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CREATED:2007079T153458Z
DESCRIPTION;LANGUAGE=en-us:Want to go in depth with a comics scholar? The poster session provides that opportunity. On Thursday, Friday, and Saturday scholars’ PowerPoint presentations will be available to read in printed “poster books,” then the scholars will be on hand at the poster session to discuss their presentations in small-group and one-on-one discussions. Jennifer K. Stuller provides a critical history of the cultural effect of Peter O’Donnell’s Modesty Blaise while exploring her contributions to comics narrative to elucidate the legacy of Britain’s princess of spy-fi. Brad Ricca (Case Western Reserve University) unveils “The Secret Name of Lois Lane” by tracing early, never-before-seen Siegel and Shuster material and outlining a Lois whose character and name is indebted to various, previously neglected sources, as well as proposing the definitive identity of the “real” Lois and showing how this information critically informs our understanding of her early character as an idealized (but problematic) representative of ‘higher’ art. Gregory Bray (SUNY—New Paltz) examines the way adolescent trauma in Smallville is encoded through the principles’ interactions with their parents—Jor El, Jonathan and Martha Kent, and Lionel Luthor—and asserts that Clark is defined by his trauma so fully that it's all that feeds his actions and drains the rest of who or what could be, while Lex is ultimately consumed with his destiny and enters a cycle of anti-humanism. Marc DiPaolo (Alvernia College) discusses the portrayal of the Punisher as insane Italian American crimefighter and Vietnam veteran. Robert Emmons (Art Institute of Philadelphia) explores the personal experiences of Alison Bechdel in Fun Home: A Family Tragicomic and Craig Thompson in Blankets and how they can be transposed to a young audience to teach an understanding of the “other” to create open and honest discussion that provides context for the “other” and ourselves. Hal Shipman (Northwestern University) examines the particular aesthetics that are consistently at work in the graphic memoirs such as Marjane Satrapi's Persepolis, Guy DeLisle's Pyongyang, Alison Bechdel's Fun Home, and Judd Winick's Pedro and Me to elucidate what it is about this most subjective of media that has made it so effective in telling these tales so explicitly presented as truth. Doug Highsmith (CSU—East Bay) traces the rise and fall of the American romance comic book. Travis Langley (Henderson State University) relates the conflict between pro-registration and anti-registration heroes in Marvel Comics’ Civil War to Erich Fromm’s basic human dilemma involving conflicting desires for freedom and security, examining how character motivations on both sides arise from positive human qualities because Fromm’s image of human nature is ultimately optimistic, holding that people on either side are struggling to find what is best for all. Jason Strykowski (True West Magazine), Meg Frisbee (University of New Mexico), and Shawn Wiemann (University of New Mexico) use the failure of Marvel’s NFL Superpro to show how representations of the fantastic in sequential arts are incompatible with the fantasies in professional sports and thereby reveal contrasts that cannot be resolved in a single form of American popular culture. A group of graduate students from the UC—San Diego present a poster panel on comics and the construction of identity: Marisa Brandt looks at memory and identity in Garry Trudeau's Doonesbury arc The War Within; Matthew Brown asks why the DC Universe should have crises of identity; Adam Streed and Amanda Brovold assert that the superhero is as good as dead; Sabrina Starnaman examines identity formation in David B.’s Epileptic; and Evan Moreno-Davis explores how Christopher Chance targets the human condition.
DTEND:20070728T203000Z
DTSTAMP:2007079T153458Z
DTSTART:20070728T193000Z
LAST-MODIFIED:2007079T153458Z
PRIORITY:5
SEQUENCE:0
SUMMARY;LANGUAGE=en-us:Comics Arts Conference Session #12: Poster Session
LOCATION;LANGUAGE=en-us:Room 30AB
UID:20070728-143000-00000000000-0276
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