DOCSLIB.ORG

Course Prefix Course Number Title SCH Component Area TCCCM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Course Prefix Course Number Title SCH Component Area TCCCM Course Course Title SCH Component Area TCCCM Prefix Number MCOM 1112 The Art of The Comic Book 1 Core Area Option MCOM1112 (A) I. Course Description: Despite coming into existence more than a century ago, the American comic strip and its long-form successors - the comic book and the graphic novel - have only recently experiences a shift from the cultural gutter to the stars. This course will analyze this cultural evolution via an emphasis on historical cultural emphasis while also accounting for the narrative and stylistic developments of the medium. II. Course Delivery Method: Face to Face III. Required Textbooks/Resources: Finger, Bill and Bob Kane. Batman Chronicles, Vol. 1 (DC Comics, 2005). Gaiman, Neil. Batman: Whatever Happened to the Caped Crusader? (DC Comics, 2010). Miller, Frank and David Mazzucchelli. Batman: Year One (DC Comics, 2007). Miller, Frank, Klaus Janson, and Lynn Varley. Batman: The Dark Knight Returns (DC Comics, 1997). IV. Student Learning Outcomes: Before the conclusion of this course, students should be able to: 1. Demonstrate an awareness of the intricacies that have defined the American comic’s stature in society (as exemplified in student participation and quizzes and group presentation). 2. Critically appraise the intersection of form and narrative content in the American comic (as exemplified by the student response paper). 3. Formulate arguments regarding the cultural context, formal structures, and narrative in the American comic (as exemplified by the student response paper). V. Course Outline: A. The History of The American Comic Book B. The Vocabulary of the American Comic Book C. The History of Batman D. 1986 and the Comics Renaissance E. The Dark Knight Returns F. Batman Begins G. The Dark Knight H. The Dark Knight Rises I. The Death of Batman? VI. Methods of Evaluation: Attendance/Participation/Homework/Quizzes: 40% Comic Book Analysis Paper (5 pages): 50% Team Presentation: 10% (B) The primary essay will be used to demonstrate the student’s grasp of analysis, and their ability to communicate their arguments effectively. Students will also work in groups to present a lesson based on a comic book selected from a list of available titles, which will provide hands-on experience with teamwork. (C) All assigned readings are considered required readings. (D) WEEK ONE: The History of the American Comic Book Reading: Finger and Kane, Part One. WEEK TWO: The Vocabulary of the American Comic Book Reading: Finger and Kane, Part Two. WEEK THREE: The History of Batman Reading: Finger and Kane, Part Three. WEEK FOUR: Batman, Robin, and the Joker Reading: Finger and Kane, Part Four. WEEK FIVE: The Comics Code, Batman, and Television Reading: Finger and Kane, Part Five. WEEK SIX: Year One Reading: Miller and Mazzucchelli. WEEK SEVEN: 1986 and the Comics Renaissance Reading: Miller, Janson, Varley, Part One. WEEK EIGHT: The Dark Knight Returns Reading: Miller, Janson, and Varley, Part Two. WEEK NINE: The Dark Knight Returns Reading: Miller, Janson, and Varley, Parts Three and Four. WEEK TEN: Student Group Presentations Reading: One of four texts (The Killing Joke, Arkham Asylum, The Long Halloween, or The Court of the Owls). WEEK ELEVEN: Student Group Presentations Reading: One of four texts (The Killing Joke, Arkham Asylum, The Long Halloween, or The Court of the Owls). WEEK TWELVE: Batman Begins Reading: Robin Wood, “Ideology, Genre, Auteur” (Online). Screening: Batman Begins. WEEK THIRTEEN: The Dark Knight Reading: Will Brooker, Hunting the Dark Knight (Handout). Screening: The Dark Knight. WEEK FOURTEEN: The Dark Knight Rises Reading: Will Brooker, Hunting the Dark Knight (Handout). Screening: The Dark Knight Rises. COMIC ANALYSIS PAPER DUE WEEK FIFTEEN: The Death of Batman? Reading: Gaiman. Justification: This survey course fits into the Core Area Option because it gives students an opportunity to develop and hone skills related to communication, critical thinking, and team work. By studying and analyzing examples of the American comic book within their historical context, students will gain an appreciation of this art form and how it has informed American culture over the past 100 years. Next is the original submission form. MCOM 2320: The Art of the Comic Book Fall 2014 Wednesdays, 2:30-3:45 p.m., UC323. Professor Drew Morton E-mail: [email protected] Office Hours: List Here COURSE DESCRIPTION AND STUDENT LEARNING OUTCOMES: Despite coming into existence more than a century ago, the American comic strip and its long-form successors - the comic book and the graphic novel - have only recently experiences a shift from the cultural gutter to the stars. This course will analyze this cultural evolution via an emphasis on historical cultural emphasis while also accounting for the narrative and stylistic developments of the medium. Before the conclusion of this course, students should be able to: 4. To demonstrate an awareness of the intricacies that have defined the American comic’s stature in society (as exemplified in student participation and quizzes and group presentation). 5. To critically appraise the intersection of form and narrative content in the American comic (as exemplified by the student response paper). 6. To formulate arguments regarding the cultural context, formal structures, and narrative in the American comic (as exemplified by the student response paper). REQUIRED TEXTS/MATERIALS: Finger, Bill and Bob Kane. Batman Chronicles, Vol. 1 (DC Comics, 2005). Gaiman, Neil. Batman: Whatever Happened to the Caped Crusader? (DC Comics, 2010). Miller, Frank and David Mazzucchelli. Batman: Year One (DC Comics, 2007). Miller, Frank, Klaus Janson, and Lynn Varley. Batman: The Dark Knight Returns (DC Comics, 1997). SCHEDULE: WEEK ONE: The History of the American Comic Book Reading: Finger and Kane, Part One. WEEK TWO: The Vocabulary of the American Comic Book Reading: Finger and Kane, Part Two. WEEK THREE: The History of Batman Reading: Finger and Kane, Part Three. WEEK FOUR: Batman, Robin, and the Joker Reading: Finger and Kane, Part Four. WEEK FIVE: The Comics Code, Batman, and Television Reading: Finger and Kane, Part Five. WEEK SIX: Year One Reading: Miller and Mazzucchelli. WEEK SEVEN: 1986 and the Comics Renaissance Reading: Miller, Janson, Varley, Part One. WEEK EIGHT: The Dark Knight Returns Reading: Miller, Janson, and Varley, Part Two. WEEK NINE: The Dark Knight Returns Reading: Miller, Janson, and Varley, Parts Three and Four. WEEK TEN: Student Group Presentations Reading: One of four texts (The Killing Joke, Arkham Asylum, The Long Halloween, or The Court of the Owls). WEEK ELEVEN: Student Group Presentations Reading: One of four texts (The Killing Joke, Arkham Asylum, The Long Halloween, or The Court of the Owls). WEEK TWELVE: Batman Begins Reading: Robin Wood, “Ideology, Genre, Auteur” (Online). Screening: Batman Begins. WEEK THIRTEEN: The Dark Knight Reading: Will Brooker, Hunting the Dark Knight (Handout). Screening: The Dark Knight. WEEK FOURTEEN: The Dark Knight Rises Reading: Will Brooker, Hunting the Dark Knight (Handout). Screening: The Dark Knight Rises. COMIC ANALYSIS PAPER DUE WEEK FIFTEEN: The Death of Batman? Reading: Gaiman. GRADE BREAKDOWN: Attendance/Participation/Homework/Quizzes: 40% Comic Book Analysis Paper (5 pages): 50% Team Presentation: 10% COURSE POLICIES: Be sure to complete your reading and assignments on the date they are scheduled on the syllabus. Late assignments are docked 1/3rd of a letter grade each day they are late. Excessive absences will affect your final grade in the course (see the grade breakdown above). If you miss more than half the meetings, you will be terminated from the course. Note: If you attend each session and do not participate, the maximum grade you can earn for your attendance/participation portion is a D grade. In accordance with the University’s academic integrity policy (see below), students who violate the policy will earn an automatic F for the course. Cell phones are to be set on vibrate and not to be used during class. Be sure to bring all your course materials to class each day we meet. Finally, please allow a 24-48 hour turn-around time for any e-mails. Due to this policy, be sure not to leave any major concerns/questions about assignments for the last minute! I reserve the right to alter this syllabus. TAMUT POLICIES: Disability Accommodations: Students with disabilities may request reasonable accommodations through the A&M-Texarkana Disability Services Office by calling 903-223-3062. Academic Integrity: Academic honesty is expected of students enrolled in this course. Cheating on examinations, unauthorized collaboration, falsification of research data, plagiarism, and undocumented use of materials from any source constitute academic dishonesty and may be grounds for a grade of ‘F’ in the course and/or disciplinary actions. For additional information, see the university catalog. A&M-Texarkana Email Address: Upon application to Texas A&M University- Texarkana an individual will be assigned an A&M-Texarkana email account. This email account will be used to deliver official university correspondence. Each individual is responsible for information sent and received via the university email account and is expected to check the official A&M-Texarkana email account on a frequent and consistent basis. Faculty and students are required to utilize the university email account when communicating about coursework. Drop Policy: To drop this course after the census date (see semester calendar), a student must complete the Drop/Withdrawal Request Form, located on the University website http://tamut.edu/Registrar/droppingwithdrawing-from- classes.html) or obtained in the Registrar’s Office. The student must submit the signed and completed form to the instructor of each course indicated on the form to be dropped for his/her signature. The signature is not an “approval” to drop, but rather confirmation that the student has discussed the drop/withdrawal with the faculty member. The form must be submitted to the Registrar’s office for processing in person, email [email protected], mail (7101 University Ave., Texarkana, TX 75503) or fax (903-223-3140).
Load more

Recommended publications
  • Batman: Year One by Frank Miller and David Mazzucchelli Study Guide By
    Graphic Novel Study Group Study Guides Batman: Year One By Frank Miller and David Mazzucchelli Study guide by 1. In 1986, Miller and Mazzucchelli were charged with updating the classic character of Batman. DC Comics wanted to give the origin story “depth, complexity, a wider context.” Did Miller and Mazzucchelli succeed? 2. Why or why not? Give specific examples. 3. We meet Jimmy Gordon and Bruce Wayne at roughly the same moment in the novel. How are they portrayed differently, right from the beginning? Are these initial impressions in line with what we come to know about both characters later? 4. In both Jimmy and Bruce’s initial scenes, how are color and drawing style used to create an atmosphere, or to set them apart – their characters and their surroundings? Give a specific example for each. 5. Batman’s origin story is a familiar one to most readers. How do Miller and Mazzucchelli embroider the basic story? 6. What effect do their additions or subtractions have on your understanding of Bruce Wayne? 7. What are the major plots and subplots contained in the novel? 8. Where are the moments of high tension in the novel? 9. What happens directly before and after each one? How does the juxtaposition of low-tension and high-tension scenes or the repetition of high-tension scenes affect the pacing of the novel? 10. How have Jimmy Gordon and Bruce Wayne/Batman evolved over the course of the novel? How do we as readers understand this? Give specific examples. .
    [Show full text]
  • Heroic Subjectivity in Frank Miller's the Dark Knight
    Ruzbeh BABAEE, Kamelia TALEBIAN SEDEHI, Siamak BABAEE* HEROIC SUBJECTIVITY IN FRANK MILLER’S THE DARK KNIGHT RETURNS Abstract. The genre of superhero is challenging. How does one explain the subjectivity of the hero with super- powers, morality norms, justice orders and ideologi- cal backgrounds? Many authors and critics interpret superheroes in cultural, political, religious and social contexts. However, none has investigated a superhero’s subjectivity as a dynamic and in-process phenomenon. The present paper examines the relationship between hero and subjectivity through Frank Miller’s The Dark Knight Returns (1986). Miller shows the necessity of subjective dynamics for the sublime in a model of sub- jectivity that echoes with questions about the subject that has flourished within literary, psychoanalytic and linguistic theories since the mid-twentieth century. Thus, this study employs Julia Kristeva’s concept of subject in 199 process with the aim to indicate that subjectivity is a dynamic phenomenon in Miller’s superhero fiction. Keywords: Batman, subjectivity, justice, morality, sub- ject in process Introduction Recently, there has been a near-deafening whir surrounding comic books. This is partly due, of course, to their adaptation into superhero blockbuster films.1 But something else is also going on. There is a diversifi- cation of the content and its readers along race and gender lines. According to a recent interview with Frederick Luis Aldama, the comic book is “a mate- rial history and an aesthetic configuration” that depicts issues of social jus- tice (“Realities of Graphic Novels” 2). Indeed, social justice and race as artic- ulated within the superhero comic book storytelling mode is the focus of several recent PhD, MA and book-length monograph studies.
    [Show full text]
  • “Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
    ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ...................................................................................................................................
    [Show full text]
  • GRAPHIC NOVELS in ADVANCED ENGLISH/LANGUAGE ARTS CLASSROOMS: a PHENOMENOLOGICAL CASE STUDY Cary Gillenwater a Dissertation Submi
    GRAPHIC NOVELS IN ADVANCED ENGLISH/LANGUAGE ARTS CLASSROOMS: A PHENOMENOLOGICAL CASE STUDY Cary Gillenwater A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Education. Chapel Hill 2012 Approved by: Madeleine Grumet James Trier Jeff Greene Lucila Vargas Renee Hobbs © 2012 Cary Gillenwater ALL RIGHTS RESERVED ii ABSTRACT CARY GILLENWATER: Graphic novels in advanced English/language arts classrooms: A phenomenological case study (Under the direction of Madeleine Grumet) This dissertation is a phenomenological case study of two 12th grade English/language arts (ELA) classrooms where teachers used graphic novels with their advanced students. The primary purpose of this case study was to gain insight into the phenomenon of using graphic novels with these students—a research area that is currently limited. Literature from a variety of disciplines was compared and contrasted with observations, interviews, questionnaires, and structured think-aloud activities for this purpose. The following questions guided the study: (1) What are the prevailing attitudes/opinions held by the ELA teachers who use graphic novels and their students about this medium? (2) What interests do the students have that connect to the phenomenon of comic book/graphic novel reading? (3) How do the teachers and the students make meaning from graphic novels? The findings generally affirmed previous scholarship that the medium of comic books/graphic novels can play a beneficial role in ELA classrooms, encouraging student involvement and ownership of texts and their visual literacy development. The findings also confirmed, however, that teachers must first conceive of literacy as more than just reading and writing phonetic texts if the use of the medium is to be more than just secondary to traditional literacy.
    [Show full text]
  • The Evolution of Batman and His Audiences
    Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 12-2009 Static, Yet Fluctuating: The Evolution of Batman and His Audiences Perry Dupre Dantzler Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Dantzler, Perry Dupre, "Static, Yet Fluctuating: The Evolution of Batman and His Audiences." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/73 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STATIC, YET FLUCTUATING: THE EVOLUTION OF BATMAN AND HIS AUDIENCES by PERRY DUPRE DANTZLER Under the Direction of H. Calvin Thomas ABSTRACT The Batman media franchise (comics, movies, novels, television, and cartoons) is unique because no other form of written or visual texts has as many artists, audiences, and forms of expression. Understanding the various artists and audiences and what Batman means to them is to understand changing trends and thinking in American culture. The character of Batman has developed into a symbol with relevant characteristics that develop and evolve with each new story and new author. The Batman canon has become so large and contains so many different audiences that it has become a franchise that can morph to fit any group of viewers/readers. Our understanding of Batman and the many readings of him gives us insight into ourselves as a culture in our particular place in history.
    [Show full text]
  • 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]
  • Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC.
    [Show full text]
  • Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-21-2013 12:00 AM Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance Caitlin Foster The University of Western Ontario Supervisor Dr. Joseph Wlodarz The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Caitlin Foster 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Advertising and Promotion Management Commons, and the Film and Media Studies Commons Recommended Citation Foster, Caitlin, "Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance" (2013). Electronic Thesis and Dissertation Repository. 1494. https://ir.lib.uwo.ca/etd/1494 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CLASH OF THE INDUSTRY TITANS: MARVEL, DC AND THE BATTLE FOR MARKET DOMINANCE (Thesis format: Monograph) By Caitlin Foster Graduate Program in Film Studies A thesis submitted in partial fulfillment Of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Caitlin Foster 2013 Abstract This thesis examines the corporate structures, marketing strategies and economic shifts that have influenced the recent resurgence of the comic book superhero in popular Hollywood cinema. Using their original texts and adaptation films, this study will chronologically examine how each company’s brand identities and corporate structures have reacted to and been shaped by the major cultural and industrial shifts of the past century in its attempt to account for the varying success of these companies throughout their histories.
    [Show full text]
  • St. Jerome's University in the University of Waterloo Department
    St. Jerome’s University in the University of Waterloo Department of English ENGL 108A The Superhero Spring 2019 MW 11:30-12:50, EV3 4412 Instructor Information Instructor: Jesse Hutchison Office: Sweeney Hall, Room 2113 Office Hours: TTh 2:30-3:30pm Email: [email protected] Course Description Holy superhero analysis, Batman! In this course, we will look at a variety of ways that the superhero has appeared in literature over the years. We will begin by reading stories about Gilgamesh and Heracles to consider how these early heroic figures influenced the creation of the 20th century American superhero. Throughout the rest of the course, we will concentrate on three superheroes, specifically the DC triumvirate of Superman, Batman, and Wonder Woman. We will examine the different ways that these three figures have appeared over the years from their very first appearances in the late 1930s and early 1940s all the way up to today’s versions. The course, then, looks at how events such as WWII, the Cold War, 60s activism, Reaganomics, and 9/11 impacted the way that artists and writers crafted superheroes and told their stories. We will consider the superhero as a social construction that typically embodies (and sometimes questions) the dominant social values and beliefs of their place and time. Along with the early epic poems, the course will look at individual comic book issues, a graphic novel, television episodes, and a film. The course also focuses on how to develop, research, and write an English essay with an argument that is more powerful than a locomotive.
    [Show full text]
  • The World Today Is a Dangerous Place, Filled
    INTERVIEW THE WORLD TODAY IS A DANGEROUS PLACE, FILLED WITH VIOLENCE INTERVIEW WITH BRUCE SCIVALLY CONDUCTED BY MICHAł CHUDOLIńSKI 40 MICHAł CHUDOLIńSKI: WHAT ARE THE ORIGINS OF BATMAN’S B.S.:Bill Finger was a former shoe salesman B.S.: The huge success of the campy, comedic thought he would be able to land a movie PHYSICAL APPEARANCE? IT IS SAID THAT IN THE BEGINNING HE WAS whom artist Bob Kane took on as a partner 1966 ‑68 Batman TV show created an image deal immediately, but the studios couldn’t SUPPOSED TO WEAR A RED SUIT AND HAVE BLONDE HAIR... because Kane, though a passable artist, was in the public consciousness of Batman as see any commercial potential in producing Bruce Scivally: When Bob Kane first created not good at coming up with stories. Kane and a comedic character. Comic book enthusiast a movie based on a goofy 1960s TV series. Batman, his original idea was for a character Finger were collaborators on comic strips like Michael Uslan was obsessed with bringing Uslan kept fighting for his vision of Batman, in a red costume with a little black domino “Clip Carson” for National Comics before a version of Batman to the movies that would commissioning scripts and approaching mask, the kind that Robin eventually wore. they jointly created Batman. However, Kane be more like the very first Batman comics, or directors. It was only after he met with He went to his collaborator, Bill Finger, who was a much more savvy businessman than like the comic book stories of the 1970s, in superstar producers Peter Guber and Jon suggested that instead Batman should have Finger, and Kane had it put into his contract which Batman was a dark vigilante.
    [Show full text]
  • Mason 2015 02Thesis.Pdf (1.969Mb)
    ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created.
    [Show full text]
  • British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont
    University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2013 Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Salisbury, Derek, "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books" (2013). Graduate College Dissertations and Theses. 209. https://scholarworks.uvm.edu/graddis/209 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children.
    [Show full text]