thummler Spinning - Tillie Walden Silent Voice - Yoshitoki Oima Stitches - David Small Sincerely, Harriet - Sarah Searle Story of my Tits - Jennifer Hayden The Babysitter’s Club: The Truth About Stacy - The Hospital Suite - John Porcellino Raina Telgemeier Graphic Novels & Comics Round Table @libcomix / [email protected] / ala.org/rt/GNCRT FB: https://www.facebook.com/groups/ALAGNMIG/ The Movement - Gail Simone Umbrella Academy - Gerard Way Unstoppable Wasp - Jeremy Whitley Wonderstruck - Brian Selznick This list was created at ALA Annual 2019 at the “So Many Comics, So Little Time” session by librarians and creators. These titles were brainstormed to use as discussion starters for a particular social justice issue. They have not been vetted, nor are they recommended as “best of” titles for this topic..

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Fun Home: a Family
Fun Home: A Family Tragicomic 0 | © 2020 Hope in Box www.hopeinabox.org About Hope in a Box Hope in a Box is a national 501(c)(3) nonprofit that helps rural educators ensure every LGBTQ+ student feels safe, welcome, and included at school. We donate “Hope in a Box”: boxes of curated books featuring LGBTQ+ characters, detailed curriculum for these books, and professional development and coaching for educators. We believe that, through literature, educators can dispel stereotypes and cultivate empathy. Hope in a Box has worked with hundreds of schools across the country and, ultimately, aims to support every rural school district in the United States. Acknowledgements Special thanks to this guide’s lead author, Dr. Zachary Harvat, a high school English teacher with a PhD focusing on 20th and 21st century English literature. Additional thanks to Sara Mortensen, Josh Thompson, Daniel Tartakovsky, Sidney Hirschman, Channing Smith, and Joe English. Suggested citation: Harvat, Zachary. Curriculum Guide for Fun Home: A Family Tragicomic. New York: Hope in a Box, 2020. For questions or inquiries, email our team at [email protected]. Learn more on our website, www.hopeinabox.org. Terms of use Please note that, by viewing this guide, you agree to our terms and conditions. You are licensed by Hope in a Box, Inc. to use this curriculum guide for non- commercial, educational and personal purposes only. You may download and/or copy this guide for personal or professional use, provided the copies retain all applicable copyright and trademark notices. The license granted for these materials shall be effective until July 1, 2022, unless terminated sooner by Hope in a Box, Inc.
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Costume Culture: Visual Rhetoric, Iconography, and Tokenism In
COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to the Office of Graduate Studies Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to: Advisor: Christopher Gonzalez Committee: Tabetha Adkins Donna Dunbar-Odom Mike Odom Head of Department: M. Hunter Hayes Dean of the College: Salvatore Attardo Interim Dean of Graduate Studies: Mary Beth Sampson iii Copyright © 2017 Michael G. Baker iv ABSTRACT COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS Michael G. Baker, PhD Texas A&M University-Commerce, 2017 Advisor: Christopher Gonzalez, PhD Superhero comic books provide a unique perspective on marginalized characters not only as objects of literary study, but also as opportunities for rhetorical analysis. There are representations of race, gender, sexuality, and identity in the costuming of superheroes that impact how the audience perceives the characters. Because of the association between iconography and identity, the superhero costume becomes linked with the superhero persona (for example the Superman “S” logo is a stand-in for the character). However, when iconography is affected by issues of tokenism, the rhetorical message associated with the symbol becomes more difficult to decode. Since comic books are sales-oriented and have a plethora of tie-in merchandise, the iconography in these symbols has commodified implications for those who choose to interact with them. When consumers costume themselves with the visual rhetoric associated with comic superheroes, the wearers engage in a rhetorical discussion where they perpetuate whatever message the audience places on that image.
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Friday, March 21St Saturday, March 22Nd
Friday, March 21st Hernandez’s Recent Narratives - Derek Royal 9-10:15 AM – Panel 1: The "Body" of 4-6 PM – Dinner the Text 6-7:30 – Phoebe Gloeckner Keynote → “Time is a Man / Space is a Woman”: Narrative + Visual Pleasure = Gender 7:30-9:30 – Reception Ustler Hall Confusion – Aaron Kashtan → Eggs, Birds and “an Hour for Lunch”: A Saturday, March 22nd Vision of the Grotesque Body in Clyde Fans: Book 1 by Seth - John Kennett 9-10:15 – Panel 5: The Figure on the → Love in the Binding – Laurie Taylor Page 10:30-11:45 – Panel 2: Groensteen's → "Gimme Gimme This, Gimme Gimme Networked Relations That": Confused Sexualities and Genres in Cooper and Myerson's Horror Hospital → Memory and Sexuality: An Arthrological Unplugged – James Newlin Study of Alison Bechdel’s Fun Home: A → How to Draw the (DC and) Marvel Way: Family Tragicomic - Adrielle Mitchell How Changes in Representation of Female → The Joy of Plex: Erotic Arthrology, Bodies and Attitudes are Changing Tromplographic Intercourse, and "Superheroine Chic" – Mollie Dezern “Interspecies Romances” in Howard → "The Muse or the Viper: Excessive Chaykin’s American Flagg - Daniel Yezbick Depictions of the Female in Les Bas-Bleus → Our Minds in the Gutters: Native and Cerebus" – Tof Eklund American Women, Sexuality, and George O’Connor’s Graphic Novel Journey into 10:30-11:45 – Panel 7: Let's Transgress Mohawk Country - Melissa Mellon → I for Integrity: Futurity, 11:45-1:15 – Lunch (Inter)Subjectivities, and Sidekicks in Alan 1:15-2:30 – Panel 3: Women on Top Moore's V for Vendetta and Frank
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Journal of Lesbian Studies Special Issue on Lesbians and Comics
Journal of Lesbian Studies Special Issue on Lesbians and Comics Edited by Michelle Ann Abate, Karly Marie Grice, and Christine N. Stamper In examples ranging from Trina Robbins’s “Sandy Comes Out” in the first issue of Wimmen’s Comix (1972) and Alison Bechdel’s Dykes to Watch Out For series (1986 – 2005) to Diane DiMassa's Hothead Paisan (1991 – 1996) and the recent reboot of DC’s Batwoman (2006 - present), comics have been an important locus of lesbian identity, community, and politics for generations. Accordingly, this special issue will explore the intersection of lesbians and comics. What role have comics played in the cultural construction, social visibility, and political advocacy of same-sex female attraction and identity? Likewise, how have these features changed over time? What is the relationship between lesbian comics and queer comics? In what ways does lesbian identity differ from queer female identity in comics, and what role has the medium played in establishing this distinction as well as blurring, reinforcing, or policing it? Discussions of comics from all eras, countries, and styles are welcome. Likewise, we encourage examinations of comics from not simply literary, artistic, and visual perspectives, but from social, economic, educational, and political angles as well. Possible topics include, but are not limited to: Comics as a locus of representation for lesbian identity, community, and sexuality Analysis of titles featuring lesbian plots, characters, and themes, such as Ariel Schrag’s The High School Chronicles strips,
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Decoder Ring--Reprints and Refrigerators in "The American Comic Book (Critical Insights)" Jerry Spiller Art Institute of Charleston, [email protected]
Against the Grain Volume 27 | Issue 6 Article 43 2015 Decoder Ring--Reprints and Refrigerators in "The American Comic Book (Critical Insights)" Jerry Spiller Art Institute of Charleston, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/atg Part of the Library and Information Science Commons Recommended Citation Spiller, Jerry (2015) "Decoder Ring--Reprints and Refrigerators in "The American Comic Book (Critical Insights)"," Against the Grain: Vol. 27: Iss. 6, Article 43. DOI: https://doi.org/10.7771/2380-176X.7256 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Decoder Ring — Reprints and Refrigerators in “The American Comic Book (Critical Insights)” Column Editor: Jerry Spiller (Art Institute of Charleston) <[email protected]> often lament that printed academic and schol- “Comic Fandom Through the Ages” sums up The essayists also note the lack of credit arly works lag behind online sources in time- changes in readership and the relationship and “larger than life” appeal afforded to even Iliness. To a degree, this is a simple necessity. between readers, creators, and the tone and positively portrayed female characters, as any I was pleasantly surprised in this regard subject matter and tone. The changes in both heroism or actual plot contributions they make when reading through the Salem Press volume fandom and creators detailed by Munson and are are often simply forgotten or overshadowed The American Comic Book, part of their Critical Helvie work well together to set up Katherine by the acts of male figures.
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Media Industry Approaches to Comic-To-Live-Action Adaptations and Race
From Serials to Blockbusters: Media Industry Approaches to Comic-to-Live-Action Adaptations and Race by Kathryn M. Frank A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Lisa A. Nakamura Associate Professor Aswin Punathambekar © Kathryn M. Frank 2015 “I don't remember when exactly I read my first comic book, but I do remember exactly how liberated and subversive I felt as a result.” ― Edward W. Said, Palestine For Mom and Dad, who taught me to be my own hero ii Acknowledgements There are so many people without whom this project would never have been possible. First and foremost, my parents, Paul and MaryAnn Frank, who never blinked when I told them I wanted to move half way across the country to read comic books for a living. Their unending support has taken many forms, from late-night pep talks and airport pick-ups to rides to Comic-Con at 3 am and listening to a comics nerd blather on for hours about why Man of Steel was so terrible. I could never hope to repay the patience, love, and trust they have given me throughout the years, but hopefully fewer midnight conversations about my dissertation will be a good start. Amanda Lotz has shown unwavering interest and support for me and for my work since before we were formally advisor and advisee, and her insight, feedback, and attention to detail kept me invested in my own work, even in times when my resolve to continue writing was flagging.
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National Conference
NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award
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Breaking Through Panels: Examining Growth and Trauma in Bechdel's Fun Home and Labelle's Assigned Male Comics
BREAKING THROUGH PANELS: EXAMINING GROWTH AND TRAUMA IN BECHDEL'S FUN HOME AND LABELLE'S ASSIGNED MALE COMICS Katelynn Phillips A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: William Albertini, Advisor Erin Labbie © 2018 Katelynn Phillips All Rights Reserved iii ABSTRACT William Albertini, advisor Comics featuring LGBTQ children have the burden of challenging cis/heteronormative versions of childhood. Such examples of childhood, according to author Katherine Bond Stockton, are false and restrict children to a vision of innocence that leaves no room for queer children to experience their own versions of childhood. Furthermore, the Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) community has taken a “progressive”-based approach to time, assuming that newer generations have avoided the trauma of the past because ideas about sexual orientation and gender have advanced with time. Newer generations of the LGBTQ community forget that many have struggled for change to occur, instead choosing to forget the wounds of the past. By analyzing two comic works—Alison Bechdel’s graphic novel Fun Home and Sophie Labelle’s web comic series Assigned Male—I argue that we must let go of our suspicion towards LGBTQ child characters and open ourselves up to what can be learned from them. I also argue that both the past (with its wounds and trauma) and the future must be accepted into the present in order to give children the childhood they desire, rather than the childhood we recall. Both Fun Home and Assigned Male demonstrate that childhood is far from the simplistic happy time of life and can be just as fraught with complication as adulthood.
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Exhibit B: Business and Business Plan VIRAL FILMS MEDIA LLC
Exhibit B: Business and Business Plan VIRAL FILMS MEDIA LLC BUSINESS AND BUSINESS PLAN Viral Films Media LLC Producing an independent live-action superhero film: REBEL'S RUN Business Plan Summary Our recently formed company, Viral Films Media LLC, will produce, market and distribute an independently produced live-action superhero film, based on characters from the recently created Alt Hero comic book universe. The film will be titled Rebel’s Run, and will feature the character Shiloh Summers, or Rebel, from the Alt Hero comic book series. Viral Films has arranged to license a script and related IP from independent comic book publisher Arkhaven Comics, with comic book legend Chuck Dixon and epic fantasy author Vox Day co-writing the script. Viral Films Media is also partnering with Georgia and LA-based production company, Galatia Films, which has worked on hits including Goodbye, Christopher Robin and Reclaiming the Blade. The director of Rebel’s Run will be Scooter Downey, an up-and-coming director who recently co-produced Hoaxed, the explosive and acclaimed documentary on the fake news phenomenon. The filming of Rebel’s Run will take place in Georgia. We have formed a board of directors and management team including a range of professionals with experience in project management, law, film production and cyber-security. (image from Alt Hero, # 2, which introduced the character Shiloh Summers, or Rebel.) Film Company Overview Viral Films Media LLC (VFM) is a new film studio with the business purpose of creating a live-action superhero film – Rebel’s Run – based on characters from the ALT-HERO comic book universe created by Chuck Dixon, Vox Day and Arkhaven Comics.
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Why Wonder Woman Matters
Why Wonder Woman Matters When I was a kid, being a hero seemed like the easiest thing in the world to be- A Blue Beetle quote from the DC Comics publication The OMAC Project. Introduction The superhero is one of modern American culture’s most popular and pervasive myths. Though the primary medium, the comic book, is often derided as juvenile or material fit for illiterates the superhero narrative maintains a persistent presence in popular culture through films, television, posters and other mediums. There is a great power in the myth of the superhero. The question “Why does Wonder Woman matter?” could be answered simply. Wonder Woman matters because she is a member of this pantheon of modern American gods. Wonder Woman, along with her cohorts Batman and Superman represent societal ideals and provide colorful reminders of how powerful these ideals can be.1 This answer is compelling, but it ignores Wonder Woman’s often turbulent publication history. In contrast with titles starring Batman or Superman, Wonder Woman comic books have often sold poorly. Further, Wonder Woman does not have quite the presence that Batman and Superman both share in popular culture.2 Any other character under similar circumstances—poor sales, lack of direction and near constant revisions—would have been killed off or quietly faded into the background. Yet, Wonder Woman continues to persist as an important figure both within her comic universe and in our popular consciousness. “Why does Wonder Woman matter?” To answer this question an understanding of the superhero and their primary medium, the comic book, is required, Wonder Woman is a comic book character, and her existence in the popular consciousness largely depends on how she is presented within the conventions of the comic book superhero narrative.
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FUN BOOKS During COMIC-CON@HOME
FUN BOOKS during COMIC-CON@HOME Color us Covered During its first four years of production (1980–1984), Gay Comix was published by Kitchen Sink Press, a pioneering underground comic book publisher. Email a photo of you and your finished sheet to [email protected] for a chance to be featured on Comic-Con Museum’s social media! Share with us! @comicconmuseum #comicconmuseum SPECIAL EDITION 4 Anagrams of Class Photo Class Photo is a graphic novella by Gay Comix contributor and editor Robert Triptow. Take 3 minutes and write down words of each size by combining and rearranging the letters in the title. After 3 minutes, tally up your score. How’d you do? 4-LETTER WORDS 5-LETTER WORDS 1 point each 2 points each 6-LETTER WORDS 7-LETTER WORDS 8-LETTER WORDS 3 points each 4 points each 6 points each Share with us! @comicconmuseum #comicconmuseum SPECIAL EDITION 4 Cross Purpose It’s a crossword and comics history lesson all in one! Learn about cartoonist Howard Cruse, the first editor of the pioneering comic book Gay Comix and 2010 Comic-Con special guest. ACROSS DOWN Share with us! @comicconmuseum #comicconmuseum SPECIAL EDITION 4 Dots & Boxes Minimum 2 players. Take turns connecting two dots horizontally or vertically only; no diagonal lines! When you make a box, write your initials in it, then take another turn. Empty boxes are each worth 1 point. Boxes around works by the listed Gay Comix contributors are each worth 2 points. The player with the most points wins! Watch Out Fun Home Comix Alison Vaughn Frick Bechdel It Ain’t Me Babe Trina Robbins & Willy Mendes subGurlz Come Out Jennifer Comix Camper Mary Wings "T.O.
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History and Background
History and Background Book by Lisa Kron, music by Jeanine Tesori Based on the graphic novel by Alison Bechdel SYNOPSIS Both refreshingly honest and wildly innovative, Fun Home is based on Vermont author Alison Bechdel’s acclaimed graphic memoir. As the show unfolds, meet Bechdel at three different life stages as she grows and grapples with her uniquely dysfunctional family, her sexuality, and her father’s secrets. ABOUT THE WRITERS LISA KRON was born and raised in Michigan. She is the daughter of Ann, a former community activist, and Walter, a German-born lawyer and Holocaust survivor. Kron spent much of her childhood feeling like an outsider because of her religion and sexuality. She attended Kalamazoo College before moving to New York in 1984, where she found success as both an actress and playwright. Many of Kron’s plays draw upon her childhood experiences. She earned early praise for her autobiographical plays 2.5 Minute Ride and 101 Humiliating Stories. In 1989, Kron co-founded the OBIE Award-winning theater company The Five Lesbian Brothers, a troupe that used humor to produce work from a feminist and lesbian perspective. Her play Well, which she both wrote and starred in, opened on Broadway in 2006. Kron was nominated for the Best Actress in a Play Tony Award for her work. JEANINE TESORI is the most honored female composer in musical theatre history. Upon receiving her degree in music from Barnard College, she worked as a musical theatre conductor before venturing into the art of composing in her 30s. She made her Broadway debut in 1995 when she composed the dance music for How to Succeed in Business Without Really Trying, and found her first major success with the off- Broadway musical Violet (Obie Award, Lucille Lortel Award), which was later produced on Broadway in 2014.
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