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Sin City - IMDB - 0 views

www.imdb.com/tt0401792 adaptations frank miller graphic novels movies
shared by Angela Becerra Vidergar on 30 Jul 08 - Cached
  • Angela Becerra Vidergar on 30 Jul 08
     
    Internet Movie Database entry on Sin City, the 2005 movie adaptation of the graphic novel.
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Reason for Higher Education :: Comic Books 101 | The Contemplation - 0 views

www.thecontemplation.com/?p=1799 comics courses education graphic narratives graphic novels literature sexuality webcomic
shared by Angela Becerra Vidergar on 28 Sep 08 - Cached
  • Anthony Enns, cultural theorist
  • “There are many different ways to teach (this course),” says Prof. Enns. “One obvious (way) would be to take a strict literary approach—read more highbrow comic books and make an argument for comic books as literature… If you were going to teach the course that way, I think you would probably not bother to teach superheroes. I think that would be a mistake. “So much of graphic material is made up of the superhero genre. It would be wrong to just ignore it.”
  • “Is Wonder Woman a strong feminist figure, or is she a kind of a sex kitten? … (William Moulton) Marston, the creator, was really into S and M, he loved being tied up … there’s some aspect of sexual titillation to the Wonder Woman character.”
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  • He is bemused by the Robin-less state of most modern Batman literature; the Boy Wonder was conspicuously absent from blockbusters Batman Begins and The Dark Knight. “(Frank) Miller’s Dark Knight Returns turns Robin into a woman… (Miller) really tries to avoid the whole Batman/Robin relationship.”
  • a possible unit on Donald Duck. The problem isn’t Donald’s lack of pants; rather, it’s the imperialist ideology he presents. “Babar is often read as a parable about colonialism,” Prof. Enns explains. “Babar is educated in Europe and that’s the reason why he’s the king of the elephants.” Art Spiegelman’s Pulitzer-winner Maus, a Holocaust fable told, like Orwell’s Animal Farm, through the use of animals-as-people. “I’m going to look at it through this question of racial representation. The choice to represent Jews as mice and Nazis as cats… It’s offensive, but in an intentional way… it’s impossible to accuse Maus of being Nazi propaganda. That’s silly… but (Art Spiegelman) is definitely playing on the history of Nazi propaganda.”
  • It’s really going to be more like sociology or anthropology. Cultural studies ask the question of ‘what do comic books reveal about the culture that produced them?
  • “Pop culture says more about us than our highbrow culture,” he continues. “If you go back to the 18th century, the tools that dentists use say more about class differences than any of the great works of literature the culture produced.”
  • Angela Becerra Vidergar on 28 Sep 08
     
    Prof discusses a new course on Comics and Graphic Novels. Focus is on history and cultural background.
  • Angela Becerra Vidergar on 28 Sep 08
     
    Interesting comment about whether or not superhero comics qualify as literature.
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The Best American Comics Criticism 2010 (Downloadable PDF) - 0 views

www.fantagraphics.com/...bamcom-preview.pdf comics criticism
shared by Mark Vega on 29 Mar 10 - No Cached
  • Mark Vega on 29 Mar 10
     
    Table of Contents, Introduction, and excerpts from The Best American Comics Criticism 2010 (Fantagraphics). Whether you choose to call them "comics lit," "graphic novels," or just "thick comic books," book-length narratives told in words and pictures confidently elbowed their way into the cultural spotlight in the first decade of this new millennium - beginning with the simultaneous 2001 release of Chris Ware's Jimmy Corrigan: The Smartest Kid on Earth and Daniel Clowes' David Boring, and continuing on through ground-breaking and best-selling works such as Marjane Satrapi's Persepolis, Robert Crumb's Genesis, Alison Bechdel's Fun Home, and Joe Sacco's Palestine. This renaissance in turn brought forth a chorus of critical commentary that not only addressed these recent works, but also initiated a much-needed look back at the previous century's neglected and forgotten masterpieces. This chorus, as presented in The Best American Comics Criticism, comprises both criticism (Douglas Wolk on Frank Miller and Will Eisner, Robert C. Harvey on Fun Home, Donald Phelps on Steve Ditko and Phoebe Gloeckner) and history (David Hajdu on the 1950s comic-book burnings, Jeet Heer on Gasoline Alley, Ben Schwartz on Little Orphan Annie, Gerard Jones on the birth of the comic-book business), as well as revelatory peer-on-peer essays by novelists (Jonathan Franzen on Peanuts, John Updike on James Thurber) and cartoonists (Chris Ware on Rodolphe Töpffer, Clowes on Mad's Will Elder, and Seth on John Stanley).
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