Comics and Graphic Novels Spring 2012 Professor: Jan Susina Class Meets: 9:35 A.M.--10:50 A.M
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LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories
Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories PAUL A. CRUTCHER DAPTATIONS OF GRAPHIC NOVELS AND COMICS FOR MAJOR MOTION pictures, TV programs, and video games in just the last five Ayears are certainly compelling, and include the X-Men, Wol- verine, Hulk, Punisher, Iron Man, Spiderman, Batman, Superman, Watchmen, 300, 30 Days of Night, Wanted, The Surrogates, Kick-Ass, The Losers, Scott Pilgrim vs. the World, and more. Nevertheless, how many of the people consuming those products would visit a comic book shop, understand comics and graphic novels as sophisticated, see them as valid and significant for serious criticism and scholarship, or prefer or appreciate the medium over these film, TV, and game adaptations? Similarly, in what ways is the medium complex according to its ad- vocates, and in what ways do we see that complexity in Batman graphic novels? Recent and seminal work done to validate the comics and graphic novel medium includes Rocco Versaci’s This Book Contains Graphic Language, Scott McCloud’s Understanding Comics, and Douglas Wolk’s Reading Comics. Arguments from these and other scholars and writers suggest that significant graphic novels about the Batman, one of the most popular and iconic characters ever produced—including Frank Miller, Klaus Janson, and Lynn Varley’s Dark Knight Returns, Grant Morrison and Dave McKean’s Arkham Asylum, and Alan Moore and Brian Bolland’s Killing Joke—can provide unique complexity not found in prose-based novels and traditional films. The Journal of Popular Culture, Vol. 44, No. 1, 2011 r 2011, Wiley Periodicals, Inc. -
Watchmen" After 9/11
Swarthmore College Works Film & Media Studies Faculty Works Film & Media Studies Fall 2011 Adapting "Watchmen" After 9/11 Bob Rehak Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-film-media Part of the Film and Media Studies Commons Recommended Citation Bob Rehak. (2011). "Adapting "Watchmen" After 9/11". Cinema Journal. Volume 51, Issue 1. 154-159. https://works.swarthmore.edu/fac-film-media/3 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Film & Media Studies Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Cinema Journal 51 | No. 1 | Fall 2011 a neoliberal politics interested in citizens (and soldiers) who "do security" themselves. At the same time, we might come to recognize that our response to 9/ 1 1 has not been merely a product of political ideologies and institutions, but has also been motivated by a cultural logic of participation. The important questions to ask are not about whether 24 determined the war on terror or the other way around, but instead about the shared cultural and political protocols that laid the foundation for both. * Adapting Watchmen after 9/1 1 by Bob Rehak Every generation has its own reasons for destroying New York. - Max Page, The City's End 1 a very ambitious experiment in hyperfaithful cinematic adaptation. Taking its source, Alan Moore and Dave Gibbons's 1987 graphic Released Taking novel, novel, a very as script, as ambitious storyboard, in andits script,design bible, March the source,production storyboard, vowed experiment 2009, Alan Zack Moore and in Snyder's hyperfaithful and design Dave film bible, Gibbons's version the cinematic production of 1987 Watchmen adaptation. -
Copyright 2013 Shawn Patrick Gilmore
Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way. -
Graphic Novels for Children and Teens
J/YA Graphic Novel Titles The 9/11 Report: A Graphic Adaptation Sid Jacobson Hill & Wang Gr. 9+ Age of Bronze, Volume 1: A Thousand Ships Eric Shanower Image Comics Gr. 9+ The Amazing “True” Story of a Teenage Single Mom Katherine Arnoldi Hyperion Gr. 9+ American Born Chinese Gene Yang First Second Gr. 7+ American Splendor Harvey Pekar Vertigo Gr. 10+ Amy Unbounded: Belondweg Blossoming Rachel Hartman Pug House Press Gr. 3+ The Arrival Shaun Tan A.A. Levine Gr. 6+ Astonishing X-Men Joss Whedon Marvel Gr. 9+ Astro City: Life in the Big City Kurt Busiek DC Comics Gr. 10+ Babymouse Holm, Jennifer Random House Children’s Gr. 1-5 Baby-Sitter’s Club Graphix (nos. 1-4) Ann M. Martin & Raina Telgemeier Scholastic Gr. 3-7 Barefoot Gen, Volume 1: A Cartoon Story of Hiroshima Keiji Nakazawa Last Gasp Gr. 9+ Beowulf (graphic adaptation of epic poem) Gareth Hinds Candlewick Press Gr. 7+ Berlin: City of Stones Berlin: City of Smoke Jason Lutes Drawn & Quarterly Gr. 9+ Blankets Craig Thompson Top Shelf Gr. 10+ Bluesman (vols. 1, 2, & 3) Rob Vollmar NBM Publishing Gr. 10+ Bone Jeff Smith Cartoon Books Gr. 3+ Breaking Up: a Fashion High graphic novel Aimee Friedman Graphix Gr. 5+ Buffy the Vampire Slayer (Season 8) Joss Whedon Dark Horse Gr. 7+ Castle Waiting Linda Medley Fantagraphics Gr. 5+ Chiggers Hope Larson Aladdin Mix Gr. 5-9 Cirque du Freak: the Manga Darren Shan Yen Press Gr. 7+ City of Light, City of Dark: A Comic Book Novel Avi Orchard Books Gr. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
Writing About Comics
NACAE National Association of Comics Art Educators English 100-v: Writing about Comics From the wild assertions of Unbreakable and the sudden popularity of films adapted from comics (not just Spider-Man or Daredevil, but Ghost World and From Hell), to the abrupt appearance of Dan Clowes and Art Spiegelman all over The New Yorker, interesting claims are now being made about the value of comics and comic books. Are they the visible articulation of some unconscious knowledge or desire -- No, probably not. Are they the new literature of the twenty-first century -- Possibly, possibly... This course offers a reading survey of the best comics of the past twenty years (sometimes called “graphic novels”), and supplies the skills for reading comics critically in terms not only of what they say (which is easy) but of how they say it (which takes some thinking). More importantly than the fact that comics will be touching off all of our conversations, however, this is a course in writing critically: in building an argument, in gathering and organizing literary evidence, and in capturing and retaining the reader's interest (and your own). Don't assume this will be easy, just because we're reading comics. We'll be working hard this semester, doing a lot of reading and plenty of writing. The good news is that it should all be interesting. The texts are all really good books, though you may find you don't like them all equally well. The essays, too, will be guided by your own interest in the texts, and by the end of the course you'll be exploring the unmapped territory of literary comics on your own, following your own nose. -
A Video Conversation with Pulitzer Prize Recipient Art Spiegelman
Inspicio the last laugh Introduction to Art Spiegelman. 1:53 min. Photo & montage by Raymond El- man. Music: My Grey Heaven, from Normalology (1996), by Phillip Johnston, Jedible Music (BMI) A Video Conversation with Pulitzer Prize Recipient Art Spiegelman By Elman + Skye From the Steven Barclay Agency: rt Spiegelman (b. 1948) has almost single-handedly brought comic books out of the toy closet and onto the A literature shelves. In 1992, he won the Pulitzer Prize for his masterful Holocaust narrative Maus— which por- trayed Jews as mice and Nazis as cats. Maus II continued the remarkable story of his parents’ survival of the Nazi regime and their lives later in America. His comics are best known for their shifting graphic styles, their formal complexity, and controver- sial content. He believes that in our post-literate culture the im- portance of the comic is on the rise, for “comics echo the way the brain works. People think in iconographic images, not in holograms, and people think in bursts of language, not in para- graphs.” Having rejected his parents’ aspirations for him to become a dentist, Art Spiegelman studied cartooning in high school and began drawing professionally at age 16. He went on to study art and philosophy at Harpur College before becoming part of the underground comix subculture of the 60s and 70s. As creative consultant for Topps Bubble Gum Co. from 1965-1987, Spie- gelman created Wacky Packages, Garbage Pail Kids and other novelty items, and taught history and aesthetics of comics at the School for Visual Arts in New York from 1979-1986. -
Graphic Storytelling: Exploring Contemporary Comics (Issues and Problems in Twentieth-Century Literature and Culture)
1 Rutgers University, Department of English Spring 2013 Graphic Storytelling: Exploring Contemporary Comics (Issues and Problems in Twentieth-Century Literature and Culture) 03:350:393 Instructor: Tahneer Oksman Murray Hall, Room 301 Contact: [email protected] Tues./Thurs., 1:10 – 2:30 PM Office: Murray Hall, 036A Office Hour: Tues., 2:30 – 3:30 PM and by appointment COURSE DESCRIPTION In her introduction to The Best American Comics 2011, cartoonist Alison Bechdel writes, “Art and language are always in flux, of course, but the somewhat younger mode of comics seems to be in a particularly molten state. Close readers may observe rivulets of lava cooling into new conventions right before their eyes” (xv). In this course, we will read a variety of contemporary comics, mostly from North America, in order to examine how comics can help us rethink genre. Specifically, we will attempt to decipher what graphic narratives can teach us about the assumptions that we make about storytelling conventions, and how contemporary cartoonists play with or breach such conventions. Some forms of storytelling that we will consider through readings of comics of various lengths, including texts commonly referred to as “graphic novels,” are documentary, fantasy, diary, short story, and memoir. We will focus heavily on the formal complexities of reading visual-textual interactions, with the goal of developing a common vocabulary for thinking, discussing, and writing about comics. We will address questions such as, is there an equivalent, in comics, of what we commonly refer to as “voice” in works of prose? In what ways do comics differ from other media, including film and prose? We will also briefly consider digital comics, and the ways that they force us to rethink the possibilities of the medium. -
The New Age, New Face of Graphic Novels Graphic of Face New Age, New the FOCUS: SPECIAL
Childrenthe journal of the Association for Library Service to Children &LibrariesVolume 9 Number 1 Spring 2011 ISSN 1542-9806 SPECIAL FOCUS: The New Age, New Face of Graphic Novels Great Collaborations • Bechtel Fellow Studies ABCs PERMIT NO. 4 NO. PERMIT Change Service Requested Service Change HANOVER, PA HANOVER, Chicago, Illinois 60611 Illinois Chicago, PAID 50 East Huron Street Huron East 50 U.S. POSTAGE POSTAGE U.S. Association for Library Service to Children to Service Library for Association NONPROFIT ORG. NONPROFIT Table Contents● ofVolume 9, Number 1 Spring 2011 Notes 28 “A” is for Alligator Or How a Bechtel Fellow Learns the 2 Editor’s Note Alphabet Sharon Verbeten Joyce Laiosa 2 The Dog-Eared Page 35 My Year with Geisel James K. Irwin features 3 Special Focus: Graphic Novels 37 When it Rains Stuffed Animals Good Comics for Kids A Lesson in Handling the Unexpected Deanna Romriell Collecting Graphic Novels for Young Readers Eva Volin 41 A Viable Venue 10 When a “Graphic” Won the Geisel The Public Library as a Haven for Youth Development A Critical Look at Benny and Penny in the Kenneth R. Jones and Terence J. Delahanty Big No-No! Susan Veltfort 45 From Research to a Thrill An Interview with Margaret Peterson Haddix 12 Visual Literacy Timothy Capehart Exploring This Magic Portal Françoise Mouly 48 Summer Reading on Steroids ALSC/BWI Grant Winner Hosts 15 Special Collections Column Superhero SRP A Comic Book Surprise Faith Brautigam The Library of Congress and Graphic Novels Janet Weber Departments 17 Making Learning the Library Fun One Library’s Kidz Connect Program 11 Call for Referees Monica Sands 27 Author Guidelines 53 ALSC News 20 Beyond Storytime 63 Index to Advertisers Children’s Librarians Collaborating 64 The Last Word in Communities Sue Rokos Tess Prendergast Cover: Alaina Gerbers of Green Bay, Wis. -
Women in Comics II'
Contents Welcome to Comics Forum 2 Programme 3 Abstracts 5 Profiles 13 Contributor Comics 19 Message from the Chair of 'Women in Comics II' Last year the first 'Women in Comics' Conference was held at The New Hall Collection, Murray Edwards College, University of Cambridge. It was a great success and as I was told 'everyone loves a sequel', I am delighted to be chairing 'Women in Comics II', here in Leeds Art Gallery on 18th November 2010. This 'Women in Comics II' conference, like its predecessor, celebrates the growing interest in women in comics, in women reading comics, in women writing about comics, in women making comics. Our aim at these conferences is to be supportive of creative and academic endeavours in all these fields. The atmosphere we engender is one of mutual interest and encouragement, to benefit the continued growth in this community. There is wonderful array of speakers lined up for today's conference. I am particularly delighted by the range of nationalities present on the panels, and the opportunity to bring together different generations of women creators. Thanks go to those who have travelled extensively to be here, including Maureen Burdock from New Mexico, and The Danish Penneveninder (Penfriends), Monica Hee Eun Jensen, Rikke Hollaender, Karen Hansen and Ina Kjoelby Korneliussen. It is also a great honour to welcome Suzy Varty to 'Women in Comics II'. Her publication 'Heroine', was the first all women's comic to be published in the UK in 1977, and is the front cover of our programme. I want to take this opportunity to thank everyone on the 'Women in Comics' Committee, including Catriona MacLeod and Rikke Platz Cortsen, for expertly managing the call for papers, Nicola Streeten for her technical skills, Dr Laurence Grove for his advice and support, Dr Mel Gibson for her support and suggestions, and our volunteers Harriet Kennedy and Emily Rabone. -
Mansfield Park Betsy Winakur Tontiplaphol, Trinity University 19
Plants and literature CritiCal Plant studies: PhilosoPhy, literature, Culture Series Editor Michael Marder University of the Basque Country, Vitoria-Gasteiz Plants and literature essays in CritiCal Plant studies edited by randy laist Amsterdam - New York, NY 2013 Cover illustration by Jim Horwitz. The paper on which this book is printed meets the requirements of ‘ISO 9706: 1994, Information and documentation - Paper for documents - Requirements for permanence’. Le papier sur lequel le présent ouvrage est imprimé remplit les prescriptions de "ISO 9706:1994, Information et documentation - Papier pour documents - Prescriptions pour la permanence". ISBN: 978-90-420-3748-9 E-BOOK ISBN: 978-94-012-0999-1 ©Editions Rodopi B.V., Amsterdam - New York, NY 2013 Printed in The Netherlands Table of Contents Acknowledgments 7 Introduction Randy Laist, Goodwin College 9 The Progress of Vegetation: Subversion and Vegetarianism in Mansfield Park Betsy Winakur Tontiplaphol, Trinity University 19 Plants and the Problem of Authority in the Antebellum U.S. South Lynne Feeley, Duke University 53 Temptation of Fruit: The Symbolism of Fruit in Christina Rossetti’s “Goblin Market” and in the Works of D. G. Rossetti and J. E. Millais Akemi Yoshida, Nagoya Institute of Technology 75 This is Your Brain on Wheat: The Psychology of the Speculator in Frank Norris’ The Pit Graham Culbertson, University of North Carolina at Chapel Hill 85 Refusing Form: A Reading of Art, Americanism, and Feminism through Plant Imagery in Susan Glaspell’s The Verge Stacey Artman, Rutgers