Walking Corpses & Conscious Plants: Possibilist Ecologies in ...

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Bingham 36 Nyberg, Amy Kiste. “No Harm in Horror.” Comics as Philosophy. ed. Jeff McLaughlin. Jackson: University Press of Mississippi, 2005. 27-45. Picone, Michael. “Teaching Franco- Belgian Bande Dessinée.” Teaching the Graphic Novel. ed. Stephen Tabachnick. New York: The Modern Language Association of America, 2009. 299-323. Reidelbach, Maria. Completely Mad: A History of the Comic Book and Magazine. Boston: Little Brown & Co., 1991. Sabin, Roger. “Ally Sloper: The First Comics Superstar?” Image [&] Narrative. Issue 7, October 2003. “Senate Committee on the Judiciary, Comic Books and Juvenile Delinquency, Interim Report, 1955.” Washington, D.C.: United States Government Printing Office, 1955. Skinn, Dez. Comix: The Underground Revolution. Emeryville: Thunder's Mouth, 2004. Suddath, Claire. “Top 10 Long Running Comic Strips: The Katzenjammer Kids.” Time. 17 May 2010. Web. Tabachnick, Stephen E., ed. Teaching the Graphic Novel. New York: The Modern Language Association of America, 2009. vii- 355. Williams, Paul and James Lyons. “Introduction: In the year 3794.” Introduction. The Rise of the American Comics Artist: Creators and Contexts. Ed. Paul Williams and James Lyons. Jackson: University Press of Mississippi, 2010. xi-xxiv.
Bingham 37 Chapter II: Transfusion and Transference: Ideology, Art & how bleeding ink blots substitute exploding bodies in The Walking Dead “If we accept the hypothesis that our popular arts mirror our culture, that they are somehow tied to our concerns and based upon widespread assumptions, then the study of our popular culture becomes an important means of understanding our society.” -Berger, The Comic Stripped American p. 6-7 An artwork is both a product of labor and an object with timeless qualities—its value often depends upon its age, rarity, purpose, and ability to convey the skill or reputation of the artist responsible for its creation. When determining the economic value of such a work, one also considers aesthetic values. In the case of popular art forms like comics, economic value is almost always indicative of reproducibility. Generally speaking, what's reproduced will be related to by a wide-spread audience whose support is the only guarantee of profitable success. Though comic-strips and books may have a singularly low economic value, they have been and still are purchased with great frequency. Engaging interest in an audience over an extended period of time proves that comics have remained culturally relevant. Discovering how requires an exploration of content, its presentation, and why that material appeals to an audience too. Beyond seeing art as an object for consumption, there is a deeper subjective attraction to art since it is believed by some to possess a direct link to the soul. By this I mean to say that, at the most basic level, an object evoking aesthetic sensibility also often elicits an emotional attachment from the viewer which can be so powerful that it equates to a religious or spiritual experience. One way the significance or success of an artwork might be measured is in terms of its ability to create shared experience which promotes communal interaction and response. Partly as a result of their relatively easy reproduction, comics have acted as a perfect outlet for expressing matters of political concern. Comic strips and the longer graphic narratives they've inspired have deep roots
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Page 3 and 4: Bingham 3 I owe an extreme debt of
Page 5 and 6: Bingham 5 Introduction My project e
Page 7 and 8: Bingham 7 personal growth through t
Page 9 and 10: Bingham 9 beliefs. Seeing a possibl
Page 11 and 12: Bingham 11 zombie exceeds death as
Page 13 and 14: Bingham 13 the validity of singular
Page 15 and 16: Bingham 15 Chapter I: The History o
Page 17 and 18: Bingham 17 Swamp Thing. According t
Page 19 and 20: Bingham 19 instructional profession
Page 21 and 22: Bingham 21 Another artist who worke
Page 23 and 24: Bingham 23 action into panels (Cohn
Page 25 and 26: Bingham 25 sponsorship. He designed
Page 27 and 28: Bingham 27 Charles Moulton. Marston
Page 29 and 30: Bingham 29 Frederick Wertham prompt
Page 31 and 32: Bingham 31 “graphic novel” was
Page 33 and 34: Bingham 33 what is or isn't a graph
Page 35: Bingham 35 Works Cited Benton, Mike
Page 39 and 40: Bingham 39 conflict or war. This ex
Page 41 and 42: Bingham 41 and dismember other bodi
Page 43 and 44: Bingham 43 bodies to pieces. (Cavar
Page 45 and 46: Bingham 45 thus creating an affecti
Page 47 and 48: Bingham 47 margins. Unlike the four
Page 49 and 50: Bingham 49 implicates the role of o
Page 51 and 52: Bingham 51 demonstrates that he is
Page 53 and 54: Bingham 53 Amy (Figure 10 & 11). Th
Page 55 and 56: Bingham 55 being who has done nothi
Page 57 and 58: Bingham 57 transgressions, this ima
Page 59 and 60: Bingham 59 Returning to the full pa
Page 61 and 62: Bingham 61 order” (200). The prem
Page 63 and 64: Bingham 63 possession, selling, ste
Page 65 and 66: Bingham 65 with yourself? Not me. I
Page 67 and 68: Bingham 67 immediate proximity of t
Page 69 and 70: Bingham 69 experience, or the human
Page 71 and 72: Bingham 71 sentences Thomas to hang
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Page 75 and 76: Bingham 74 Works Cited Berger, Arth
Page 77 and 78: Bingham 76 APPENDIX A Fig. 1. Openi
Page 79 and 80: Bingham 78 Fig. 7. Fig. 8.
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Bingham 86 Fig. 23. Fig. 24.
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Fig. 38. Bingham 94
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Fig. 41. Bingham 96
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Bingham 101 Chapter III: Speaking o
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Bingham 103 preserved, yet not enti
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Bingham 105 increasingly more discu
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Bingham 107 Wrightson only drew the
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Bingham 109 by the inexorable progr
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Bingham 111 appeared. Though the tw
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Bingham 113 General Avery Carlton S
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Bingham 115 dismembered body which
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Bingham 117 sheltered from or not e
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Bingham 119 authority. This subtle,
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Bingham 121 the center of the page
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Bingham 123 affect. Apart from this
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Bingham 125 acts of fictional chara
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Bingham 127 resemblance, their comp
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Bingham 129 experience. The creator
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Bingham 131 justified. What follows
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Bingham 133 present to witness it t
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Bingham 135 If we read each charact
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Bingham 137 able to issue an urgent
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1 According to comics historian Rob
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Bingham 140 - Interview by David Ro
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