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JOHN CABOT UNIVERSITY

COURSE CODE: "CMS 318"
COURSE NAME: "Comic Books, Graphic Novels and Visual Storytelling"
SEMESTER & YEAR: Fall Semester 2012
SYLLABUS

INSTRUCTOR: Sarram Pier Paolo
EMAIL: [email protected]
 HOURS: TTH 13:30-14:45
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: M-W 10-11
COURSE DESCRIPTION:
The course serves as a further investigation into the critical methodologies in popular culture studies. The focus of this Special Topics course will be devoted to ‘comix’ (understood as both serialized comic strips and comic-books) and the more contemporary format of the ‘graphic novel’.  
Other forms of graphic storytelling ranging from tapestries to children’s book illustrations to the underground graphic productions of the counterculture will also be investigated. The course will begin by investigating some of the groundbreaking work which helped define comics as a medium in the early part of the 20th century –indissolubly tying the form with the rise of visual culture within mass culture and the political economy of publishing- as well as cutting edge work in classical and contemporary comic books (both independent and mainstream, both within the commercial realm and a more discursively valued literary and artistic sphere). Although the focus of the course will be on the comics tradition developed in the US, special attention and specific sections of the course will also be devoted to the traditions of ‘sequential art’ in a global context with case studies on the Japanese ‘manga’ tradition and the underground politically infused ‘fumetti’ of 1970s Italy. The relation of the specific visual culture of comics with other mediums –particularly the cinema and gaming as well as the influences within other realms of popular culture such as popular recorded music will also be investigated. 
SUMMARY OF COURSE CONTENT:
The course serves as a further investigation into the critical methodologies in popular culture studies. The focus of this Special Topics course will be devoted to ‘comix’ (understood as both serialized comic strips and comic-books) and the more contemporary format of the ‘graphic novel’.  
Other forms of graphic storytelling ranging from tapestries to children’s book illustrations to the underground graphic productions of the counterculture will also be investigated. The course will begin by investigating some of the groundbreaking work which helped define comics as a medium in the early part of the 20th century –indissolubly tying the form with the rise of visual culture within mass culture and the political economy of publishing- as well as cutting edge work in classical and contemporary comic books (both independent and mainstream, both within the commercial realm and a more discursively valued literary and artistic sphere). Although the focus of the course will be on the comics tradition developed in the US, special attention and specific sections of the course will also be devoted to the traditions of ‘sequential art’ in a global context with case studies on the Japanese ‘manga’ tradition and the underground politically infused ‘fumetti’ of 1970s Italy. The relation of the specific visual culture of comics with other mediums –particularly the cinema and gaming as well as the influences within other realms of popular culture such as popular recorded music will also be investigated. 
LEARNING OUTCOMES:
The course serves as a further investigation into the critical methodologies in popular culture studies. The focus of this Special Topics course will be devoted to ‘comix’ (understood as both serialized comic strips and comic-books) and the more contemporary format of the ‘graphic novel’.  
Other forms of graphic storytelling ranging from tapestries to children’s book illustrations to the underground graphic productions of the counterculture will also be investigated. The course will begin by investigating some of the groundbreaking work which helped define comics as a medium in the early part of the 20th century –indissolubly tying the form with the rise of visual culture within mass culture and the political economy of publishing- as well as cutting edge work in classical and contemporary comic books (both independent and mainstream, both within the commercial realm and a more discursively valued literary and artistic sphere). Although the focus of the course will be on the comics tradition developed in the US, special attention and specific sections of the course will also be devoted to the traditions of ‘sequential art’ in a global context with case studies on the Japanese ‘manga’ tradition and the underground politically infused ‘fumetti’ of 1970s Italy. The relation of the specific visual culture of comics with other mediums –particularly the cinema and gaming as well as the influences within other realms of popular culture such as popular recorded music will also be investigated. 
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
The Power of Comics: History, Form and Culture Randy Duncan & Matthew SmithContinuum978-0826429360     
Understanding Comics: The Invisible ArtScott McCloudHarper978-0060976255     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
 <p><span style="font-size: 10pt;">Course grade will be determined by two short written assignments (15% each), a midterm (20%), a presentation (15%) and a final analytical paper (25%). Attendance and participation are also key factors in the course (10%).&nbsp;</span></p> 

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:

Please note that frequent absences automatically lower your participation grade.

Also consider that three unexcused absences (those not justified by a medical certificate or a note from the administration) will result in your final grade for the course to be dropped by one letter grade. Anything above five unexcused absences will result in failure.

Lateness: Students more than 10 minutes late are marked as absent. Late arrival (less than 10 minutes) is marked as such, and 3 late arrivals are counted as one absence.

Class procedure:   Students are requested to make sure their cell phones are turned off (and not just muted) at the start of class.

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

Topics and  Course Schedule:

Part 1:

The Aesthetics of Graphic Storytelling

                The Image & The Frame

                Words and Images: The Interstitial

                Film Animation: Cross&Transmedia Experiences

Part 2:

The Historic Evolution of the Comic Strip

                Early Masters

                The Aesthetics of Early Comics

                Seduction of the Innocent: Culture Wars, Youth Culture and Moral Panics

                Superheroes: The Classic DC Superhero

                Superheroes: The Marvel Way: Genre and Authorship

                Revising The Superhero: Watchmen & The Postmodern

Part 3:

Alternative Traditions

                Underground Comics

                The Autobiographical School

                Documentary Comics

                Experiments in Narrative and Narration

                The Graphic Novel as Literary Discourse

Part 4:

Comic-Books in Global Popular Culture

                Japanese Manga

                Underground Political Cartoons in Italy

                Punk U.S.A., DIY Comics and ‘Zines

Part 5:

Audiences, Fans and Reception

Comics and Gender

Comics, Race and Ethnic Identity

Fan Cultures

Part 6:

Digital Culture

                Reinventing the Comic Book Online

Final Presentations