Why Teaching Ghost World
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Art of Storytelling: a Peek Into the Graphic Literary World Literary World Has Never Been Only Black and White
Mgr. et Mgr. Jana Kasparova; University of West Bohemia, Faculty of Philosophy and Arts, Dept. of English Lang. and Lit. The Art of Storytelling: A Peek Into the Graphic Literary World Literary world has never been only black and white. The characters we love to read about have never been only good and bad. Let us peek into the world where graphics and colours play as important role as the words and letters written on the page. Let us explore the world of contemporary comic books and graphic novels, learn about their characteristics and specifics and meet the authors who are considered to be the superheroes of this rediscovered literary genre. Someone might think that comics and graphic novels are just for children and young adults. But that would be a mistake! Look at a few examples of graphic novels which may blow your mind and teach you about real world! Graphic novel VERSUS Comic Book Before talking about particular representatives of contemporary graphic literature, learn a bit about the basics of the genre. Do you know the terminology? Can you define the following terms, pointing at possible differences between them? comic book - graphic novel - A brief historical overview combination of words and pictures stretches back into antiquity (ancient Egyptian wall paintings) current vocabulary shaped with the rise of the comic strip popularized in newspapers at the start of the 20th century introduction of the fundamentals of the comics language — (balloons, panel to panel narrative progression) Winsor McCay, George Herriman, E.C. -
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. -
7A Temporada 4.- El Rayo Mortal / Mr. Wonderful Daniel Clowes Gener 2014
7a Temporada 4.- El Rayo Mortal / Mr. Wonderful Daniel Clowes Gener 2014 Índex: Club de Lectura: L’autor: Daniel Clowes ......................................................................................................................................... 1 La seva obra .............................................................................................................................................................. 1 El Rayo Mortal / Daniel Clowes Random House Mondadori, 2013 El Rayo Mortal / Ressenya / Gerardo Vilches.......................................................................................... 2 El Rayo Mortal / Article / Juanjo Villalba................................................................................................... 3 Mr. Wonderful / Daniel Clowes Random House Mondadori, 2012 Mr. Wonderful / Ressenya / Gerardo Vilches........................................................................................... 5 Mr. Wonderful / Article / Antonio Fraguas ................................................................................................ 6 “Wilson es una respuesta triste a Mr. Wonderful ” / Entrevista / Noel Murray ........................................ 8 “El Rayo Mortal no trata de mostrar un mundo, sino insinuarlo” / Entrevista / Albert Fernández .. 9 Altres Recomanacions ....................................................................................................................................................... 10 Novetats de la tardor / Secció Còmics d’Adults / Bib. -
Cosmopolitanism, Remediation and the Ghost World of Bollywood
COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK CUniversity ofA California, Santa Barbara Over the past two decades, there has been unprecedented interest in Asian popular media in the United States. Regionally identified productions such as Japanese anime, Hong Kong action movies, and Bollywood film have developed substantial nondiasporic fan bases in North America and Europe. This transnational consumption has passed largely under the radar of culturalist interpretations, to be described as an ephemeral by-product of media circulation and its eclectic overproduction of images and signifiers. But culture is produced anew in these “foreign takes” on popular media, in which acts of cultural borrowing channel emergent forms of cosmopolitan subjectivity. Bollywood’s global circulations have been especially complex and surprising in reaching beyond South Asian diasporas to connect with audiences throughout the world. But unlike markets in Africa, Eastern Europe, and Southeast Asia, the growing North American reception of Bollywood is not necessarily based on the films themselves but on excerpts from classic Bollywood films, especially song-and- dance sequences. The music is redistributed on Western-produced compilations andsampledonDJremixCDssuchasBollywood Beats, Bollywood Breaks, and Bollywood Funk; costumes and choreography are parodied on mainstream television programs; “Bollywood dancing” is all over YouTube and classes are offered both in India and the United States.1 In this essay, I trace the circulation of Jaan Pehechaan Ho, a song-and-dance sequence from the 1965 Raja Nawathe film Gumnaam that has been widely recircu- lated in an “alternative” nondiasporic reception in the United States. I begin with CULTURAL ANTHROPOLOGY, Vol. 25, Issue 1, pp. -
Check All That Apply)
Form Version: February 2001 EFFECTIVE TERM: Fall 2003 PALOMAR COLLEGE COURSE OUTLINE OF RECORD FOR DEGREE CREDIT COURSE X Transfer Course X A.A. Degree applicable course (check all that apply) COURSE NUMBER AND TITLE: ENG 290 -- Comic Books As Literature UNIT VALUE: 3 MINIMUM NUMBER OF SEMESTER HOURS: 48 BASIC SKILLS REQUIREMENTS: Appropriate Language Skills ENTRANCE REQUIREMENTS PREREQUISITE: Eligibility for ENG 100 COREQUISITE: NONE RECOMMENDED PREPARATION: NONE SCOPE OF COURSE: An analysis of the comic book in terms of its unique poetics (the complicated interplay of word and image); the themes that are suggested in various works; the history and development of the form and its subgenres; and the expectations of comic book readers. Examines the influence of history, culture, and economics on comic book artists and writers. Explores definitions of “literature,” how these definitions apply to comic books, and the tensions that arise from such applications. SPECIFIC COURSE OBJECTIVES: The successful student will: 1. Demonstrate an understanding of the unique poetics of comic books and how that poetics differs from other media, such as prose and film. 2. Analyze representative works in order to interpret their styles, themes, and audience expectations, and compare and contrast the styles, themes, and audience expectations of works by several different artists/writers. 3. Demonstrate knowledge about the history and development of the comic book as an artistic, narrative form. 4. Demonstrate knowledge about the characteristics of and developments in the various subgenres of comic books (e.g., war comics, horror comics, superhero comics, underground comics). 5. Identify important historical, cultural, and economic factors that have influenced comic book artists/writers. -
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
Faculty Film Festival TUESDAY, OCTOBER 25, Gaines Theater, 6:30PM : CRUMB
5/11/2015 Christopher Newport University Mail Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm Susan Barber <[email protected]> Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm 1 message Personal Announcement Do Not Reply Tue, Oct 25, 2011 at <[email protected]> 10:50 AM ReplyTo: [email protected] To: [email protected], [email protected], [email protected] Dear Faculty, Students, and Staff: Reminder: Crumb, Tonight, 6:30pm, Gaines! Come check out Terry Zwigoff's compelling documentary about countercultural icon, Robert Crumb, whose graphic comix in the 1960s introduced one of the most talented comic artists of the 20th century to the world. Through an exploration of his life and backgroundwarts and all, the film supports the connection between artistic expression and basic human survival. Follow this link to the IMDB and see below for our original blurb! CNU @ the Movies: Faculty Film Festival TUESDAY, OCTOBER 25, Gaines Theater, 6:30PM : CRUMB Terry Zwigoff, 1994, featuring Robert Crumb. This film launched the directorial career of Terry Zwigoff ("Ghost World," "Bad Santa," "Art School Confidential") and is often referred to as one of the best documentaries ever made. The father of underground comics, Robert Crumb is a beguiling combination of madness and artistic genius, at once the strangest person you might ever meet and probably the funniest. "Crumb" juxtaposes his heartbreaking family story with his remarkable artistic achievement, treating you to Crumb's incredible and hilarious https://mail.google.com/mail/u/0/?ui=2&ik=283ac54fb8&view=pt&cat=Archives&search=cat&th=1333b8fbda00abf7&siml=1333b8fbda00abf7 1/2 5/11/2015 Christopher Newport University Mail Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm vision, wit and wisdom all the while. -
1 Daniel Clowes (1961- ) Is a Highly
Integrity of the Page: The Creative Process of Daniel Clowes Daniel Clowes (1961- ) is a highly-regarded cartoonist, graphic novelist, and screenwriter. He is best known for his Eightball comic book series (1989-2004) and for his graphic novels Ghost World (1997), Ice Haven (2005), Wilson (2010), Mister Wonderful (2011), and The Death-Ray (2011). The Special Collections Research Center acquired Clowes’ archive in 2015. The acquisition honors Clowes’ personal ties to the University of Chicago – Clowes was born in Chicago and spent much of his childhood in Hyde Park where he attended the University of Chicago Laboratory School until 1979. His grandfather, James Lea Cate (1899-1981), was a history professor at the University of Chicago from 1930 to 1969, and Dr. Cate’s personal papers reside in the Special Collections Research Center. Clowes’ archive also anchors a growing collection of Chicago-related contemporary comics at the Library. The collection supports a burgeoning, cross-disciplinary interest in comics for research and teaching at the University. The Clowes archive contains notes, outlines, narrative drafts, character sketches, draft layouts, and more for three of Clowes’ books: Ice Haven, Mister Wonderful, and The Death-Ray. The exhibition pieces this material together, tracing the evolution of Clowes’ art from conception to production to publication. The materials on display emphasize the exceptional tangibility of Clowes’ work in an era when art can easily be made, and then unmade, on a computer. Throughout his career, the physicality of his craft has been a vital component of his artistic vision and creative process. Clowes remains dedicated to simple paper, pencil, and ink – to what he calls the “integrity of the page.” Explanatory panels throughout the exhibition are composed of excerpts from interviews with Clowes in which he articulates aspects of his style and technique. -
Joe Rosochacki - Poems
Poetry Series Joe Rosochacki - poems - Publication Date: 2015 Publisher: Poemhunter.com - The World's Poetry Archive Joe Rosochacki(April 8,1954) Although I am a musician, (BM in guitar performance & MA in Music Theory- literature, Eastern Michigan University) guitarist-composer- teacher, I often dabbled with lyrics and continued with my observations that I had written before in the mid-eighties My Observations are mostly prose with poetic lilt. Observations include historical facts, conjecture, objective and subjective views and things that perplex me in life. The Observations that I write are more or less Op. Ed. in format. Although I grew up in Hamtramck, Michigan in the US my current residence is now in Cumby, Texas and I am happily married to my wife, Judy. I invite to listen to my guitar works www.PoemHunter.com - The World's Poetry Archive 1 A Dead Hand You got to know when to hold ‘em, know when to fold ‘em, Know when to walk away and know when to run. You never count your money when you're sittin at the table. There'll be time enough for countin' when the dealins' done. David Reese too young to fold, David Reese a popular jack of all trades when it came to poker, The bluffing, the betting, the skill that he played poker, - was his ace of his sleeve. He played poker without deuces wild, not needing Jokers. To bad his lungs were not flushed out for him to breathe, Was is the casino smoke? Or was it his lifestyle in general? But whatever the circumstance was, he cashed out to soon, he had gone to see his maker, He was relatively young far from being too old. -
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. -
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. -
Exploring Ghost Worlds: a Review of the Daniel Clowes Reader
Johnston, P 2013 Exploring Ghost Worlds: A Review of The Daniel Clowes THE COMICS GRID Reader. The Comics Grid: Journal of Comics Scholarship, 3(1): 7, pp. 1-5, Journal of comics scholarship DOI: http://dx.doi.org/10.5334/cg.ag REVIEW Exploring Ghost Worlds: A Review of The Daniel Clowes Reader The Daniel Clowes Reader, Ken Parille, Softcover: 360 pages, Colour and black & white, Fantagraphics, 2013, ISBN: 9781606995891 Paddy Johnston* Daniel Clowes is undoubtedly one of the most influen- tial and prolific cartoonists working today, with a career spanning many decades. The Daniel Clowes Reader (Parille 2013) comes at the perfect time – when interest in Clowes from scholars and critics is at a high, but in which he is still perhaps given less critical attention than his peers Chris Ware, Art Spiegelman, and Marjane Satrapi, all of whom are cited twice as often as Clowes despite his large canon of significant works in comics. With recent books being published on Chris Ware by The University Press of Mississippi and the forthcoming Art Spiegelman collec- tion from Drawn and Quarterly, more significant focused, monographic books are emerging in comics and comics criticism, and The Daniel Clowes Reader is a more than wel- come addition to this emergence. Rather than providing an exhaustive chronological ret- rospective, as it would be tempting to do with such a vol- ume, the book is organised into three sections based on distinct areas of discussion which provide thematic arcs: section one explores Girls and Adolescence, focusing on Clowes’ landmark graphic novel Ghost World; section two explores Boys and Post-Adolescence using some of Clowes’ short stories from Eightball; and section three explores the broader and more fluid areas of Comics, Artists and Audiences, including Clowes’ illustrated manifesto, “Mod- ern Cartoonist,” which originally accompanied Eightball #18 as an attached pamphlet in 1997.