Loading…
Comic-Con 2014 has ended

Sign up or log in to bookmark your favorites and sync them to your phone or calendar.

1: Programs [clear filter]
←View All Dates
Saturday, July 26
 

10:30am

Comics Arts Conference Session #9: Queering Comics
Ayanna Dozier (New York University Steinhardt) examines the transformative properties of the pornokitsch aesthetic featured in Golden Age comics, tracing the sociological-historical narratives that link pornokitsch to mainstream and erotic comics and questioning their use of gender, race, and sexuality. Cameron C. McKee (Northwestern University) and Shane Duncan (San Francisco State University) engage with various gay comics series to argue that the tongue-in-cheek humor of camp was (and remains) a central strategy for the construction of queer identity against the oppression of heteronormativity. And using psychological and sociological research, Benjamin Varosky (California State University, Fullerton) looks at Matt Fraction's run on Hawkeye, a single story told through the separate lenses of the masculine and feminine qualities that every superhero secretly-or not so secretly-embodies, to explore how the successes and failures of Clint and Kate individually pale in comparison to those that they share as the unified Hawkeye.

Saturday July 26, 2014 10:30am - 12:00pm
Room 26AB

12:00pm

Comics Arts Conference Session #10: Brain and Body by Batman: The Art and Science of the Dark Knight
What motivations sustain Bruce Wayne? What was needed to prepare him for his career as Batman? What has this career done to his psyche, his brain, his body? Psychology professor and superherologist Dr. Travis Langley (Batman and Psychology: A Dark and Stormy Knight), neuroscience and kinesiology professor Dr. E. Paul Zehr (Becoming Batman), health and exercise science expert Eric Bruce (Western Oregon University), and Comic-Con special guest Dennis O'Neil (Batman) discuss, dissect, and demystify the Dark Knight on his 75th diamond jubilee anniversary, providing an evaluation of the psychology, kinesiology, and neuroscience of Batman and discussing the physical and psychological realities of becoming and then having a career as Gotham's Dark Knight avenger.

Saturday July 26, 2014 12:00pm - 1:00pm
Room 26AB

1:00pm

Comics Arts Conference Session #11: Focus on Dennis O'Neil
After the 1960s' campier stories nearly ended Batman comics, Comic-Con special guest Dennis O'Neil became the writer who took the Dark Knight back to his dark roots. Working with an astounding array of fellow creators down through his years as writer and editor, he robbed Wonder Woman of her powers, sent Green Arrow's sidekick off to rehab, put the demon back in Iron Man's bottle, pulled Professor X out of one grave and oversaw planting Batman's sidekick in another, and named Optimus Prime. In addition to countless comics, Denny has written and edited scholarly works such as the book Batman Unauthorized. Dr. Travis Langley (Batman and Psychology: A Dark and Stormy Knight) asks Denny about his career as writer, editor, scholar, and educator. Yes, Dennis O'Neil teaches, too! Come learn from this grand master of comic book heroes.

Saturday July 26, 2014 1:00pm - 2:00pm
Room 26AB

2:00pm

Comics Arts Conference Session #12: Poster Session
The CAC's poster session gives attendees the opportunity to interact directly with presenters. Come talk one on one with these scholars about their projects!

Marisa Brandt (University of California, San Diego), Erika Cheng (University of California, San Diego), and Emily York (University of California, San Diego) investigate instrumental applications of comics in domains where they are being used not only to entertain but to accomplish a goal and show that comics and their creation can have transformative effects on those who create and consume them.

Andrei Molotiu (Indiana University, Bloomington) begins Alex Toth's scholarly reevaluation with an examination of the sophisticated narrative techniques and page design he employed in his comics of the 1950s and '60s.

Allen Thomas (University of Central Arkansas) and Mara Whiteside (University of Central Arkansas) examine the relationship between readers and minority comic book characters, namely the connection a reader feels to a particular character, and discuss the future direction of comic books in regards to minority representation.

Neil Granitz (California State University, Fullerton) and Steven Chen (California State University, Fullerton) investigate what factors compel a consumer to seek out more elements of a story across different media and present strategies to increase consumers' consumption of transmedia storytelling.

Michael L. Kersulov (Indiana University) addresses data collected from a research project focused on classes in which gifted high school students created their own autobiographical comics, presenting examples of student-created comics and discussing how they worked to authenticate the students' personal narratives.

William Kuskin (University of Colorado Boulder) presents an overview of UC Boulder's MOOC "Comic Books and Graphic Novels," suggesting that when coupled with online technology, comics offer a transformative energy for humanities disciplines.

J. Scott McKinnon (Henderson State University) identifies the factors that contribute to ethnic minority characters either succeeding or failing, examining online discussions, reviews, and published articles.

Drew Morton (Texas A&M University-Texarkana) argues that the majority of motion comics are less an ontologically unique medium and more a cheaply produced synergistic text that primarily exist as a marketing tool.

Rich Shivener (Northern Kentucky University) continues critical discussions on the implications of adaptation and transmedia storytelling, especially as they relate to comics. Hannah Diaz (California State University, Fullerton) examines how superhero comics can use greater variation in costume design and body type to distinguish characters and personalities more effectively.

Nami Hatfield (University of California, Los Angeles) documents the initial development and eventual buyout of Studio Proteus, a United States manga translation company active from 1986-2004.P. Andrew Miller (Northern Kentucky University) presents how he and others pair poetry and graphic art to create lyric comics. Matt Yockey (University of Toledo) considers how the "retro" qualities of Batman '66 exploit both a nostalgic appeal for the Adam West television series and demonstrate a progressive sensibility that moves beyond regressive nostalgia. Pamela Jackson, Anna Culbertson, Michael Lapins, Katie Stapko, Markel Tumlin, and Wil Weston, members of the San Diego State University Library Comic Arts Committee, discuss SDSU's strategic "Arts Alive" initiative and highlight activities sponsored by the committee that expose students to the rich and vibrant world of comics and popular arts.

Jake Talley (San Diego State University) compares the female and minority populations in the Marvel and DC universes at various points in their histories to illustrate how their race and gender makeups have evolved over time, and compares the Big Two with younger publishers to see if the lack of decades of continuity produces a more representative character population.

Barbara Glaeser (California State University, Fullerton) and Amanda Francis (Crafton Hills College) present the rubric they designed to evaluate the level of sexuality in comics in their search for "safe" titles to use in school-based research, as well as discussing the results of their project to use those comics to teach reluctant readers.

Shawn Sellers (Western Oregon University) and Eric Bruce (Western Oregon University) investigate public health concepts found in Y: The Last Man and discuss bioethics, occupational health, and women's sexual and gender health issues in the comic.

Thomas Speelman (Calvin College) analyzes the work and career of Carl Barks, who wrote and illustrated over 500 stories for Western Publishing featuring Walt Disney characters such as Donald Duck and Scrooge McDuck.

Joyce C. Havstad (University of California, San Diego) explores what it means to be a major feminist work in order to evaluate whether Y: The Last Man ought rightfully to be considered one-and if so, whether it is a successful one.

Jeff Brain (San Francisco State University) discusses how to create a curriculum blending digital citizenship objectives, Common Core standards and superheroic storytelling into a course of study for middle school students.

Damien Tomaselli (University of KwaZulu-Natal) analyzes how the visual rhetoric of comic books continues to develop, with specific reference to digitally manipulated comic books, primarily Madefire's motion books.

Saturday July 26, 2014 2:00pm - 3:30pm
Room 26AB