Visual narrative class 1 part3&4
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- 1. COMICS AND CULTUREThe History of the Medium and Why it
Matters
- 2. Comics in America1. Comics were always a commercial
artform2. Comic books and superheroes are a cultural artifact ofthe
1930s3. Most of the founders of American comics were 1st or2nd
generation, mostly Jews.4. Comics have had relationships with other
media typesfrom the beginning.A few notes on the
cultural/historical context:The cultural legacy of comicsshapes
current day perceptions of the medium
- 3. Comics were alwayscommercialThe Yellow kid (Hogans
Alley)R.F. Outcault, 1895Yellow JournalismW.R. Hearst, Joseph
Pulitzer
- 4. Comic books started in the30sSuperman Champion of the
Oppressed.Action Comics #1 (June, 1938)
- 5. Class origins of comicsPublishersJerry Siegel &Joe
Shuster Bob Kane & Bill Finger Will Eisner Joe Simon & Jack
KirbyHarry Donenfeld & Jack Liebowitz Martin
GoodmanSheldonMeyerMaurice Coyne, LouisSilberkleit & John
Goldwater
- 6. Further readingChabon, M.The AmazingAdventures of
Kavalier& Clay (2001)Jones, G.Men of Tomorrow:geeks, gangsters,
andthe birth of the comicbook (2005)Fingeroth, d.Disguised as clark
kent:jews, comics and thecreation of thesuperhero (2008)Hajdu,
d.The ten-cent plague:the great comic bookscare and how itchanged
America (2009)
- 7. Comics & other mediaLittle Nemo in Slumberland (Windsor
McCay)Little Nemo Animated (1911)
- 8. Superman, mediasuperstarRadio (1939)Animated
Shorts(1939)Movie Serial(1941)TV Series (1952)Novel (1942)Coloring
Book(1939)Syndicated NewspaperStrip (1939)Toys (1940s)
- 9. Comicbook Confidential 1988 Directed by RonMann 90
Minutes
- 10. Break time
- 11. COMICS IN CONTEXTWhat Youre Saying when Youre Saying itwith
Comics
- 12. The Evolving CulturalContext1920s-30s: Comics as
mainstream1940s: Comics as mass media1950s: Comics as menace1960s:
Comicsas youthculture1960s: Comicsas camp/kitch1960s: Comicsas
rebellion1980-90s:Comics asliterature1970s-80s:Comics
asnerdsubculture2000s:Comics ascommunity2010s:Comics asbig
business
- 13. Context and perception
- 14. Comics and commerce
- 15. Critical perceptions
- 16. Legal implicationsThey told meI was not todraw.- Mike
Diana
- 17. Gender issues
- 18. Comics and Big Media
- 19. Intellectual property
- 20. Creator RightsRelying on Marvel and DC is no longer
becoming a viable option, because the contractsarent viable and the
rates arent set. They make the rules. A lot of people have
fooledthemselves into thinking thats stability but are now
realizing that its the exact opposite.The real stability is
controlling your own career and being in a position to hire
yourself,generating ideas that are enough to make you a sustainable
income, and also controllingthose ideas and your own destiny. Thats
the new stability and thats something people arerealizing. Im very
optimistic that itll be something that is here to stay.-- Robert
Kirkman (creator, The Walking Dead)
- 21. Coming AttractionsBoth of these one of these
- 22. Written assignment 800 word analysis Short synopsis of
subject matter How does the author use the medium ofvisual
narrative to tell the story? What specific techniques are employed?
Why does the piece work or not work?
- 23. Special GuestsEllen Forney,Best-Selling Graphic
NovelistMarbles, LustLab, I was Seven in 75Calvin Reid, Senior
EditorPublishers Weekly
- 24. SEE YOU ON 4/20!Rob
Salkowitzrob@robsalkowitz.com@robsalk206-860-9847 (h/o)206-669-2471
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