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).