Submitted by shengokai on Sat, 11/15/2014 - 7:11pm
The "Superhero Diversity Race"
A recent article on the wrap.com positioned the film arms of Marvel and DC as engaged in a "Superhero Diversity Race" with regards to their casting queer and actors of color in the roles of straight or white superheroes. While the newfound commitment fo diversity by both houses is refreshing, the positioning of both houses as engaging in a "Diversity Race" by fans and media alike is problematic.
This paper takes a structuralist approach to look at the multiple interpretations of the origin and first years of Bruce Wayne as Batman. The paper focuses on Year One and Earth One as primary sources. The paper first argues the need to look at these papers in conjunction with one another. The entirety of Batman’s origin is caused through class warfare. It then extends the notion that Batman’s origin is reflective of Marxist ideals.
This presentation is a look at the history of comic book fan labor with particular attention to the shift to online repositories and social media sites. While the medium has changed from fanzines, fans continue to not only write and draw their favorite heroes, they also organize, index, and apply other information science practices to the world of comic books and related fan labors.
Encouraging Civic Engagement & Diversity through the Graphic Novel
“More history stories should be writing in this manner [graphic novels] because it not only made history fun, but it was also informative! I am going to go on a mission to find more stories like Abina! Who knew history could be so fun! Thank you for this story.” [Student who read Abina and the Important Men]
Comic book fans are all familiar with the tried and true sound effects in the cartoon world. “BAM! WHAM! POW!” exist in the lexicon of sounds we associate with the medium. However, there is more to sound in comics than merely the “KA-POW” of a fist hitting a jaw. In graphic novels, the reader is left to judge the soundscape of a story through visual cues that do not exist in other literary mediums.
Submitted by jboykin915 on Mon, 11/03/2014 - 3:06pm
Healing Historical Amnesia: Invitational Rhetoric, Public Memory, and Representations of Slavery in Graphic Novels
While most of us may think of comics as a medium for comedy and superhero stories, comic artists increasingly use the medium to depict serious historical narratives, with examples from Art Spivak’s Holocaust survivor interview in "Maus" to Kyle Baker’s reconstruction of a slave rebellion leader’s biography in "Nat Turner." Unlike prose, which is considered a more serious medium for historical narratives, comics appeal to the reader’s visual senses, providing a reader-involved storytelling process as the reader responds to authorial cues and f