In the Gutter, Between the
Panels: The Art of Comics
Honors Core IV
Spring 2001
Tuesday / Thursday
10:50-12:05
McAllister 303
Instructor:
Noel Murray
Office
Hours: By Appointment
E-mail: bear@conwaycorp.net
Description: Why is a single drawing considered art, but two drawings in
sequence considered an amusing novelty? This course will attempt to understand
the purpose and nature of all art by examining the history and special quality
of comics -- an often marginalized synthesis of several more respected artforms.
We'll be looking at newspaper strips, comic books, and graphic novels, with
special emphasis given to the “underground” artists who have used an outsider
medium to present deeply personal or even downright scandalous impressions of
the world in which we live. From the rawest pulps to the most rarefied
literature, comic art has the potential to encompass any theme or story that
burns to be expressed. We'll be looking at the artists who use the medium to
its fullest and the artists who coast on craftsmanship -- and we'll be learning
how to tell the difference.
Objectives:
+
To survey the history of the comics medium and to understand how an artform
develops
+
To discuss the relevant issues that affect all artists – free expression,
censorship, commerce
+
To observe how social history is revealed through popular art
+
To investigate whether genre strictures or corporate patronage limits artistic
expression
Texts:
Scott
McCloud, Understanding Comics
Scott
McCloud, Reinventing Comics
Alan
Moore & Brian Bolland, Batman: The Killing Joke
Seth,
It’s A Good Life If You Don’t Weaken
Will
Eisner, New York: The Big City
Packets
of comics to be distributed at class time
A
Few Notes On The Reading:
+
In this class, we will be reading a large quantity and a large variety of
comics material, and though comics generally take less time to read than plain
text, allow yourself time to examine the artwork (however insufficiently
reproduced) and understand how the drawings advance the story -- a simple
reading of the text is not enough to fully appreciate a piece
of
comic art.
+
The amount of comics in the reading packets may seem at first overwhelming;
but
don’t get anxious about keeping up. Aside from the ideas in McCloud’s books,
you will neither be explicitly tested nor called on in class to discuss
something that you may not have had time to read. Although the class discussion
will be more lively (and your participation more relevant) if you have read
everything, I’ll understand if it takes a
little
time to catch up. Try to have read at least half of what’s in each packet
before class time, so that you’ll be able to contribute.
+
Similarly, unless expressly directed by me, don’t feel compelled to read any
comics story that you either dislike intensely or find unbearably offensive. If
you feel you just can’t bring yourself to read something, see me, and we’ll
work out an alternative. Anyone who is in this class expecting to read nothing
but Superman and Charlie Brown, please
reconsider
your choice. We will be reading light fare at times, but many of the art we
will be looking at in this class is patently adult, with profanity, nudity, and
graphic sex and/or violence.
Requirements:
+ Class
Participation.
You
will be expected to attend class regularly, and to contribute to the
discussions, even if it’s just to express a simple opinion about the material
we are covering that day. You may be called on for comment if the conversation
lags or if I feel we need to hear your voice; if you have no comment or if you
haven’t read the material, please be honest – unless your reticence is
habitual, you will not be penalized for neutrality (or ignorance). If you have
to miss a class, please contact me to receive your reading packet for the next
class. I have no explicit grade reduction policy for missed classes, but
clearly, if you are not here, you cannot participate, and your grade will
suffer accordingly. Please be responsible.
+ Listserv.
At
the end of each class, I will offer a topic for further discussion. You will be expected to post a short (but no
less than 300 word) response to the topic before the next class commences. Your
post will be read by everybody in the class, so please be respectful and use
proper grammar. Anybody in the discussion group is welcome to respond to your
comments, and you are welcome to respond to theirs. I encourage a lively debate
out-of-class. I will be reading all of the posts, but will not be writing
responses; however, I hope that the written discussion will influence and
become part of our face-to-face discussions. If you fail to post on-time or if
I feel you are not giving sufficient thought to your postings, I will give you
fair warning and a chance to improve before your grade suffers. (See separate
page of notes for further Listserv instruction).
+ Projects.
There
are 7 easy-to-accomplish projects assigned throughout the semester, which are
either detailed or hinted at in the syllabus. Some involve an artistic effort,
but be assured that you will be graded on the effort alone, not the art.
+ Paper.
There
will be one short (1200-1600 word paper due by May 1st. A selection of topics
for the paper will be available after the class of April 12th. If anyone needs
to start early on the paper, let me know and I can provide you with a topic
selection earlier in the month (but not before April 1st).
+ Exam.
The
final exam -- a choice of short essay topics -- will be Tuesday, May 8th at 11
AM.
CLASS
SCHEDULE / READING SCHEDULE
TUESDAY,
JANUARY 9TH -- INTRODUCTION
Theme:
What is this class all about?
In-class
Reading: “I Guess,” by Chris Ware (6 pages)
Between-class
Reading: “The History of Superhero Comic Books,” by Jamie Coville (8 pages);
Excerpt from The Adventures of Kavalier & Klay, by Michael Chabon (5
pages); Introduction to The Comic Book Heroes, by Jules Feiffer (22
pages); “The Killer,” by Will Eisner (7 pages); “The Embezzler,” by Will Eisner
(7 pages); “Mad Journey,” by Al Williamson (7 pages)
THURSDAY,
JANUARY 11TH -- EARLY HISTORY
Theme:
Does the development of a medium affect the way the medium is used?
In-class
Reading: Samples of RF Oucault, Windsor McKay, George Herriman; “What If
Superman Ended the War?,” by Jerry Siegel & Joe Shuster (2 pages)
Between-class
Reading: Understanding Comics, by Scott McCloud, chapters 1 through 4
(115 pages); “Icons,” by Peter Bagge (4 pages); “A Night on the Town,” by Dave
Sim (7 pages); “The Reversible Man,” by
Alan Moore & Mike White (4 pages)
TUESDAY,
JANUARY 16TH -- UNDERSTANDING COMICS, PART ONE
Themes:
Do we read comics all the time and not realize it?; What special properties do
comics have?
In-class
Reading: “Under the Desert Stars,” by Paul Chadwick (8 pages); “The Grey
Embrace,” by Paul Chadwick (8 pages); “A Billion Conscious Acts,” by Paul
Chadwick (6 pages)
Between-class
Reading: Understanding Comics, by Scott McCloud, chapters 5 through 9
(98 pages); “Here,” by Richard McGuire (6 pages); Excerpt from The
Adventures of Kavalier & Klay, by Michael Chabon (2 pages)
THURSDAY,
JANUARY 18TH -- UNDERSTANDING COMICS, PART TWO
Theme:
How can the limitations of the medium be turned to advantages?
In-class
Reading: “Class Antagonism,” by Harvey Pekar & Gerry Shamray (1 page); “A
Ride Home,” by Harvey Pekar & Susan Cavey (5 pages)
Between-class
Reading: Samples of “Clifford,” by Jules Feiffer (10 pages); Samples of
“Peanuts,” by Charles Schultz (6 pages); Samples of “Pogo,” by Walt Kelly (4
pages); “Diamond Mine,” by Carl Barks (9 pages); Samples of “Sick Sick Sick,”
by Jules Feiffer (6 pages); “Good Ol’ Gregor Brown,” by R. Sikoryak (2 pages);
“Good Grief,” by Seth (1 page)
TUESDAY,
JANUARY 23RD -- POST-WAR COMIC STRIPS
Theme:
How did the Baby Boom and nuclear anxiety affect the comics page?
Between-class
Reading: “The First Batman,” by Bill Finger & Sheldon Moldoff (10 pages);
“The Origin of the Superman-Batman Team,” by Bill Finger & Dick Sprang (12
pages); “Superman and Batman’s Greatest Foes,” by Bill Finger & Dick Sprang
(12 pages); “Bat-Mite Meets Bat-Girl,” by Bill Finger & Sheldon Moldoff (9
pages); “Clark Kent’s College Days,” by Otto Binder & Al Plastino (10
pages); “The Romance of Super Baby & Super Lois,” by Leo Dorfman & Kurt
Schaffenberger (8 pages)
THURSDAY,
JANUARY 25TH -- THE SILVER AGE
Theme:
How did TV and teen culture shape the superhero?
PROJECT
A: Ongoing -- collect comic strips or graphic art from newspapers
and
magazines that strikes you as interesting from an aesthetic (or merely
entertaining
perspective). Bring them in to me as you find them.
Between-class
Reading: “The Death Of Superman,” by Jerry Siegel & Curt Swan (24 pages);
“The Amazing Story Of Superman-Red and Superman-Blue,” by Leo Dorfman &
Curt Swan (27 pages); “The Living Brain,” by Stan Lee & Steve Ditko (17
pages); “Spider Man Goes Mad,” by Stan Lee & Steve Ditko (20 pages); “If
This Be My Destiny,” by Stan Lee & Steve Ditko (20 pages); “The Flash -
Fact Or Fiction,” by Cary Bates & Ross Andru (22 pages)
TUESDAY,
JANUARY 30TH -- THE MARVEL AGE
Themes:
How does business competition shape art?; Can art be created on an assembly
line?
Between-class
Reading: “Two Lives,” by Will Eisner (7 pages); “Ten Minutes,” by Will Eisner
(7 pages); “Gerhard Schnobble,” by Will Eisner (7 pages); “The Story of
Rat-Tat,” by Will Eisner (7 pages); “Kill!” by Harvey Kurtzman (6 pages);
“Undercover,” by Wally Wood (7 pages); “Master Race,” by Bernie Krigstein (8
pages); “If Death Be My Destiny,” by Jim Steranko (11 pages)
THURSDAY,
FEBRUARY 1ST -- THE INNOVATORS
Theme:
Is craft the same as art?
In-class
Reading: Samples of Jack Kirby, Joe Kubert, Carmine Infantino, Gil Kane, and
Neil Adams
PROJECT
B: Write 300-word description of a picture that I will give you at the end of
class. Description is due by the start of class on February 8th.
Between-class
Reading: Reinventing Comics, by Scott McCloud, pages 1-55; “Burning
Brightly,” by Paul Chadwick (8 pages); “The Truth,” by Dan Clowes (1 page);
“Art School Confidential,” by Dan Clowes (4 pages)
TUESDAY,
FEBRUARY 6TH -- REINVENTING COMICS, PART ONE
Themes:
How have different creators approached the medium of comics; Is art a sham?
Between-class
Reading: “Life Among the Constipated,” by R. Crumb (1 page); “Stoned,” by R.
Crumb (4 pages); “Those Cute Little Bearzie Wearzies,” by R. Crumb (1 page);
“Automatic Transmission,” by Willy Murphy (1 page); “Teddy Beariana,” by Kim
Deitch (2 pages); “Anthropomorphism,” by Kim Deitch (3 pages); “TV and Me,” by
Km Deitch (6 pages); “Maus,” by Art Spiegelman (3 pages); “A Day At The
Circuits,” by Art Spiegelman (1 page)
THURSDAY,
FEBRUARY 8TH -- THE UNDERGROUNDS
Themes:
What is satire?; What does free expression mean?
Between-class
Reading: “How I Quit Record Collecting” by Harvey Pekar & R. Crumb (6
pages); “Let’s Talk Sense About This Here Modern America,” by R. Crumb (5
pages); “Where Has It Gone, All The Beautiful Music Of Our Grandparents?” by R.
Crumb (5 pages)
TUESDAY,
FEBRUARY 13TH -- CRUMB, PART ONE
In-class
Viewing: Crumb, Directed by Terry Zwigoff
Between-class
reading: Weirdo #11 cover, by R. Crumb; Samples of Sketchbooks by R.
Crumb (10 pages); Interview with Terry Zwigoff by Noel Murray (2 pages)
THURSDAY,
FEBRUARY 15TH -- CRUMB, PART TWO
In-class
Viewing: Crumb, Directed by Terry Zwigoff
In-class
Reading: “When The Jews Take Over America,” by R. Crumb (6 pages)
PROJECT
C: Design a comics page based on a short story I will give you. Arrange the
panels and ink in the figures on a sheet of white typing paper. Stick figures
are okay; no dialogue is required. Page is due by the start of class on
February 22nd.
Between-class
Reading: Reinventing Comics, by Scott McCloud, pages 56-125; “Comic Shop
Clerks of North America,” by Drew Friedman (1 page), “Busted,” by Joyce Farmer
(5 pages)
TUESDAY,
FEBRUARY 20TH -- REINVENTING COMICS, PART TWO
Themes:
What are creators’ rights?; Is there such a thing as freedom of speech?
Between-class
Reading: “I Am Curious (Black),” by Robert Kanigher & Werner Roth (14
pages); “Common Sense,” by Harvey Pekar & Val Mayerik (7 pages); “An
American In Palomar,” by Gilbert Hernandez (23 pages); “Sometimes I Get So
Mad,” by Howard Cruse (2 pages); “Jerry Mack,” by Howard Cruse (5 pages); “I
Always Cry At Movies,” by Howard Cruse (2 pages); “Gay Cruising,” by Maurice
Vellekoop (3 pages); “The 8 Pillars of Gay Culture,” by Maurice Vellekoop (4
pages)
THURSDAY,
FEBRUARY 22ND -- “MINORITY” VISIONS
Theme:
What can art tell us about people unlike ourselves?
PROJECT
D: Go into any store that sells comics -- chain bookstore or comic book store,
here or in Little Rock or in your home town -- and buy any one comic that you
find interesting from a scan of the cover and a perusal of the contents. It can
be as cheap or as pricey as you like, as small or as large as you like. Genre
is unessential; find something that you think looks good. Bring your purchase
to me by the start of class on March 1st.
DO
NOT LOSE THE COMIC! We will be using it again for Project E.
Between-class
Reading: “The Most Obvious Question,” by Lynda Barry (10 pages); “Bitchy Bitch
In School,” by Roberta Gregory (11 pages); “Babs’ Diary,” by Peter Bagge (4
pages)
TUESDAY,
FEBRUARY 27TH -- WOMEN
Theme:
Is it fair to categorize art by the type of person who creates it?
Between-class
Reading: None explicitly; consider starting on Reinventing Comics by
Scott McCloud, pages 128-238, for discussion at the end of the course
THURSDAY,
MARCH 1ST -- CATCHING UP
In-class
Presentations: Results of Projects B & C
Between-class
Reading: Samples of “Doonesbury,” by Garry Trudeau (6 pages); Samples of “Bloom
County,” by Berke Breathed (4 pages); Samples of “Calvin & Hobbes,” by Bill
Watterston (10 pages); Samples of “The Far Side,” by Gary Larson (10 pages);
Samples of “Mutts,” by Patrick McDonnell (10 pages)
TUESDAY,
MARCH 6TH -- THE MODERN COMIC STRIP
Themes:
How has the comic strip changed from its origins to now?; What is the purpose
of the modern comic strip? In-class Reading: Strips brought in by students
Between-class
Reading: Samples of “Julius Knipl,” by Ben Katchor (10 pages); Samples of “Life
In Hell,” by Matt Groening (10 pages); Samples of “Acme Novelty Library,” by
Chris Ware (10 pages); Samples of “Jim’s Journal,” by Scott Dikkers (4 pages);
Samples of “Ernie Pook’s Comeek,” by Lynda Barry (8 pages); “So Help Me,” by
Mark Newgarden (2 pages)
THURSDAY,
MARCH 8TH -- THE POST-MODERN COMIC STRIP
Themes:
Why are these strips published in “alternative” papers?; What is their
connection to traditional comics?
PROJECT
E: Geek for a day. Details at the end of class on March 8th.
Between-class
Reading: “Quick Trim,” by Howard Cruse (2 pages); “At The Mall,” by Rick Geary
(2 pages); “The Grand Tour,” by Rick Geary (1 page); “Geniuses,” by Peter Bagge
(1 page); “Game Show Hosts,” by Drew Friedman (1 page); “A Fan Letter,” by
Gilbert Hernandez (3 pages); “A Date With Hopey,” by Jaime Hernandez (4 pages);
“Jack Survives,” by Jack Moriarty (1 page); “The Future,” by Dan Clowes (5
pages)
TUESDAY,
MARCH 13TH -- THE NEW UNDERGROUNDS, PART ONE
Theme:
What do the new underground artists have in common with their predecessors?
In-class
Reading: Samples of Maus, by Art Spiegelman
Between-class
Reading: “Black Cherry,” by Michael Dougan (3 pages); “How I Loved The War,” by
Joe Sacco (32 pages); “Contagious,” by Charles Burns (4 pages); “Gen Ecch,” by
Evan Dorkin (8 pages); “Needledick,” by Dan Clowes (1 page); “Rock and Roll
Refugee,” by Peter Bagge (9 pages); “Drop,” by Adrian Tomine (1 page)
THURSDAY,
MARCH 15TH -- THE NEW UNDERGROUNDS, PART TWO
Theme:
Does the age of the artist impact the age of their audience?
In-class
Reading: Samples of “Cerebus,” by Dave Sim
PROJECT
F: Choose any one comics story that you have read for this class before today,
and give it to a friend or acquaintance who is not taking this class, for him
or her to read. Pick something that you like, and make it fairly short, so that
it’s not an imposition on your reader. When they finish the story, note their
responses to the story, paying particular attention to what difficulties they
had with the piece, and what they enjoyed about it. We’ll be sharing our
experiences later in the semester.
Between-class
Reading: “The Batman Nobody Knows,” by Frank Robbins & Dick Giordano (6
pages); “Must There Be A Superman?” by Elliot S! Maggin & Curt Swan (17
pages); “For The Man Who Has Everything” by Alan Moore & Dave Gibbons (40
pages); “The Secret Revealed,” by John Byrne (22 pages); “The Killing Joke,” by
Alan Moore & Brian Bolland (32 pages); “Olympus,” by Alan Moore & John
Totleben (34 pages)
TUESDAY,
MARCH 20TH -- SPRING BREAK
THURSDAY,
MARCH 22ND -- SPRING BREAK
TUESDAY,
MARCH 27TH -- SUPERHEROES IN THE 70s AND 80s
Theme:
Can superheroes be “relevant”?
In-class
Reading: Samples of Walt Simonson, Frank Miller, and Bill Sienkiewicz
Between-class
Reading: “Tales in the Sand,” by Neil Gaiman & Mike Dringenberg (24 pages);
“Men Of Good Fortune,” by Neil Gaiman & Michael Zulli (24 pages); “A Tale
Of Two Cities,” Neil Gaiman & Alec Stevens (15 pages); “In Dreams,” by Kurt
Busiek & Brent Anderson (24 pages); “The Nearness Of You,” by Kurt Busiek
& Brent Anderson (13 pages)
THURSDAY,
MARCH 29TH -- SUPERHEROES IN THE 90s
Theme:
Can superheroes be literature?
In-class
Reading: Samples of Alex Ross and Rob Liefeld
PROJECT
G: Scavenger Hunt. More details at the end of class on March 29th.
Between-class
Reading: “Larceny, My Sweet,” by Kelly Puckett & Mark Parobeck (22 pages);
“In The Spotlight,” by Kurt Busiek & Brent Anderson (24 pages); “Talking
With Ted / Talking With Jack,” by James Robinson & Phil Jiminez / Lee
Weeks; “How Things Work Out,” by Alan Moore & Rick Veitch;
TUESDAY,
APRIL 3RD -- NOSTALGIA, PART ONE
Theme:
Are there any new stories to tell?
Between-class
Reading: “Byrdland’s Secret,” by Paul Chadwick (8 pages); “Generic Comics,” by
Peter Bagge (3 pages); “I, Joey Heatherton,” by Drew Friedman (9 pages); Bring
Me The Head Of Boba Fett,” by Evan Dorkin (10 pages); “Captain Rightful,” by
Jay Stephens (24 pages)
THURSDAY,
APRIL 5TH -- NOSTALGIA, PART TWO
Theme:
How harmful is an addiction to juvenalia?
Between-class
Reading: “Bizarro: Private Detective,” by Jerry Siegel & Curt Swan (13
pages); “Dead Dick,” by Art Spiegelman (1 page); “Frank’s Fish,” by Jim
Woodring (3 pages); “Frank,” by Jim Woodring (4 pages); “I Strive For Realism,”
by Paul Chadwick (12 pages); “Nature Boy,” by Dan Clowes (3 pages)
TUESDAY,
APRIL 10TH -- ABSTRACTION
Themes:
Is narrative a crutch?; Can dreams be stories?
In-class
Reading: Samples of Gary Panter and Gilbert Hernandez
Between-Class
Reading: “Caricature,” by Dan Clowes (15 pages); “Like A Weed, Joe,” by Dan
Clowes (8 pages); “Lookout,” by Jaime Hernandez (4 pages); “Sleepwalk,” by
Adrian Tomine (11 pages); “Echo Ave.,”
by Adrian Tomine (5 pages); “Supermarket,” by Adrian Tomine (6 pages)
THURSDAY,
APRIL 12TH -- NATURALISM
Theme:
Can an artificial medium replicate reality?
In-class
Reading: Samples of Jason Lutes, Howard Cruse, and Joe Kubert
PAPER
ASSIGNMENT: Topics given at the end of class. Paper due at the start of class
on May 1st.
Between-class
Reading: “The Day Before The Be-In,” by Harvey Pekar & Greg Budgett / Gary
Dumm (13 pages); “Awaking To The Terror Of A New Day,” by Harvey Pekar &
Greg Budgett / Gary Dumm (9 pages); “Read This,” by Harvey Pekar & Greg
Budgett / Gary Dumm (6 pages); “An Argument At Work,” by Harvey Pekar and Gerry
Shamray (11 pages); “Where The Boys Are,” by Michael Dougan (6 pages); Samples
of “Peep Show,” by Joe Matt (12 pages)
TUESDAY,
APRIL 17TH -- AUTOBIOGRAPHY, PART ONE
Theme:
Is everyday life interesting?
Between-class
Reading: “Joe Matt,” by Seth (2 pages); “The Stroll,” by Dan Clowes (5 pages);
“The Reject,” by Peter Bagge (8 pages); “Helder & “Showing Helder,” by
Chester Brown (51 pages)
THURSDAY,
APRIL 19TH -- AUTOBIOGRAPHY, PART TWO
Theme:
How trustworthy is a memoir?
Between-class
Reading: It’s A Good Life If You Don’t Weaken, by Seth (roughly half)
TUESDAY,
APRIL 24TH -- IT’S A GOOD LIFE ...
Theme:
Why are so many cartoonists stuck in the past?
Between-class
Reading: It’s A Good Life If You Don’t Weaken, by Seth (the
remainder)
THURSDAY,
APRIL 26TH -- ... IF YOU DON’T WEAKEN
Theme:
Can we judge a man’s life as art?
Between-class
Reading: Scan New York, by Will Eisner, and pick out interesting strips;
Finish Reinventing Comics, by Scott McCloud
PAPER
DUE AT THE START OF NEXT CLASS
TUESDAY,
MAY 1ST -- WILL EISNER’S NEW YORK
Theme:
How do we evaluate good and bad art?
Between-class
Reading: Sample Scott McCloud’s on-line comics at his website
THURSDAY,
MAY 3RD -- THE FUTURE
Themes:
Is the comics medium dying?; What happens when a popular art is no longer
popular?
FINAL
EXAM