By Diane Noomin Editor’s Note: The following text is a transcript of Diane Noomin’s presentation at the 2003 UF Comics Conference. In some cases, scans have…
By Bill Griffith Editor’s Note: The following text is a transcript of Bill Griffith’s talk at the 2003 UF Comics Conference. Where possible, we have included the…
By Julian Wolfreys Panel I. Epigraphs …in cities, as in Love, there is no standing still…and just because we none of us know how many treasures…
by Mark Bernard and James Bucky Carter Though comic books and graphic novels are earning more serious academic consideration than ever, in relation to one of…
By The UF Visual Rhetoric Research Group: Sean Fenty, Trena Houp and Laurie Taylor Underground Comix and Webcomics: An Introduction The Underground Comix movement that began…
By Alvaro Alemán Imashi, imashi. Asha pangacunata charin mana yura can, shimita mana harin rimanlla huillanlla, lumutapish charin mana uihua can, imashi. Chaimi can libru What…
By Bianca Isaki Adrian Tomine’s graphic story collection, Summer Blonde (SB hereafter) traces the urban landscape of the young middle class in the modern San Francisco Bay Area. What…
By James McDougall “The age demanded an image” –Ezra Pound “H. S. Mauberly” If one literally flips through Ezra Pound’s The Cantos—by that I mean bends the…
By Nathan Gilder Abstract Vessel of Wrath is a study of the traditional controversy of freewill and determinism that has been debated by theologians and philosophers for…
By Suzanne Covey Most structural study of comics tends to split content into a visual image/verbal text dichotomy. Text is ordinarily confined to a text balloon,…