Fun Home: a Family
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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, -
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. -
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. -
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. -
Making the Case for LGBT Graphic Novels Jacqueline Vega Grand Valley State University
Language Arts Journal of Michigan Volume 30 | Issue 2 Article 8 4-2015 Making the Case for LGBT Graphic Novels Jacqueline Vega Grand Valley State University Follow this and additional works at: https://scholarworks.gvsu.edu/lajm Recommended Citation Vega, Jacqueline (2015) "Making the Case for LGBT Graphic Novels," Language Arts Journal of Michigan: Vol. 30: Iss. 2, Article 8. Available at: https://doi.org/10.9707/2168-149X.2070 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Language Arts Journal of Michigan by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. PRACTICE Making the Case for LGBT Graphic Novels JACQUELINE VEGA still remember the exact way my heart was pounding nothing in response. In addition, LGBT students who ex- as I stood in the front of a classroom for the very perienced higher levels of victimization were three times as first time. My senior year of high school, I was of- likely to miss school, have lower GPAs and lower levels of fered the opportunity to lead class lessons for a week self-esteem, and higher levels of depression (NSCS). Per- in a World Literatures class on the graphic novel haps even more disturbing is that less than twenty percent of IAmerican Born Chinese by Gene Luen Yang. American Born LGBT students were taught positive representations about Chinese (2006), a text that has become increasingly popular the LGBT community, and that nearly fifteen percent of stu- in English classrooms, tells a story of two teenage boys, one dents had been taught negative content (NSCS, my emphasis). -
Queer As Folklore: How Fun Home Destabilizes the Metronormative Myth
Washington University in St. Louis Washington University Open Scholarship Dean James E. McLeod Freshman Writing Prize Student Scholarship 2018 Queer as Folklore: How Fun Home Destabilizes the Metronormative Myth Grace MacArthur Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/mcleod Recommended Citation MacArthur, Grace, "Queer as Folklore: How Fun Home Destabilizes the Metronormative Myth" (2018). Dean James E. McLeod Freshman Writing Prize. 5. https://openscholarship.wustl.edu/mcleod/5 This Unrestricted is brought to you for free and open access by the Student Scholarship at Washington University Open Scholarship. It has been accepted for inclusion in Dean James E. McLeod Freshman Writing Prize by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. 1 Queer as Folklore: How Fun Home Destabilizes the Metronormative Myth Imagine a queer person. Imagine what they look like and how they move through space. Now imagine the spaces they move through: where they work, where they go, and where they live. You are constructing a queer geography around your individual, who likely moves through crowded streets, coffee shops, concerts, and dark bars illuminated by weak neon. Our communal conceptualization of queer experience in modern-day America, especially as recorded in queer media, skews heavily towards urban geographies. The constituent “imaginative processes associated with gay migration from rural and suburban areas to cities” (Weston 256) continually construct and reinforce a hegemonic “discourse of metronormativity” (Sander 28) from which an imaginary narrative has emerged. The narrative mythologizes urban/rural as a strict binary and systematically privileges the urban above the rural. -
Queering William Finn's a New Brain
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 Trouble in His Brain: Queering William FNicihnolnas 'Ksri satof eNr Reichward sBonrain Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF FINE ARTS “TROUBLE IN HIS BRAIN”: QUEERING WILLIAM FINN’S A NEW BRAIN By NICHOLAS KRISTOFER RICHARDSON A Thesis submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Master of Arts 2019 © 2019 Nicholas Kristofer Richardson Nicholas Kristofer Richardson defended this thesis on April 16, 2019. The members of the supervisory committee were: Aaron C. Thomas Professor Directing Thesis Mary Karen Dahl Committee Member Chari Arespacochaga Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I have so much for which to be thankful and I am indebted to a great number of people. I will try my best to limit this section to those who helped me specifically with this thesis and these past two years of graduate school. First, I offer heartfelt thanks to my most admirable chair, Dr. Aaron C. Thomas. Thank you for guiding me through this thesis regardless of my many insecurities. Thank you for demanding rigor from me and my work. Thank you for your patience. Thank you for your faith in me. It’s been a pleasure to learn from you and work with you. -
Who's Who in the Cast
WHO’S WHO IN THE CAST ROBERT PETKOFF (Bruce). Broadway: All The Way with Bryan Cranston, Anything Goes, Ragtime, Spamalot, Fiddler On The Roof and Epic Proportions. London: The Royal Family with Dame Judi Dench and Tantalus. Regional: Sweeney Todd, Hamlet, Troilus & Cressida, Follies, Romeo & Juliet, Compleat Female Stage Beauty and The Importance Of Being Earnest. Film: Irrational Man, Vice Versa, Milk and Money, Gameday. TV: Elementary, Forever, Law and Order: SVU, The Good Wife and more. Robert is an award-winning audiobook narrator. SUSAN MONIZ (Helen). Broadway: Grease – Sandy & Rizzo. Regional: Follies – Sally (Chicago Shakespeare Theater); October Sky –Elsie (world premier); Peggy Sue Got Married – Peggy (world premier); Kismet (Joseph Jefferson award); Into the Woods, 9 to 5, Carousel, (Marriott Theatre); The Merry Widow, The Sound Of Music, (Chicago Lyric Opera); Hot Mikado (Ford’s Theatre); Phantom, Chitty- Chitty Bang-Bang (Fulton Theatre); Shadowlands, The Spitfire Grill, (Provision Theatre); Evita, BIG, (Drury Lane Theatre). TV: Chicago PD; Romance, Romance (A&E). KATE SHINDLE (Alison). Broadway: Legally Blonde (Vivienne), Cabaret (Sally Bowles), Wonderland (Hatter), Jekyll & Hyde. Elsewhere: Rapture, Blister, Burn (Catherine), After the Fall (Maggie), Restoration, A Midsummer Night’s Dream, Gypsy, Into the Woods, The Last Five Years, First Lady Suite, The Mousetrap. Film/TV: Lucky Stiff, SVU, White Collar, Gossip Girl, The Stepford Wives, Capote. Kate is a longtime activist, author of Being Miss America: Behind the Rhinestone Curtain and President of Actors’ Equity Association. twitter.com/AEApresident ABBY CORRIGAN (Middle Alison). Stage: Cabaret, A Chorus Line (TCS); Shrek (Blumey award), In The Heights, Peter Pan, Rent (NWSA); Next to Normal (QCTC); Film/TV: Headed South For Christmas (Painted Horse), A Smile As Big As The Moon (Hallmark), Homeland (HBO), Rectify (Sundance), Banshee (Cinemax). -
The Art of the Tragicomicbook How Bechdel Uses Comics to Her Advantage in Creating Fun Home
MIT OpenCourseWare http://ocw.mit.edu 21L.421 Comedy Spring 2008 For information about citing these materials or our Terms of Use, visit: http://ocw.mit.edu/terms. The Art of the Tragicomicbook how Bechdel uses comics to her advantage in creating Fun Home Emily Pittore 21L.421 5/15/08 In his famous metacomic Understanding Comics, Scott McCloud quotes Will Eisner to define comics as “sequential art” (5). To be a comic, McCloud says, means that you have a sequence of at least two images, between which something happens. The narrative of a comic book is carried along by the reader's interpretation of what happens in the “gutter” between these two images. Although certainly a comic, Alison Bechdel's Fun Home doesn't always seem to fit this definition. Fun Home is a memoir that is heavily dependent on the written word. Bechdel's narration provides her memories and reflections, while the comic panels usually serve to illustrate her point rather than move the story along. If a reader was given only the text, they would still get told the story of her father's death and her attempt to understand it. Why, then, does she expend so much time and effort drawing over 200 pages of pictures? And why use the medium of comics? Would Bechdel have been able to get the same effect using photographs from her childhood as illustrations to a novel rather than painstakingly drawing everything over again as sequential art? What do comics and cartooning bring to the memoir that photographs cannot? Douglas Wolk points out in Reading Comics that drawings in comics are subjective. -
Allusive Meaning in Alison Bechdel's Fun Home
Portland State University PDXScholar Online Northwest Online Northwest 2018 Mar 30th, 12:00 AM - 12:00 AM Allusive Meaning in Alison Bechdel’s Fun Home: Digital Humanities as Curricular Enhancement Lynne Stahl Emporia State University, [email protected] Follow this and additional works at: https://pdxscholar.library.pdx.edu/onlinenorthwest Let us know how access to this document benefits ou.y Stahl, Lynne, "Allusive Meaning in Alison Bechdel’s Fun Home: Digital Humanities as Curricular Enhancement" (2018). Online Northwest. 1. https://pdxscholar.library.pdx.edu/onlinenorthwest/2018/proceedings/1 This Event is brought to you for free and open access. It has been accepted for inclusion in Online Northwest by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Lynne Stahl, PhD Allusive Meaning in Alison Bechdel’s Fun Home: Digital Humanities as Curricular Enhancement Link to resource: http://scalar.usc.edu/works/allusive-meaning-a-reference-guide-to-alison- bechdels-fun-home/index Alison Bechdel’s Fun Home: A Family Tragicomic is a landmark text for a number of reasons: along with Marjane Satrapi’s Persepolis (translated to English in 2003) it helped to bring the graphic form into the fold of higher ed curricula; it prompted important reconsiderations of genre and high art vs. mass culture, winning a range of awards including the Lambda Literary Award for Lesbian Memoir and Biography, the GLAAD Media Award for Outstanding Comic Book, and the Eisner Award for Best Reality-Based Work. It also spawned a Broadway musical that was nominated for 12 Tony Awards, garnering five wins including Best Musical. -
Author Alison Bechdel's Acceptance of Her Homosexual Iden
Acceptance versus Suppression: Homosexuality in the “Fun Home” Author Alison Bechdel’s acceptance of her homosexual identity, as illustrated in Fun Home: A Family Tragicomic, is a more fluid experience than her father’s similar realization. Their unique first experiences with their sexuality play a role in their definitions of homosexuality. Both also spend their emerging adulthood years in different settings: Alison in a college setting and Bruce in a small town. Literature is a common bond between the two throughout their relationship, but affects each in different ways, particularly in reference to understanding their sexuality. The immense distinctions in their encounters and experiences involving their homosexuality ultimately shaped their development: Alison into a woman accepting of her identity and Bruce into a man suppressing his. Each character’s first experience with homosexuality differed in everything from their age at the time to the type of person with whom it occurred. Bruce had his first encounter when he was young with a worker at his family farm. Here, he describes it as “nice”, rather than a traumatizing encounter (Bechdel 220). Inspecting the drawings, his face tells a different story. Because of how casually he refers to it, he still seems unwilling to fully admit to his gratification of the experience, even if it was something he enjoyed. When Alison’s mother first informs Alison that her dad is also homosexual, she blames it on this experience (58). 1 Her mother stutters, showing her acknowledgement that her husband’s encounter with the farm hand was not molestation, but something he wanted and most likely enjoyed. -
PUMP BOYS and DINETTES
PUMP BOYS and DINETTES to star Jordan Dean, Hunter Foster, Mamie Parris, Randy Redd, Katie Thompson, Lorenzo Wolff Directed by Lear deBessonet; Choreographed by Danny Mefford Free Pre-Show Events Include Original Casts of “Pump Boys” and [title of show] July 16 – July 19 2014 Encores! Off- Center Jeanine Tesori, Artistic Director; Chris Fenwick, Music Director New York, N.Y., May 27, 2014 - Pump Boys and Dinettes, the final production of the 2014 Encores! Off-Center series, will star Jordan Dean, Hunter Foster, Mamie Parris, Randy Redd, Katie Thompson and Lorenzo Wolff. Pump Boys, running July 16 – 19, will be directed by Lear deBessonet and choreographed by Danny Mefford. Jeanine Tesori is the Encores! Off-Center artistic director; Chris Fenwick is the music director. Pump Boys and Dinettes was conceived, written and performed by John Foley, Mark Hardwick, Debra Monk, Cass Morgan, John Schimmel and Jim Wann. The show is a musical tribute to life on the roadside, with the actors accompanying themselves on guitar, piano, bass, fiddle, accordion, and kitchen utensils. A hybrid of country, rock and pop music, Pump Boys is the story of four gas station attendants and two waitresses at a small-town dinette in North Carolina. It premiered Off-Broadway at the Chelsea West Side Arts Theatre in July 1981 and opened on Broadway on February 4, 1982 at the Princess Theatre, where it played 573 performances and was nominated for both Tony and Drama Desk Awards for Best Musical. THE ARTISTS Jordan Dean (Jackson) appeared on Broadway in Mamma Mia!, Cymbeline and Cat on a Hot Tin Roof.