Showing posts with label comics. Show all posts
Showing posts with label comics. Show all posts

Sunday, December 2, 2018

Final Reading Quiz Readings Recap




The reading quiz on Wednesday will include basic questions based on the following articles (assigned since the midterm):

Bart Beaty - "Searching for Artists in the Entertainment Empire" from Comics Versus Art
Jeffrey A. Brown - "Ethnography: Wearing One's Fandom"
Brian Swafford - "Critical Ethnography: The Comics Shop As Cultural Clubhouse"
Charles Hatfield, "An Art of Tensions"
Bart Beaty, "Autobiography as Authenticity"
Ann Miller, Narrative Theory and Bande Dessinée from Reading Bande Dessinée: Critical Approaches to French-Language Comic Strip (Intellect, 2008)


What I am primarily interested is your ability to synthesize the following points:

a) The relation of the comics medium and the comics form to the realm of culture, creativity and artistic production.
b) The role of fans in the legitimation of comics.
c) What Hatfield means when he defines comics as an 'art of tensions'.
d) Elements of Narratology.




Wednesday, November 21, 2018

An Art of Tensions: Narrating, Reporting and Adapting


from Glyn Dillon's The Nao of Brown

Happy Thanksgiving to all.
For those who decided to go on Thanksgiving break early you are required to watch the first hour of Marjane Satrapi's Persepolis before class on Monday. The DVD is on reserve in the library (either Netflix or Amazon Prime or both might also carry it in their catalogue).

Ann Miller, Narrative Theory and Bande Dessinée from Reading Bande Dessinée: Critical Approaches to French-Language Comic Strip (Intellect, 2008)

Hillary Chute, "'The Shadow of a Past Time': History and Graphic Representation in Maus"

Amy Kiste Nyberg, "Comics Journalism: Drawing on Words to Picture the Past in Safe Area Goradze" from Duncan& Smith (eds.), Critical Approaches To Comics: Theories and Methods

Pascal Lefèvre, "Incompatible Visual Ontologies?": The Problematic Adaptation of Drawn Images" from Gordon, Jancovich & McAllister (eds), Film and Comic Books

Monday, November 12, 2018

How To Read Comics II: An Art of Tensions



Here are some articles that you are warmly advised to integrate in your papers:

from Jason, Lost Cat


Groensteen, "The Impossible Definition"
Hatfield, "An Art of Tensions"
Beaty, "Autobiography as Authenticity"

Two sample analyses of comic art and auteurs:

Hignite, "Jamie Hernandez's LOCAS"
Kannenberg, "The Comics of Chris Ware"

à la Queneau...Excercises in Style:
Madden, Excerpts from "99 Ways To Tell A Story"



How To Read Comics I






 "To say that Nancy is a simple gag strip about a simple-minded snot-nosed kid is to miss the point completely. Nancy only appears to be simple at a casual glance. Like architect Mies Van Der Rohe, the simplicity is a carefully designed function of a complex amalgam of formal rules laid out by the designer. To look at Bushmiller as an architect is entirely appropriate, for Nancy is, in a sense, a blue print for a comic strip. Walls, floors, rocks, trees, ice-cream cones, motion lines, midgets and principals are carefully positioned with no need for further embellishment. And they are laid out with one purpose in mind - to get the gag across. Minimalist? Formalist? Structuralist? Cartoonist!"



Nancy 're-mixes' by James Benning.

How To Read Nancy by Mark Newgarden and Paul Karasik.
Ernie Bushmiller, Selected Nancy Sunday Strips

Please keep up with the readings in the Duncan&Smith Power of Comics and start working your way through the rest of Understanding ComicsYou should be reading Watchmen, Maus and Jimmy Corrigan.


Monday, October 1, 2018

Zap! Crumb! Splat!: Underground Comix + Alternative Visions



Sabin, "Going Underground" from Comics, Comix and Graphic Novels: A History of Comic Art
+
Sabin, "Alternative Visions" from Comics, Comix and Graphic Novels: A History of Comic Art

Danky & Kitchen, "Underground Classics: The Transformation of Comics into Comix, 1963-1990"

(please note that the images included in these chapters are offensive, crude, anarchic and sometimes disturbing as comix are known to be; also, be aware that the files are quite big and might take a little time to load)




Fantagraphics released a 6 volume 'Complete Zap Comics'. Find a 60 page excerpt chock-full of comics by many of the artists that have graced R.Crumb's publication here in PDF format (nb. it's a big file, wait for it to load). Included are also an introduction by Crumb himself and a 'For Adult Intellectuals Only: A Zap Oral History' by Patrick Rosenkranz.
The library has the actual box set if you are interested in checking out the look and feel of those irreverent books that Crumb was selling in the Haight-Ashbury neighborhood in San Francisco out of a baby carriage at the dawn of the hippie era.

Monday, September 24, 2018

The Spirit!: Short Writing Assignment #1



As already mentioned in class this first writing assignment revolves around Will Eisner's The Spirit. For this short exercise (3-5 pages) you should first of all read a number of The Spirit stories as they appear in The Best of Spirit anthology which is on reserve in the library (below you will also find four more Spirit stories in digital format --however, as I said in class, you should read this particular text 'the old fashioned way', on paper). 
For your actual writing assignment you should first of all offer a historical contextualization of Eisner's work: where does The Spirit fit into the history of sequential art in general and of comics in particular. Secondly, you should choose two pages in one of the stories (try to choose the two pages that you find are most interesting in terms of their encapsulation and layout --there are plenty of these in Eisner's work and don't be afraid to move deep into The Best of Spirit anthology to the late 40s material) and simply describe the particularities of The Spirit's stylistic features. Please note that I am not necessarily looking for any particularly deep analysis. What your paper should end up being is a simple description of encapsulation, panel to panel relations, full page layout, use of color, line and text, insets, etc. What this should end up being, more than anything, is an exercise for applying and using comics terminology and an excuse to encourage you to look at an example of comic art closely and attentively.
I'm including here, along with the already mentioned extra Spirit stories, an issue each of DC's Action Comics and Detective Comics so that you can use these as comparative texts to Eisner's technique in The Spirit.
Finally, as a conclusion to your short paper remark what, if anything and in your opinion, makes The Spirit such a standout example of comic art. Enjoy.

Will Eisner, The Spirit
DC's Action Comics #1 (1938)
DC's Detective Comics #27 (1939)
Please refer to Andrei Molotiu's essential "List of Terms for Comics Studies". Use the illustrated examples as a guideline.
There's also this Comics Terminology Graphic 1 & Graphic 2 (from Abel & Madden, Drawing Words and Writing Pictures)

**In order to overcome the technical issues we might have with the .cbr extension  I have renamed all linked comic books with a .zip extension. As mentioned in class zip and cbr files are the same thing, the only difference being that the .cbr extension allows your Comic Book Reader application to open and display the images in the zipped folder as a paginated book. All you need to do, after you've downloaded the files to your computer, is change the file extension from .zip to .cbr. Have fun.

Thursday, September 13, 2018

From Superheroes to the 'Seduction of the Innocent'




Jules Feiffer, The Great Comic Book Heroes (1965)
Part1 + Part2

Action Comics #1
Action Comics #7

from Comics Book Nation: The Transformation of Youth Culture in America
Wright, "Confronting Success: Comic Books and Postwar America, 1945-1950"
Wright, "Youth Crisis: Comic Books and Controversy, 1947-1950"

Wertham, "Seduction of the Innocent"
Self-Regulating Codes of the Comics Book Industry

from Of Comics and Men: A Cultural History of American Comics
Gabilliet, "Calls For Censorship"
+
Gabilliet, "Production"
Gabilliet, "The Business of Comic Books"



Tuesday, September 11, 2018

Sunday Newspaper Supplements: Auteurs.

Winsor McCay, Little Sammy Sneeze


As promised here are some of the pages we saw in class. Enjoy.

Richard Outcault, The Yellow Kid
George Herriman, Krazy Kat & Ignatz
Frank King, Gasoline Alley

Monday, September 3, 2018

Comics? Comics!



Here are a couple of examples of comics that we can use to continue our discussion of what comics are and what they are not. It is also a good excuse to test out your comic book readers (.cbr and .cbz). Let me know if you encounter any problems reading these files.

Ernie Bushmiller, Nancy, selected Sunday Comics, 1941 (Click through to Save)
Winsor McCay, Little Nemo in Slumberland, 1905-1914 (Click through to Save)
Robert Sergel, "Up Up Down Down" from Eschew 2011

Bonus reading: from Douglas Wolk, Reading Comics Chapter 1: "What Comics Are and What They Aren't"

*Bonus Bonus: Andrei Molotiu's essential "List of Terms for Comics Studies"
nb. At the bottom of the linked post you'll find a link to the illustrations. In any case, here.

from Sigmund Freud's notebooks: Comics as dream work

Saturday, November 28, 2015

An Art of Tensions: Narrating & Reporting



from Glyn Dillon's The Nao of Brown

Ann Miller, Narrative Theory and Bande Dessinée from Reading Bande Dessinée: Critical Approaches to French-Language Comic Strip (Intellect, 2008)

Hillary Chute, "'The Shadow of a Past Time': History and Graphic Representation in Maus"

Amy Kiste Nyberg, "Comics Journalism: Drawing on Words to Picture the Past in Safe Area Goradze" from Duncan& Smith (eds.), Critical Approaches To Comics: Theories and Methods

Pascal Lefèvre, "Incompatible Visual Ontologies?": The Problematic Adaptation of Drawn Images" from Gordon, Jancovich & McAllister (eds), Film and Comic Books

Wednesday, November 4, 2015

An Art of Tensions: Readings




Here are some articles that you are warmly advised to integrate in your papers:

from Jason, Lost Cat


Groensteen, "The Impossible Definition"
Hatfield, "An Art of Tensions"
Beaty, "Autobiography as Authenticity"

Two sample analyses of comic art and auteurs:

Hignite, "Jamie Hernandez's LOCAS"
Kannenberg, "The Comics of Chris Ware"

à la Queneau...Excercises in Style:
Madden, Excerpts from "99 Ways To Tell A Story"



How To Read Comics I + Final Paper Prompt






 "To say that Nancy is a simple gag strip about a simple-minded snot-nosed kid is to miss the point completely. Nancy only appears to be simple at a casual glance. Like architect Mies Van Der Rohe, the simplicity is a carefully designed function of a complex amalgam of formal rules laid out by the designer. To look at Bushmiller as an architect is entirely appropriate, for Nancy is, in a sense, a blue print for a comic strip. Walls, floors, rocks, trees, ice-cream cones, motion lines, midgets and principals are carefully positioned with no need for further embellishment. And they are laid out with one purpose in mind - to get the gag across. Minimalist? Formalist? Structuralist? Cartoonist!"



Nancy 're-mixes' by James Benning.

How To Read Nancy by Mark Newgarden and Paul Karasik.
Ernie Bushmiller, Selected Nancy Sunday Strips

Please keep up with the readings in the Duncan&Smith Power of Comics and start working your way through the rest of Understanding ComicsYou should be reading Watchmen, Maus and Jimmy Corrigan.


FINAL PAPER PROMPT here.

Sunday, October 11, 2015

Comic Books + Race & Gender Study Guides




After the usual wise and profound words of Father Guido which are so perfectly comforting during exam crunch times here is the much agonized for study guides:

Race and Gender
Comic Books

Friday, September 25, 2015

Zap! Crumb! Splat!: Underground Comix + Alternative Visions



Sabin, "Going Underground" from Comics, Comix and Graphic Novels: A History of Comic Art
+
Sabin, "Alternative Visions" from Comics, Comix and Graphic Novels: A History of Comic Art
(please note that the images included in this chapter are offensive, crude, anarchic and disturbing as comix are known to be; also, be aware that the files are quite big and might take a little time to load)




Fantagraphics this past year released a 6 volume 'Complete Zap Comics' for the modest price of $500. Good thing for us that they have also released a 60 page excerpt chock-full of comics by many of the artists that have graced R.Crumb's publication. Included are also an introduction by Crumb himself and a 'For Adult Intellectuals Only: A Zap Oral History' by Patrick Rosenkranz. Find it all here in PDF format (now fixed/click-through; nb. it's a big file, wait for it to load).