C A L A R T S CSCS357:
THE HISTORY OF COMIC BOOKS
SPRING 2012 / Wednesdays 1-3pm / ROOM #A217
Professor:
Office:
Office Hours:
Email:
Michael James Tiberius Stock
E119
Wednesday, 12-1pm
michael@parttimepunks.com
“Comic books epitomize the accessibility, disposability, and appeal to instant gratification that
lie at the core of modern consumer culture. To classify comic books as ‘junk,’ however, is not
to put them down or imply that they have nothing to say. On the contrary, their perennial
lowbrow status has allowed them to develop and thrive outside of the critical, aesthetic, and
commercial criteria expected of more ‘mature’ meda. That development accounts for their
wonderful appeal to young people as well as their unique historical significance.”
--Bradford W. Wright, Comic Book Nation (xiv)
DESCRIPTION
This is a critical/historical survey of the unique visual/narrative medium known as the comic
book. Charting the medium’s development from the hieroglyph to the comic strip to the comic
book to the graphic novel that thrives today, this course is primarily concerned with how comics
aka graphic literature has developed and matured as a distinctly American art/narrative form
which is constantly mutating, reflecting and commenting on American society. In addition to
reading representative works from each of era of the comic book’s development, students will
also be reading the admittedly few, but remarkable works of criticism and theory. In this way
they will learn the basics of how comics use signs both verbally and visually to communicate
narrative meanings Further, students will learn how to decode the comic’s unique visual
narrative, examining its denotative and connotative codes as well as unraveling the contexts of
social relations to examine the cultural representations (and often critiques) found therein.
OBJECTIVES
Via completion of this class, students will be able to discuss the development of the comic book
as both a medium of artistic expression and storytelling. Further, students will understand the
system of distribution that has been structured by three main ideological divisions in the form of
publishing groupings: mainstream, underground and alternative. Students will be able to read,
decode and analyze critically the major narrative forms of comic art: comic strips, comic books
and graphic novels. Finally, students will become familiar with the seminal works by the major
writers and illustrators in the 100+ year history of comics.
ASSIGNMENTS
You will be required to keep a READING JOURNAL of your insights on what you have read,
turning in at least 2-3 PAGES EVERY WEEK. You should write about things like page
composition, dialogue, themes, the use of symbols, plot machinations, pacing, the use of the
gutter... In other words: meaningful stuff. Don’t just regurgitate the plot. And don’t try to
bullshit me. This is how I’m going to know (a) that you’re reading the assignments each week,
and (b) that you’re really thinking about them. Hopefully, these will also ensure that you will
come to class each week with thoughts that you will be ready and willing to share in the form of
class discussion. And a meaningful one at that.
You will also write TWO PAPERS.
1. The first paper will analyze and decode a short text of sequential art. You’ve done close
readings of films and of literature in your other Humanities courses, now give us a close reading
of a comic or graphic novel. Or, if you prefer, compare and contrast two comics and/or graphic
novels. (5-6 pages)
2. The second paper is a critical paper...or a research paper. It may focus on the career of an
artist or writer, a title (say, Superman), a limited series, a graphic novel, or narrative and/or
graphic techniques or processes in comic art. OR…the paper may also provide an examination
of a comic--or series of comics’ critique of American culture and society. OR write about
whatever the hell you want. But in any case, your topic must first be cleared with me. And in
any event, you MUST cite at least three different critical sources, using MLA format. (8-10
pages)
NOTE: All students are REQUIRED to meet with me during office hours to discuss the final
paper, as topics must be approved by me BEFORE you start working on them.
GRADING
Written assignments will be evaluated according to your ability to:
a)
b)
c)
d)
develop a sophisticated argument that is substantive, specific, and contestable;
frame your argument in relation to the class readings;
support your argument through a close, insightful analysis
write in a manner that is well organized, clear, and correct.
Late papers will be marked down half a grade for every day they are late.
Here’s the breakdown on how you will be graded for this class:
Paper #1
Paper #2
Weekly Reading Journals
Attendance & Participation
25%
25%
25%
25%
ATTENDENCE
No surprises here: Attendance is mandatory. As is participation. (Hence its heavy weighting in
the grade breakdown.) Roll will be taken within the first five minutes of class. If you must be
more than ten minutes late or cannot attend a class for reasons that are beyond your control,
please e-mail me beforehand. If you must leave a session early for any reason, you will be
asked to sign a sheet giving an explanation and this will be verified with your mentor/School.
A student will be assigned an “NX” for any Critical Studies course after three absences
without reasonable excuse. A grade of “NX” cannot be changed.
TECHNOLOGY
ALL CELL PHONES AND COMPUTERS WILL BE REQUIRED TO BE LEFT OFF.
IF YOU BRING YOUR LAPTOPS TO CLASS THEY WILL REMAIN CLOSED.
IF YOU WANT TO TAKE NOTES (AND YOU SHOULD), YOU’LL HAFTA DO IT THE OLDFASHIONED WAY: WITH A NOTEBOOK & PEN/CIL.
READINGS
Amazon™ is probably the best place to purchase the books and graphic novels that are required
for this course. They have multiple used copies of each book—and at a fraction of their retail
prices. (Each book will cost roughly in the $5 to $15 range.) OR, for you 21st century types,
some of this stuff is beginning to be available digitally. For that, go here:
http://www.comixology.com/
Here is the book list:
Art Spiegelman, Maus: A Survivor’s Tale (1996)
Alan Moore & Dave Gibbons, The Watchmen (1995)
Alan Moore & Brian Bolland, Batman: The Killing Joke (1988)
Carl Barks, Donald Duck: Lost In The Andes (2011)
Charles Biro & Bob Wood, Crime Does Not Pay (2011)
Charles Burns, Black Hole (2005)
Ed Brubaker & Sean Phillips, Criminal: Last Of The Innocent (2011)
Frank Miller, Batman: The Dark Knight Returns (1997)
Gilbert Hernandez, Heartbreak Soup (2007)
Grant Morrison & Dave McKean, Batman: Arkham Asylum (1989)
Jeff Lemire, Sweet Tooth, Volume 1: Out Of The Woods (2010)
Neil Gaiman, The Sandman, Vol 2: The Doll’s House (1990)
Robert Kirkman & Tony Moore, The Walking Dead, Vol. 1: Days Gone Bye (2006)
Scott McCloud, Understanding Comics: The Invisible Art (1994)
Stan Lee, Jack Kirby, Steve Ditko & more, Marvel Firsts: The 1960s (2011)
Warren Ellis & Darick Robertson, Transmetropolitan, Volume 1: Back On The Street (2009)
Because there is, as of yet, no such thing as a course reader for a class on comic books, the only
way to obtain copies of early superhero comics (other than buying the astronomically priced
original issues) is buying expensive hardcover archive editions (of say, Superman, Batman, The
Human Torch, etc). Because of this, I have scanned hundreds of pages of comics and archive
editions from my own collection. These will be available for reading on the Part Time Punks
website (www.parttimepunks.com). The majority of our comic book reading for the first half of
class will be found there. And no, it’s not the ideal way of reading them. But it is the only
affordable way. Literally. You will be given a password to access the scanned material on the
first day of class.
PLAGIARISM
Critical Studies endeavors to teach students the essential skills and basic ethics involved in any
academic enquiry. To this end, we are committed to observing the policy on plagiarism set out
in the CalArts Course Catalog. This stipulates that plagiarism is the use of ideas and/or
quotations (from the internet, books, films, television, newspapers, articles, the work of other
students, works of art, media, etc.) without proper credit to the author/artist. Critical Studies
holds to the view that plagiarism constitutes intellectual theft and is a serious breach of
acceptable conduct. It is also the policy of CalArts that students who misrepresent source
material as their own original work and fail to credit it have committed plagiarism and are
subject to disciplinary action. In the case of Critical Studies, any student caught plagiarizing will
immediately be given a ‘no credit’ for that class. The student will not be allowed to re-write the
paper, and if there is further evidence of plagiarism, Critical Studies will recommend more
severe disciplinary action, including suspension or dismissal.
If you have any questions regarding plagiarism or want direction on how to credit source
material, ask the member of faculty and refer to reference guides on permanent reserve in the
CalArts library. The CalArts reference librarians may be able to offer additional information as
well.
CHANGE OF GRADE
In the interests of operating an equitable grading system, Critical Studies stringently enforces
CalArts’ change of grade policy. Students have one semester upon receiving an “Incomplete”
grade to make up any missing coursework and/or projects. If this work has not been completed
by the end of the semester, the Incomplete converts automatically to a “No Credit”. After that
time, changes require the approval of Deans Council. Deans Council will approve such grade
changes only in the case of extreme, extenuating circumstances or in cases of
administrative/faculty error.
CLASS SCHEDULE*
* The asterisk denotes the readings that are available online at http://parttimepunks.com/books
WEEK 1:
01/18/12
BEFORE THE BEGINNING: COURSE & CLASS INTRODUCTIONS
IN CLASS COMIC READING FREE-FOR-ALL.
IN-CLASS SCREENINGS:
Little Nemo In Slumberland (Winsor McCay, 1911)
Gertie The Dinosaur (Winsor McCay, 1914)
Steamboat Willie (Walt Disney, 1927)
Superman (Dave Fleischer, 1942)
WEEK 2:
01/25/12
FROM SEQUENTIAL PIONEERS TO THE COMIC STRIP, 888 B.C.–1932 A.D.
READINGS:
Scott McCloud, Understanding Comics (1994)
*Gustave Verbeek, The Upside-Down Adventures Of Little Lady Lovekins (1903-05) selections
*J.P Benson, The Woozlebeasts (1903-05) selections
*Winsor McKay, Little Sammy Sneeze (1903) selections
*Winsor McKay, Hungry Henrietta (1903) selections
*Winsor McKay, The Dreams of a Rarebit Fiend (1904-13) selections
*Winsor McKay, Little Nemo In Slumberland (1905-1916) selections
*Lyonel Feininger, The Kinder-kids (1906) selections
*Lyonel Feininger, Wee Willie Winkie’s World (1906) selections
*Frank King, Gasoline Alley (1922) selections
WEEK 3:
02/01/12
FROM THE BIRTH OF THE COMIC BOOK INDUSTRY TO
THE GOLDEN AGE AND OFF TO WAR, 1933-45
READINGS:
*Jerome Siegel & Joel Shuster, “Superman, Champion Of The Oppressed” Action Comics #1 (1938)
*Bill Finger & Bob Kane, “The Batman,” Detective Comics #27 (1939)
*Bill Finger & Bob Kane, “Introducing Robin, The Boy Wonder,” Detective Comics #38 (1940)
*Bill Finger & Bob Kane, “The Joker,” Batman #1 (1940)
*Charles Moulton, “Introducing Wonder Woman,” Sensation Comics #1 (1942)
*Charles Moulton, “Wonder Woman In America,” Sensation Comics #2 (1942)
*Carl Burgos, “The Human Torch,” Marvel Comics #1 (1939)
*Bill Everett, “The Sub-Mariner,” Marvel Comics #1 (1939)
*Joe Simon & Jack Kirby, “Captain America,” Captain America Comics #1 (1941)
*Stan Lee & Jack Kirby, “Winners All,” All-Winners Comics #2 (1941)
*Carl Burgos, “The Terror Of The Slimy Japs,” All-Winners Comics #3 (1942)
*Jack Cole, “Plastic Man,” Police Comics #1 (1941)
*Mart Dellon & Bill Finger, “The Green Lantern,” All-American Comics #16 (1941)
*Gardner Fox & Harry Lampert, “The Flash,” Flash Comics #1 (1941)
*Fletcher Hanks, “The Flaming Claws,” Jungle #10 (1940)
*Montana, “Archie,” Pep Comics #36 (1942)
*Jules Feiffer, “Introduction,” The Great Comic Book Heroes, (pp. 11-53)
WEEK 4:
02/08/12
COMIC BOOKS, CRIME AND COLD WAR CULTURE, 1945-55
READINGS:
Charles Biro & Bob Wood, Crime Does Not Pay (2011)
*Will Eisner, “The Killer,” The Spirit (1946)
*Will Eisner, “The Story of Gerhard Shnobble,” The Spirit (1948)
*Will Eisner, “Two Lives,” The Spirit (1948)
*Will Eisner, “The Story of Rat Tat, Toy Machine Gun, The Spirit (1949)
*Jack Cole, “Murder, Morphine and Me,” True Crime Comics #2 (1947)
*Alex Toth, “The Phantom Ship,” Out of the Shadows #6 (1952)
*Alex Toth, “Grip On Life,” The Unseen #12 (1953)
WEEK 5:
COMIC BOOKS IN CRISIS: SEDUCTION, INNOCENCE & CENSORS, 1950-55
02/15/12
READINGS:
*Johnny Craig, “Murder May Boomerang,” Crime SuspenStories #1 (1950)
*Harvey Kurtzman, “Lost In The Microcosm,” Weird Science #12 (1950)
*Harry Harrison & Wally Wood, “Dream Of Doom,” Weird Science #12 (1950)
*Jack Davis, “The Patriots,” Shock SuspenStories #2 (1952)
*Wally Wood, “Hate,” Shock SuspenStories #5 (1952)
*George Evans, “The Small Assassin,” Shock SuspenStories #7 (1953)
*Wally Wood, “So Shall Ye Reap,” Shock SuspsenStories #10 (1953)
*Jack Davis, “Grounds…For Horror,” Tales From The Crypt #29 (1952)
*Harvey Kurtzman, “Corpse on the Imjin,” Two-Fisted Tales #25 (1952)
*Jack Davis, “Foul Play,” The Haunt Of Fear #19 (1953)
*Bernie Krigstein, “The Flying Machine,” Weird Science-Fantasy #23 (1954)
*Bernie Krigstein, “Master Race,” Impact #1 (1955)
NOTE: With very few exceptions (like the adaptation of the Ray Bradbury story above),
most of the EC comic stories were conceived in story conferences between EC Publisher
Bill Gaines and EC Editor Al Feldstein, and were written and edited by Al Feldstein.
For that reason, all of the EC selections above are listed according to their artists.
IN-CLASS SCREENING: Confidential File: Horror Comic Books (1955)
WEEK 6:
02/22/12
BEFORE THE SILVER AGE, aka COMICS FOR KIDS OR THE ID?
READINGS:
Carl Barks, Donald Duck: Lost In The Andes (2011)
*Theodore Suess Geisel aka Dr. Suess, “Boing, Boing,” (1952)
*Matt Baker, “Masquerade Marriage,” Teenage Temptations #8 (1954)
*John Stanley & Irving Tripp, “Water, Water,” Little Lulu #88 (1955)
*John Stanley & Irving Tripp, “The Spy,” Little Lulu #90 (1955)
*John Stanley & Irving Tripp, “The Doll Party,” Little Lulu #92 (1956)
*John Stanley & Irving Tripp, “Two Foots Is Feet,” Little Lulu #94 (1956)
*John Stanley & Irving Tripp, “The Flying Carpet,” Little Lulu #100 (1956)
*Lily Renée, “We Couldn’t Be Kept Apart,” Teen-Age Romances #2 (1949)
*Joe Simon & Jack Kirby, “The Savage In Me,” Young Romance Comics #22 (1950)
*Stan Lee & Jack Kirby, “The Summer Must End!” Love Romances #84 (1961)
TOPICS FOR PAPER #1 ARE DUE IN CLASS.
WEEK 7:
02/29/12
THE SILVER AGE OF THE 1960s aka THE 2nd COMING OF THE SUPERHEROES
READINGS:
Stan Lee, Jack Kirby, Steve Ditko & more, Marvel Firsts: The 1960s (2011)
*Gardner Fox & Carmine Infantino, “Flash Of Two Earths!” Flash #123 (1961)
IN-CLASS SCREENING: Star Trek, “Mirror, Mirror” (1967)
NOTE: PAPER #1 DUE IN CLASS
WEEK 8:
03/07/12
THE 1970s TURN 80s: COMICS, CULTURAL CHANGE & THE BIRTH
OF AN UNDERGROUND
READINGS:
Art Spiegelman, Maus (1987)
WEEK 9:
03/14/12
COMICS GO DIRECT, INDIE & AUTOBIOGRAPHICAL (THE 80s TURN 90)
READINGS:
Gilbert Hernandez, Heartbreak Soup (2007)
WEEK 10: INDIE VS AVANT-GARDE (AND FULL OF SELF-LOATHING)
03/21/12
READINGS:
Charles Burns, Black Hole (2005)
03/28/12
----------------------SPRING BREAK! NO CLASS MARCH 30rd!-------------------------------
WEEK 11: 1987 aka THE YEAR COMICS WENT POST-MODERN, PART 1
04/04/12
aka THE NEW ALTERNATIVE
READINGS:
Alan Moore & Dave Gibbons, The Watchmen (1987)
WEEK 12: THE OLD HEROES & THEIR NEW WAYS aka REMAKING THE BAT
04/11/12
READINGS:
Frank Miller, Batman: The Dark Knight (1987)
Alan Moore & Brian Bolland, Batman: The Killing Joke (1988)
Grant Morrison & Dave McKean, Batman: Arkham Asylum (1989)
WEEK 13: THE NEW HORRORS & NEW MYTHS OF THE 1990s
04/18/12
READINGS:
Neil Gaiman (& various artists), The Sandman, Vol 2: The Doll’s House (1990)
*Creig Fleissel, “Sandman: The Pawn Broker,” Adventure Comics #51 (1939)
*Joe Simon & Jack Kirby, “I Hated The Sandman,” Adventure Comics #87 (1943)
NOTE: FINAL PAPER TOPICS MUST BE APPROVED BY TODAY.
WEEK 14: POST-POST-MODERNISM &/OR WHAT COMES AFTER THE SUPERHEROES
04/25/12
READINGS:
Warren Ellis & Darick Robertson, Transmetropolitan, Volume 1: Back On The Street (2009)
Ed Brubaker & Sean Phillips, Criminal: Last Of The Innocent (2011)
WEEK 15: THE HERE AND THE NOW AND THE NEXT
05/02/12
READINGS:
Robert Kirkman & Tony Moore, The Walking Dead, Vol. 1: Days Gone Bye (2006)
Jeff Lemire, Sweet Tooth, Vol. 1 (2010)
WEEK 16: FINAL PAPER DUE:
05/11/12
FRIDAY 05/11/12 BY 5:00PM TO MY EMAIL ADDRESS: michael@parttimepunks.com