DOCSLIB.ORG

Comic Composition & Ideology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Comic Composition & Ideology ENGL 3080J, Sec 117 Spring 2015, Ellis 020 Writing and Rhetoric II: Comic Composition & Ideology Instructor: Rachael Ryerson Office: Ellis 307 Hours: MWF 1:00-2:30, or by appointment Email: [email protected] Course Description This course will focus on comic/graphic novel/webcomic composition and rhetoric. To that end, we will be reading comics and critical articles about comics, writing about comics, and creating our own comics. We will read texts created by artists/writers like Art Spiegelman, Brian Vaughn and Fiona Staples, Frank Miller, Sam Keith, Andy and Lana Wachowski, Allison Bechdel, Scott McCloud, and many others, critically analyze comics in terms of ideology and formal composition, and create comics using either digital or material means. This course will also include instruction in online comic generators, comic composing software, and comic design. This course works from two premises: one, comics are socio-cultural artifacts that reflect dominant and subversive ideologies and two, they are complex sites of multimodal meaning making where image, audio (effects), text, spatial organization, and the gestural work in concert to express meaning. With this understanding in mind, we will aim toward development of our rhetorical, multimodal, and cultural literacies through the detailed reading, analysis, and creation of comics. Course Goals & Outcomes Develop cultural, critical literacy by identifying, describing, and analyzing ideological aspects of comics Develop multimodal composition literacy by analyzing and utilizing multiple modes of meaning making Research and write academic, critical arguments about comics Analyze and apply visual, rhetorical principles for an audience Analyze and evaluate the rhetorical successes/failures of comics design Approach composing/designing as a recursive process Required Materials Kieth, Sam and William Messner-Loeb. The Maxx: Maximized: Volume 1. San Diego: IDW Publishing, 2014. McCloud, Scott. Making Comics: Storytelling Secrets of Comics, Manga, and Graphic Novels. New York: Harper, 2006. Miller, Frank. Sin City: The Hard Goodbye. 2nd Edition. Milwaukie, OR: Dark Horse Comics, 2010. Miller, Frank. The Dark Knight Returns. New York: DC Comics, 1997. Spiegelman, Art. The Complete Maus, 25th Anniversary Edition. New York: Pantheon Books, 1996. Vaughn, Brian K, and Fiona Staples. Saga: Volume 1. Image Comics, 2012. Wachowski et al. The Matrix: Volume 1. New York: Burleyman Entertainment, 2003. USB Drive and/or online storage account to back up your files (Dropbox, GoogleDrive) Recommended, but optional: ComicLife License for your personal computer ($30), which can be found at http://plasq.com/apps/comiclife/macwin/ Other class readings can be found on Blackboard Course Projects Course Blog Using Wordpress, Weebly, Wix, or GoogleSite, you will need to create a blog that will host your weekly responses to/reflections on readings, discussions, and your projects. This site is meant to be a creative representation and extension of yourself in a digital space, as well as a demonstration of your expanding knowledge and understanding of comics, rhetoric, ideology, and multimodal composition. Project #1: Comic For this project, you will analyze the form of a short comic of your choice. In Form Analysis particular, you will investigate how the author/illustrator(s) use(s) frames/panel walls, transition(s) from panel to panel and page to page, combine(s) words with pictures, and convey(s) the passage of time. Project #2: Mini- For this project, you will create a short comic using the medium of your choice. Your Comic comic will need to convey a narrative, as well as apply some of what you learned from McCloud's chapter on character design, facial expressions, and body language. Project #3: Comic For this project, you will write a critical analysis of a comic, investigating an ideology Ideological Analysis the comic represents and conveys. Using critical essays you have read in the course as a guide, you will explore an ideological aspect of your choosing, and you will include textual evidence from the comic, as well as outside research, to support your claim(s). Project #4: Create Using what you have learned about comic books in both form and content, you will your Own Sequential construct your own sequential art narrative in the genre(s) of your choice. Aside from Art Narrative genre conventions--which you may subvert-- you have little to no restrictions on the subject matter of the comic. This project can be collaborative. Composing & Printing Resources Early on in the course, you will need to consider the form for your comic projects. Will you draw, ink, and/or paint the comic by hand? How would you create more than one copy of your comic? Will you draw the comic, scan it into a software program like Photoshop and paint it in there? Will you draw it as a black and white comic, scan it, and arrange it using software like ComicLife? You could potentially create the entire comic by hand, scan it as a pdf (I recommend the scanners on the 3rd floor of Alden—the ones by the giant Macs), and be able to print numerous copies from that digital copy. Please start considering the form of your comic now, as it will save lots of headache later on in the process. Also, if you need a solid, mostly inexpensive local printer, I recommend Minuteman Press on 17 W. Washington. Their website: http://www.athensoh.minutemanpress.com/. You will not be required to mass produce a printed copy of your comic projects, as I and the rest of the class can view your comic digitally and materially in class. However, if you are interested in selling your work, my husband and I will be renting a table at the Athens Rathacon on May 9, and would be happy to have you display your work at our table (with you present, of course!). Grading Contract Too often courses are focused on grades rather than learning. In this course, I want to help you focus on improving your thinking and composing, rather than work for a grade. Instead of assigning individual grades to your projects and commenting to support that evaluation, the use of a grading contract shifts the focus away from earning grades to learning and progress. Therefore, the comments I provide for your projects are intended to improve your project rather than justify a grade. The gist of the Grading Contract is that I guarantee a final course grade of at least a B to everyone who meets all the terms of the contract, and, in return, you promise to fulfill your side of that contract with an emphasis on doing your best to learn what we are trying to learn. Students who do not meet all of the specific terms of the contract will see their promised B grade reduced based on the system laid out in the Grading Contract document you will receive and sign. The way to improve your grade beyond a B is to turn in excellent work throughout the semester and in Project 5. If you have incurred any Major or Minor violations, excellent writing can still raise your grade if it has been lowered. The Grading Contract should ease grading anxiety and it puts you in charge of your success. For all Major Projects, In-class work, Blogs, and Peer Reviews, I’ll use the check system (√+ = excellent; √ = good; √- = weak; - = serious issues; 0 = completely inadequate/missing) so you have an idea where your work stands and what to work toward. Anything rated under a √ can, but may not necessarily, be considered unacceptable. Late/Minor Commitment Pass You will be given a Late/Minor Violation Pass, which can be used one of two ways: 1. to extend any assignment (homework or major Project) due date for one class period 2. to excuse you from one Minor Violation with no penalty The pass must be turned in with the assignment, stapled to the front. This pass cannot be used for Peer Review drafts or for the final Project. If you don’t use the Late/Minor Commitment Pass, it can be used to replace one Minor Commitment violation at the end of the semester. Late Work Under no circumstances will late work be accepted. If you know ahead of time that you will not be able to attend class when an assignment is due, you must submit work either digitally at the time it is due, or before the class that will be missed. After 11:50am, it will be considered late. If you email work to me and it doesn’t “go through” or I do not receive the email – for whatever reason – the assignment will be late and I will not accept it. If you email your work, I will not reformat, print or request a different version of your paper. Student Behavior Please come to class with an open mind and understanding because each person brings unique experiences, culture, values, etc. to class. Remain respectful in the classroom, for each individual and every idea. We will often have opportunity to share our opinions and beliefs, but no racist, sexist, heterosexist, ableist or any other negative communication harmful to an individual or group will be tolerated. Whether something is offensive or not will be determined by the people whom it might offend or their advocates. Furthermore, I expect none of you to remain bystanders in the classroom; if something offensive is said, address it. Classroom incivility will not be tolerated on any level; if you are disrespectful or if you do not adhere to the student code of conduct, you will be asked to leave. Cell phones must be put away during class; do not text message during class – it’s rude, distracting, and disrespectful. Students caught texting, whether I acknowledge it or not, will be counted absent from class that day.
Load more

Recommended publications
  • Graphic Novel Titles
    Comics & Libraries : A No-Fear Graphic Novel Reader's Advisory Kentucky Department for Libraries and Archives February 2017 Beginning Readers Series Toon Books Phonics Comics My First Graphic Novel School Age Titles • Babymouse – Jennifer & Matthew Holm • Squish – Jennifer & Matthew Holm School Age Titles – TV • Disney Fairies • Adventure Time • My Little Pony • Power Rangers • Winx Club • Pokemon • Avatar, the Last Airbender • Ben 10 School Age Titles Smile Giants Beware Bone : Out from Boneville Big Nate Out Loud Amulet The Babysitters Club Bird Boy Aw Yeah Comics Phoebe and Her Unicorn A Wrinkle in Time School Age – Non-Fiction Jay-Z, Hip Hop Icon Thunder Rolling Down the Mountain The Donner Party The Secret Lives of Plants Bud : the 1st Dog to Cross the United States Zombies and Forces and Motion School Age – Science Titles Graphic Library series Science Comics Popular Adaptations The Lightning Thief – Rick Riordan The Red Pyramid – Rick Riordan The Recruit – Robert Muchamore The Nature of Wonder – Frank Beddor The Graveyard Book – Neil Gaiman Miss Peregrine’s Home for Peculiar Children – Ransom Riggs House of Night – P.C. Cast Vampire Academy – Richelle Mead Legend – Marie Lu Uglies – Scott Westerfeld Graphic Biographies Maus / Art Spiegelman Anne Frank : the Anne Frank House Authorized Graphic Biography Johnny Cash : I See a Darkness Peanut – Ayun Halliday and Paul Hope Persepolis / Marjane Satrapi Tomboy / Liz Prince My Friend Dahmer / Derf Backderf Yummy : The Last Days of a Southside Shorty
    [Show full text]
  • Representation of the Mother's Body As a Narrative Conduit for Wartime
    Portland State University PDXScholar Student Research Symposium Student Research Symposium 2015 May 12th, 9:00 AM - 10:30 AM Representation of the Mother’s Body as a Narrative Conduit for Wartime Themes in Saga Bess Pallares Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/studentsymposium Part of the Literature in English, North America Commons, Modern Literature Commons, Other Arts and Humanities Commons, Other Rhetoric and Composition Commons, and the Women's Studies Commons Let us know how access to this document benefits ou.y Pallares, Bess, "Representation of the Mother’s Body as a Narrative Conduit for Wartime Themes in Saga" (2015). Student Research Symposium. 4. https://pdxscholar.library.pdx.edu/studentsymposium/2015/Presentations/4 This Oral Presentation is brought to you for free and open access. It has been accepted for inclusion in Student Research Symposium by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Pallares 1 Bess Pallares Professor Kirtley Comics Theory and History 16 March 2015 Representation of the Mother’s Body as a Narrative Conduit for Wartime Themes in Saga From its first panel, the comics series Saga is a narrative that heavily integrates themes of motherhood. Within the first few pages, readers witness the birth of the book’s main character, Hazel, and the transformation of Alana into her mother. But moving beyond the initial moment of creation that launches the narrative, the story of Saga—which dances on the edge of a galaxy- spanning, genocidal war—employs motherhood as a conduit for wartime themes of interdependence and transgenerational memory.
    [Show full text]
  • Asfacts Oct19.Pub
    doon in 2008. His final story, “Save Yourself,” will be published by BBC Books later this year. SF writers in- Winners for the Hugo Awards and for the John W. cluding Charlie Jane Anders, Paul Cornell, and Neil Campbell Award for Best New Writer were announced Gaiman have cited his books as an important influence. August 18 by Dublin 2019, the 77th Worldcon, in Dub- Dicks also wrote over 150 titles for children, including lin, Ireland. They include a couple of Bubonicon friends the Star Quest trilogy, The Baker Street Irregulars series, – Mary Robinette Kowal, Charles Vess, Gardner Dozois, and The Unexplained series, plus children’s non-fiction. and Becky Chambers. The list follows: Terrance William Dicks was born April 14, 1935, in BEST NOVEL: The Calculating Stars by Mary Robi- East Ham, London. He studied at Downing College, nette Kowal, BEST NOVELLA: Artificial Condition by Cambridge and joined the Royal Fusiliers after gradua- Martha Wells, BEST NOVELETTE: “If at First You Don’t tion. He worked as an advertising copywriter until his Succeed, Try, Try Again” by Zen Cho, BEST SHORT STO- mentor Malcolm Hulke brought him in to write for The RY: “A Witch’s Guide to Escape: A Practical Compendi- Avengers in the ’60s, and he wrote for radio and TV be- um of Portal Fantasies” by Alix E. Harrow, BEST SERIES: fore joining the Doctor Who team in the late ’60s. He Wayfarers by Becky Chambers, BEST GRAPHIC STORY: also worked as a producer on various BBC programs. He Monstress, Vol 3: Haven by Marjorie Liu and illustrated is survived by wife Elsa Germaney (married 1963), three by Sana Takeda, sons, and two granddaughters.
    [Show full text]
  • Comic Book Club Handbook
    COMIC BOOK CLUB HANDBOOK Starting and making the most of book clubs for comics and graphic novels! STAFF COMIC BOOK LEGAL Charles Brownstein, Executive Director Alex Cox, Deputy Director DEFENSE FUND Samantha Johns, Development Manager Kate Jones, Office Manager Comic Book Legal Defense Fund is a non-profit organization Betsy Gomez, Editorial Director protecting the freedom to read comics! Our work protects Maren Williams, Contributing Editor readers, creators, librarians, retailers, publishers, and educa- Caitlin McCabe, Contributing Editor tors who face the threat of censorship. We monitor legislation Robert Corn-Revere, Legal Counsel and challenge laws that would limit the First Amendment. BOARD OF DIRECTORS We create resources that promote understanding of com- Larry Marder, President ics and the rights our community is guaranteed. Every day, Milton Griepp, Vice President Jeff Abraham, Treasurer we publish news and information about censorship events Dale Cendali, Secretary as they happen. We are partners in the Kids’ Right to Read Jennifer L. Holm Project and Banned Books Week. Our expert legal team is Reginald Hudlin Katherine Keller available at a moment’s notice to respond to First Amend- Paul Levitz ment emergencies. CBLDF is a lean organization that works Andrew McIntire hard to protect the rights that our community depends on. For Christina Merkler Chris Powell more information, visit www.cbldf.org Jeff Smith ADVISORY BOARD Neil Gaiman & Denis Kitchen, Co-Chairs CBLDF’s important Susan Alston work is made possible Matt Groening by our members! Chip Kidd Jim Lee Frenchy Lunning Join the fight today! Frank Miller Louise Nemschoff http://cbldf.myshopify Mike Richardson .com/collections William Schanes José Villarrubia /memberships Bob Wayne Peter Welch CREDITS CBLDF thanks our Guardian Members: Betsy Gomez, Designer and Editor James Wood Bailey, Grant Geissman, Philip Harvey, Joseph Cover and interior art by Rick Geary.
    [Show full text]
  • 1. Over 50 Years of American Comic Books [Hardcover]
    1. Over 50 Years of American Comic Books [Hardcover] Product details Publisher: Bdd Promotional Book Co Language: English ISBN-13: 978-0792454502 Publication Date: November 1, 1991 A half-century of comic book excitement, color, and fun. The full story of America's liveliest, art form, featuring hundreds of fabulous full-color illustrations. Rare covers, complete pages, panel enlargement The earliest comic books The great superheroes: Superman, Batman, Wonder Woman, and many others "Funny animal" comics Romance, western, jungle and teen comics Those infamous horror and crime comics of the 1950s The great superhero revival of the 1960s New directions, new sophistication in the 1970s, '80s and '90s Inside stories of key Artist, writers, and publishers Chronicles the legendary super heroes, monsters, and caricatures that have told the story of America over the years and the ups and downs of the industry that gave birth to them. This book provides a good general history that is easy to read with lots of colorful pictures. Now, since it was published in 1990, it is a bit dated, but it is still a great overview and history of comic books. Very good condition, dustjacket has a damage on the upper right side. Top and side of the book are discolored. Content completely new 2. Alias the Cat! Product details Publisher: Pantheon Books, New York Language: English ISBN-13: 978-0-375-42431-1 Publication Dates: 2007 Followers of premier underground comics creator Deitch's long career know how hopeless it's been for him to expunge Waldo, the evil blue cat that only he and other deranged characters can see, from his cartooning and his life.
    [Show full text]
  • Nominees Announced for 2017 Will Eisner Comic Industry Awards Sonny Liew’S the Art of Charlie Chan Hock Chye Tops List with Six Nominations
    FOR IMMEDIATE RELEASE Contact: Jackie Estrada [email protected] Nominees Announced for 2017 Will Eisner Comic Industry Awards Sonny Liew’s The Art of Charlie Chan Hock Chye Tops List with Six Nominations SAN DIEGO – Comic-Con International (Comic-Con) is proud to announce the nominations for the Will Eisner Comic Industry Awards 2017. The nominees were chosen by a blue-ribbon panel of judges. Once again, this year’s nominees reflect the wide range of material being published in comics and graphic novel form today, with over 120 titles from some 50 publishers and by creators from all over the world. Topping the nominations is Sonny Liew’s The Art of Charlie Chan Hock Chye (Pantheon), originally published in Singapore. It is a history of Singapore from the 1950s to the present as told by a fictional cartoonist in a wide variety of styles reflecting the various time periods. It is nominated in 6 categories: Best Graphic Album–New, Best U.S. Edition of International Material–Asia, Best Writer/Artist, Best Coloring, Best Lettering, and Best Publication Design. Boasting 4 nominations are Image’s Saga and Kill or Be Killed. Saga is up for Best Continuing Series, Best Writer (Brian K. Vaughan), and Best Cover Artist and Best Coloring (Fiona Staples). Kill or Be Killed by Ed Brubaker and Sean Phillips is nominated for Best Continuing Series, Best Writer, Best Cover Artist, and Best Coloring (Elizabeth Breitweiser). Two titles have 3 nominations: Image’s Monstress by Marjorie Liu and Sana Takeda (Best Publication for Teens, Best Painter, Best Cover Artist) and Tom Gauld’s Mooncop (Best Graphic Album–New, Best Writer/Artist, Best Lettering), published by Drawn & Quarterly.
    [Show full text]
  • 2020 Olympics of the Visual Arts 38Th Anniversary
    2020 Olympics of the Visual Arts 38th Anniversary PROBLEM CATEGORIES DRAWING–Mark Making draw·ing: n. The art of representing objects or forms on a surface chiefly by means of lines. The focus of this year’s drawing problem is to challenge your team to display the many ways and techniques of making marks in your drawing entry. The subject matter is of your choosing, as well as the drawing medium/media. While originality and creativity are always important, so will be the diversity and creativity of your mark making in your final drawing entry. Research the many ways artists have used various marks and mark making to create interesting compositions. Discover how marks are used to imitate form and texture as well as convey emotion. Based upon your research create an original drawing using the various techniques you have discovered for mark making. The drawing may be of any size, shape, and drawing medium. Evidence of your research and brainstorming should be documented in a portfolio. Your portfolio is to be exhibited with the completed drawing. Research may include the elements and principles of design, perspective, sketches, reflections, written notes, and explorations in different drawing media. References for Drawing: Observation of works of art from throughout history. Visit museums within your community. Artists such as Rembrandt van Rijn, Johannes Vermeer, Albrecht Dűrer, Joan Miro, Henri Matisse, M.C. Escher, Michelangelo, Leonardo da Vinci, Gustave Doré, Aubrey Beardsley, Mary Cassatt, Paul Cezanne, Roy Lichtenstein, Frida Kahlo, Paul Klee, Claes Oldenburg, Robert Rauschenberg, Jasper Johns, James Rosenquist, Kathe Kollwitz, Jim Dine, Alexander Calder, Pablo Picasso, Georges Braque, Salvador Dali, Renee Magritte, Henri de Toulouse-Lautrec, Francisco Goya, André Masson, Vincent van Gogh, Andy Warhol, Norman Rockwell, Jamie Wyeth, Alice Neel, and Larry Rivers.
    [Show full text]
  • Lit 61F Graphic Novel Syllabus
    LIT 61F Reading Graphic Novels Summer Session 2014 | TuTh, 1:00-4:30PM, SocSci 075 Thomas 1 University of California Santa Cruz Lit 61F: Introduction to a Literary Topic – Graphic Novels & Comics Instructor: Cathy Thomas, [email protected] Office: Hum 1, Room 115A, Wed. 2-4 PM; and by appt. TA: Matthew Landry, [email protected] Office: _________ Cafe, Thu. 4:30-5:30 PM; and by appt. Graphic NOVELS & COMICS you will have the opportunity to do both The Syllabus creative and critical writing. Reading Graphic Novels has four goals. First, it Visual storytelling is part of our human origin invests time in understanding how to close read story. From prehistoric cave drawings to the comics page and how certain elements computer generated avatars living a relate to literary tropes, specifically metaphor SecondLife™, representation has been a and metonymy in graphia1. Second, it reasons pluralistic act. Graphic novels and comics are that as comics have texts where we can observe the hybridization of developed alongside ethnic, gender, and racial ideas; the study of human material and them provides new perspectives to our intellectual progress scholarly inquiries. But there are those who still its comics’ content consider the medium low brow. Who then has will reflect this the power to determine what is worth synthesis. Third, it “reading” as the most representative or central examines how work for a period or people? To answer this, we writers depict will explore Chris Ware’s ergodic graphic novel, modernity and Jeremy Love’s dark allegory, Brian Vaughn’s & alienation in the Fiona Staples’s miscegenation space opera and cities, suburbs, small selected works of other creators.
    [Show full text]
  • A Guide to Banned, Challenged, and Controversial Comics and Graphic
    READ BANNED COMIC A Guide to Banned, Challenged and Controversial Comics and Graphic Novels Comic Book Legal Defense Fund Director’s Note is a non-profit organization dedi- cated to the protection of the First Happy Banned Books Week! Amendment rights of the comics art form and its community of Every year, CBLDF joins a chorus of readers, advo- retailers, creators, publishers, cates, and organizations to mark the annual cele- librarians, educators, and readers. CBLDF provides legal bration of the freedom to read! We hope you’ll join referrals, representation, advice, us in the celebration by reading banned comics! assistance, and education in furtherance of these goals. In the pages ahead, you’ll see a sampling of the many, many titles singled out for censorship in STAFF American libraries and schools. Censorship has Charles Brownstein, Executive Director Alex Cox, Deputy Director broad targets, from books that capture the unique Georgia Nelson, Development Manager challenges of younger readers, such as Drama by Patricia Mastricolo, Editorial Coordinator Raina Telgemeier and This One Summer by Mariko Robert Corn-Revere, Legal Counsel and Jillian Tamaki, to the frank discussion of adult BOARD OF DIRECTORS ADVISORY BOARD identity found in Fun Home by Alison Bechdel Christina Merkler, President Neil Gaiman & and Maus by Art Spiegelman. The moral, vision- Chris Powell, Vice President Denis Kitchen, Co-Chairs Ted Adams, Treasurer Susan Alston ary realities of authors like Brian K. Vaughan, Neil Dale Cendali, Secretary Greg Goldstein Gaiman, and Alan Moore have all been targeted. Jeff Abraham Matt Groening Jennifer L. Holm Chip Kidd Even the humor and adventure of Dragon Ball and Reginald Hudlin Jim Lee Bone have come under fire.
    [Show full text]
  • FALL 2019 HIGHLIGHTS IMAGE COMICS Saga: Compendium One Brian K Vaughan, Fiona Staples
    FALL 2019 HIGHLIGHTS IMAGE COMICS Saga: Compendium One Brian K Vaughan, Fiona Staples Summary THE ULTIMATE BINGE-READ Collecng the first nine volumes of the crically acclaimed, New York Times bestselling series into one massive paperback, this compendium tells the enre story (so far!) of a girl named Hazel and her star-crossed parents. Features over 1,300 pages of gorgeously graphic full-color artwork, including a new cover from Eisner Award-winning SAGA co-creator FIONA STAPLES. Collects SAGA #1-54 Contributor Bio Brian K. Vaughan is the award-winning writer of comics like Saga, Y: The Last Man and The Private Eye, a Image Comics digital, pay-what-you-want series available at his site PanelSyndicate.com. His upcoming works for Image 9781534313460 Comics include the futuristic military thriller We Stand on Guard with artist Steve Skroce and the young adult Pub Date: 10/1/19 mystery Paper Girls with Cliff Chiang. He sometimes dabbles in television, including stints on the hit series $59.99 USD/$79.50 CAD Paperback Lost and Stephen King's Under the Dome. 1400 Pages Carton Qty: 0 Fiona Staples is a Canadian comic book artist known for her work on books such as North 40, DV8: Gods and Ages 16 And Up Monsters, T.H.U.N.D.E.R. Agents and Saga Comics & Graphic Novels / Science Fiction CGN004070 Saga Book Three Brian K Vaughan, Fiona Staples Summary At long last, it's finally time for the THIRD massive hardcover collection of SAGA, the critically acclaimed sci-fi/fantasy series from the multiple Eisner Award-winning team of artist FIONA STAPLES and writer BRIAN K.
    [Show full text]
  • Inciting Change: an Interview with Frank Miller
    issue four winter 2015 INCITING CHANGE: AN INTERVIEW WITH FRANK MILLER 2015: THE YEAR IN CENSORSHIP Director’s Note From the murders at Charlie Hebdo on January 7 through the barbaric persecution of international political cartoonists and the rising calls for censorship of graphic novels in the United States, the fight for free expression in comics was one of the central news stories of 2015. Thanks to the support of our contributors, CBLDF was at the forefront, fighting back when censorship struck at home and speaking out against violations of free STAFF speech abroad. In this issue of CBLDF Defender, we look back on this most eventful year. Charles Brownstein, Executive Director Alex Cox, Deputy Director It’s shocking to recognize that while comics are dominating the popular culture, they Samantha Johns, Development Manager are also facing more attempts at censorship in more communities in the United States Betsy Gomez, Editorial Director Maren Williams, Contributing Editor than they have since the moral panic of the 1950s that gave birth to the Comics Code. On Caitlin McCabe, Contributing Editor page 3, Betsy Gomez examines “The New Crusade Against Comics,” and how CBLDF Robert Corn-Revere, Legal Counsel is fighting back. Caitlin McCabe adds some historical perspective on page 12, exploring what happened to comics “After the Comics Code,” a cautionary tale of how moral panic BOARD OF DIRECTORS specifically hampered the creativity of this vibrant medium. Larry Marder, President Milton Griepp, Vice President Schools are the frontline of today’s domestic censorship battles. On page 6, Maren Jeff Abraham, Treasurer Williams discusses “Lone Wolf Censorship,” examining a recent spate of cases in which Dale Cendali, Secretary school administrators ignored or overrode review and challenge policies to unilaterally Jennifer L.
    [Show full text]
  • DUBLIN 2019 Hugo Awards Ceremony VMUBLIN20I9 ' an IRISH WORLDCON
    hW ^55 3L IN ^L.USW3HeUl^6^»^^ ■ FWl ?ASW ON fJflTzrATrzrs.) . ^=0^ CASTING? . iXO^Z£ FATiNATFD * co(^»N ONTb? ft) LlSUev -JttGHVI Gfits ON EAS& ^AST^fNZt 'NlTW INAAG&CY EWPtJSSEO (H ^VNFACZF DUBLIN 2019 Hugo Awards Ceremony VMUBLIN20I9 ' AN IRISH WORLDCON THE 77th WORLD SCIENCE FICTION CONVENTION 2019 Hugo Awards Ceremony a HUGO AWARD 18 August, 2019-8:00 PM -|I’»UBLIN W*AN IRISH WORLDCON 2019 Hugo Awards Ceremony Table of Contents Welcome.............................................. 2 The Hugo Base Artists....................... 3 Masters of Ceremonies....................... 4 Presenters & Performers.................... 5 The Hugo Award Finalists.................... 7 Additional Awards & Recognition ..14 Acknowledgements............................ 15 Autograph Page............................... 17 “Worldcon”, “Hugo Award”, and the Hugo Award Logo are registered service marks of Worldcon Intellectual Property, a California non-profit public benefit corporation, “World Science Fiction Society”, “WSFS”, "World Science Fiction Convention”, “NASFiC”, “Lodestar Award”, and the distinctive design of the Hugo Award Trophy Rocket are service marks of the World Science Fiction Society, an unincorporated literary society. ................................................................................................................................................ 1 Trathnona maith daoibh (Good Evening!) Welcome to the 2019 Hugo Awards Ceremony Tonight, we honour the world of Science Fiction and Fantasy in art, literature, music and drama. As your hosts for the evening, it’s our intention to deliver an Awards Ceremony full of heart, passion for our genre and (quite possibly) a few surprises. All with a hint of Irish heather. The Hugos are special because they are nominated and selected by fans. All of tonight’s finalists have spent months (if not years or decades!) honing their respective crafts, and the Hugos are a way for all of us to elevate and recognize that passion and commitment.
    [Show full text]