Frederick Luis Aldama

Previously offered as E 314J topic.

Instructor: Aldama, F

Unique #: 35275

Semester: Fall 2021

Cross-lists: n/a

Prerequisites: none.

Description: Identified variously as a hybrid and impure storytelling form, comics as the “happy monster” troublesestablished orders and hierarchies: highbrow vs. lowbrow; visual vs. alphabetic narrative; childhood vs. adulthood; creator vs. creators;individual vs. collective; self vs. otherness. In this course we will explore how creators (singular or plural) use visual and verbal devices (perspective, framing and layout, gutters, lettering style, for instance) to shape nonfictions and fictions across a variety of genres: sci-fi, fantasy, romance, YA, testimonial, memoir, and horror. We will learn different approaches, methods, and key concepts in the study of comics. We will explore how comics are a planetary storytelling phenomenon and a storytelling form grown within specific times (history) and places (regions). Finally, we will consider how comics wake readers to new ways of perceiving, thinking, and feeling about sociopolitical issues—and the world we inhabit generally.

No background in comics is required.

Requirements include: Weekly reading and discussing of comics and comics theory. Weekly short and informal responsesto discussion board prompts. 3 papers (5-7 pages each).

Required reading: Charles Hatfield and Bart Beaty’s Comics Studies: A Guidebook; Alison Bechdel’s Fun Home; Bryan Lee O’Malley’s Scott Pilgrim vs. the World Vol. 1; Saladin Ahmed & Javier Garrón’s Miles Morales: Spider-Man#1 & #2; Aldama’s “Dora” & “It Could’ve Been”; Augusto Mora’s Illegal Cargo; Eric Garcia & Tony Medina, Stacey Robinson, & John Jennings’ I Am Alfonso Jones; Alex Sanchez & Julie Maroh You Brought Me the Ocean; Carmen Maria Machado & Dani’s The Low, Low Woods.

Instructor: Aldama, F

Unique #:35815

Semester: Fall 2022

Cross-listings: n/a

Prerequisites: One of the following: Comparative Literature 315, English303D, 316L, 316M, 316N, 316P, or Tutorial Course 303D.

Description: “Marvel movies aren’t cinema,”film director Martin Scorsese famously announced. In this course we will interrogate, complicate, and lay to rest Scorsese’s overstatement. To this end, we will develop the concepts, tools, and theories to explore and examine how the art of comicbook storytelling in film (primarily) as well as print and TV (secondarily) can offer sophisticated forms of storytelling that enrich our understanding of representations of gender, race, ethnicity, sexuality, disability, and class. Along the way we will consider aesthetic cross pollinations and distribution modes and convergences across media. Our goal: to carefully analyze how willful reconstructions of historically underrepresented subjectivities in comic book narratives can make new our perception, thought, and feeling about our existence in the world.

Theory (selections provided via Canvas): Charles Hatfield and Bart Beaty. Comics Studies: A Guidebook.Select chapters; Professor Latinx YouTube. “Comics Scholars on Comics.”Select lectures; Frederick Luis Aldama. Latinx Superheroes in Mainstream Comics. Select chapters; Frederick Luis Aldama. Documentary. Latinx Superheroes in Mainstream Comics(in-class screening).

Film: Stefon Bristol. See You Yesterday (2019); Anna Boden and Ryan Fleck. Captain Marvel (2019); Josh Boone. New Mutants (2020); Ryan Coogler. Black Panther (2018); Joe Cornish. Attack the Block (2011); J.D. Dillard. Sleight (2016); Jon Favreau. Iron Man (2008); Patty Jenkins. Wonder Woman (2017); James Mangold. Logan (2017); George Miller. Mad Max: Fury Road (2015); Christopher Nolan. Batman Begins (2005); The Dark Knight (2008);The Dark Knight Rises (2012); Bob Persichetti, Ramsey, and Rothman. Spider-Man: Into the Spider Verse (2018); M. Night Shyamalan. Unbreakable (2000); Zack Snyder. Justice League (2017); Taika Waititi’s Thor: Ragnarok (2017); Edgar Wright. Scott Pilgrim vs. the World (2010).

Television: Superman & Lois. CW. Season 1, episode 1; Dark Angel.Season 1, episode 1 “Pilot”; Stargirl. CW. Season 1, episode 4 “Wildcat”; The Umbrella Academy.Netflix.Season 2, episode 1; The Chronicles of Cisco. 4-part web series; Agents of S.H.I.E.L.D.: Slingshot. 6-part web series.

Print: Marx Sexton and Nico Lathouris. Mad Max Furiosa; Saladin Ahmed & Javier Garrón. Miles Morales: Spider-Man # 1; Jill Thompson. Wonder Woman: The True Amazon; Bryan Lee O’Malley Scott Pilgrim vs. the WorldVol. 1; Ta-Nehisi Coates Black Panther & the Crew.

Requirements & Grading: Discussion Board: 25%; 3 Analytical Writing Assignments: 75% (25% each assignment); Attendance:this will not be used in determining the course grade.

In this course, we will explore how pop-cultural phenomena by and about Latinxs grow from and engages with different US sociopolitical, historical, ancestral, and regional contexts. We will critically engage with comics, TV shows, films, performance art, music videos, as well as web and digital media. We will learn about the different critical approaches and methods in the study of Latinx pop culture. We will contextualize and assess key critical interpretations, perspectives, development, and debates in Latinx pop cultural studies. We will critically examine how a variety of Latinx pop cultural phenomena as it interfaces with issues of creative and consumptive practices informed by religion, race, class, gender, and sexuality. Through our shared inquiry we will sharpen our critical thinking about the challenges and the prospects reflected in pop culture by and about Latinxs. These learning goals will be assessed through class participation, 1 short piece (critical review or interview) for publication, and 1 final research paper (15-20pp). No background in Latinx studies is required.

E 314J  l  Introduction to Comics Studies

Instructor:  Aldama, F

Unique #:  35814

Semester:  Fall 2021

Cross-lists:  n/a

Prerequisites:  One of the following: E 303C (or 603A), RHE 306, 306Q, or T C 303C (or 603A).

Description:  Identified variously as a hybrid and impure storytelling form, comics as the “happy monster” troubles established orders and hierarchies: highbrow vs. lowbrow; visual vs. alphabetic narrative; childhood vs. adulthood; creator vs. creators; individual vs. collective; self vs. otherness.  In this course we will explore how creators (singular or plural) use visual and verbal devices (perspective, framing and layout, gutters, lettering style, for instance) to shape nonfictions and fictions across a variety of genres: sci-fi, fantasy, romance, YA, testimonial, and horror.  We will learn different approaches, methods, and key concepts in the study of comics.  We will explore how comics are a planetary storytelling phenomenon and a storytelling form grown within specific times (history) and places (regions).  Finally, we will consider how comics wake readers to new ways of perceiving, thinking, and feeling about sociopolitical issues—and the world we inhabit generally.

No background in comics is required.

Requirements include:  Weekly reading and discussing of comics and comics theory.  Weekly short and informal responses to discussion board prompts. 3 papers (5-7 pages each).

Required reading:  Charles Hatfield and Bart Beaty’s Comics Studies: A Guidebook; Alison Bechdel’s Fun Home; Bryan Lee O’Malley’s Scott Pilgrim vs. the World Vol. 1; Saladin Ahmed & Javier Garrón’s Miles Morales: Spider-Man #1 & #2; Aldama’s “Dora” & “It Could’ve Been”; Augusto Mora’s Illegal Cargo; Eric Garcia & Tony Medina, Stacey Robinson, & John Jennings’ I Am Alfonso Jones; Alex Sanchez & Julie Maroh You Brought Me the Ocean; Carmen Maria Machado & Dani’s The Low, Low Woods.

Latinx Pop Culture

Professor Frederick Luis Aldama

Description: In this course, we will explore how pop cultural phenomena by and about Latinxs grows from and engages with different US sociopolitical, historical, ancestral, and regional contexts. We will critically engage with comics, TV shows, films, performance art, music videos, as well as web and digital media. We will learn about the different critical approaches and methods in the study of Latinx pop culture. We will contextualize and assess key critical interpretations, perspectives, development, and debates in Latinx pop cultural studies. We will critically examine how all variety of Latinx pop cultural phenomena as it interfaces with issues of creative and consumptive practices informed by religion, race, class, gender, and sexuality. Through our shared inquiry we will sharpen our critical thinking about the challenges and the prospects reflected in pop culture by and about Latinxs. 

Requirements include: Weekly reading and discussing of assigned Latinx pop cultural object. Weekly informal response to discussion board prompts. 1 research paper (15-20pp).

Required Readings/Viewings

Films: Aurora Guerrero’s Mosquita & Mara; Patricia Cardoso’s Real Women Have Curves; Alex Rivera’s Sleep Dealer; Benjamin Bratt’s La Mission; Jorge Gutierrez’s Book of Life; R. Rodriguez’s Alita; Lee Unkrich & Adrian Molina’s Coco; Karyn Kusama’s Girlfight; Miguel Picker & Chyng Sun’s Latinos Beyond Reel; Frances Negrón-Muntaner’s “The Latino Media Gap: the State of Latinos in U.S. Media.”

TV Shows (episodes TBD): Gentefied; Mr. Iglesias; Saved by the Bell (Peacock reboot); Coyote; Vida.

Nonfiction/fiction: Aldama’s (ed) Tales from la Vida; Medina, Robinson, Jennings’ I am Alfonso Jones; Ledesma’s Diary of a Reluctant Dreamer; Daniel Joe Older’s Shadowsaper; Ben Saenz Aristotle and Dante Discover the Secrets of the Universe; Cristy Road Spit & Passion.

Theory selections from: Aldama’s Your Brain on Latino Comics; Aldama’s (ed) Latinx Ciné in the 21^st Century; Herrera and Boffone’s (eds) Nerds, Goths, Geeks, and Freaks; A. & F. Aldama’s (eds.) Latinx Masculinities; Aldama’s Latino/a Children and Young Adult Writers on the Art of Storytelling; Aldama’s (ed) The Routledge Companion to Latino/a Pop Culture; Domino Perez and Rachel Gonález Race & Cultural Practice in Popular Culture; Isabel Molina-Guzmán’s Latinas and Latinos on TV.