Ducks in Academia

[Suzy Shaw]

     I know we're always bemoaning the fact that no one in the U.S.
seems to take comics in general, and Disney comics in particular,
seriously. Here's a rare exception. I recently noticed that one of the
people who contributed to the Gladstone Barks Library, Donald Ault,
teaches right here at UF. While attempting to find out if he has an
email address, I accidently discovered this course description on the
UF English Department Gopher. Four whole weeks (6 hours each) on
Disney comics! I've got to figure a way to sit in on this course. I
wonder if he knows about this list? If not, he will soon; I plan to
give him a call tomorrow. Enjoy.

--Suzy Shaw, Network Geek and Duck Lover
  University of Florida Libraries
  "A metal misfit in an age that's gone nylon"
----------------------------------------------------

ENG 4110  ANIMATION, COMICS, AND MOVIE SERIALS               AULT

Texts:
Xerographics (Goerings):  Class Packet
Blackbeard and Martin, THE SMITHSONIAN COLL. OF NEWS PAPER COMICS
Maltin, OF MICE AND MAGIC
Crafton, BEFORE MICKEY
THE VELVET LIGHT TRAP (animation issue)
Smoodin, ANIMATING CULTURE
Eisner, COMICS AND SEQUENTIAL ART
On Reserve:  A large number of animated cartoons, serials, and
features on video, as well as comic books and comic strips--
including the complete E.C. Library,  complete Carl Barks
Library, complete R. Crumb

This experimental course will provide:
--an introduction to a selected history of animated cartoons, of
comic strips and comic books, and of movie serials
--a consideration of the theoretical implications (Lacanian,
marxist, phenomenological, etc.) of the relations and
disjunctions between these fields of _representation_
--probably an emphasis on American productions, especially of the
1930s, 1940s, and 1950s, with considerable focus on the
works of Carl Barks (Donald Duck, Uncle Scrooge) as central to
the theoretical problems addressed in the course

The class will meet two periods each day, three days a week,
which should provide a time-format that will work for screening
cartoons, even features, and discussing them the same day. The
format needs to be kept open-ended throughout the semester
Some specific issues to be addressed:
     1.  perceptual processes involved in reading comic strip and
comic book narratives
     2. perceptual processes involved in viewing comics,
animation, and live action, especially in different formats
(16mm, 35mm, video projection, video monitor; in original comics,
in reprints, or in slide projection) and conditions of reception
(in a theater, at home, in the classroom).
     3. differences in narrative possibilities and limitations of
comics, animated cartoons, and live-action.
     4. what happens when characters are translated from one
medium (comics, animation, live-action film) to another--
how does it alter their "being"?
     5. what is the aesthetic and cultural importance of Disney
films and characters (especially Donald Duck); how does this
relate to work at other animation studios (Warners, Fleischers,
MGM, Van Beuren, Iwerks, etc.)?
     6. what happens to narrative and perception when
verbal/visual dimensions of texts are reorganized?
     8. what are the ideological, psychological, etc., functions
of such perceptual narratives?
     9.  How do these productions relate to multicultural,
gender, race, class issues?

Although we will not be proceeding strictly chronologically, here
is a possible scenario of the kinds of material we may be
studying (the schedule below is adapted from a prior incarnation
of this course) :
Week 1:        animation to comic strips:  including McCay
               (Little Nemo), Herriman (Krazy Kat),Mesmer
               (Felix), Disney/ Gottfredson (Mickey Mouse)
Week 2-3:      comic strips to animation and serials: including
               Segar (Popeye), Raymond (Flash Gordon), and Gould
               (Dick Tracy)
Weeks 4-5:     animation: including Disney (Silly Symphonies),
               Warners (Looney Tunes and Merrie Melodies [Bosko,
               Buddy, Porky Pig, Daffy Duck, Bugs Bunny]; Iwerks
               (Flip the Frog), Fleischer (Betty Boop, Bimbo),
               Van Beuren, MGM (Happy Harmonies), etc.
Week 6:        serials:  Mascot, Republic, Universal, Columbia
               Hurricane Express, Fighting Devil Dogs, Phantom
               Empire, Perils of Nyoka, etc.
Weeks 7-10:    animation to comic books and back (Disney, Barks);
               Disney shorts, features, and television.
Weeks 11-12:   comic books: animation and live action; Superman,
               Batman, Captain Marvel, Spy Smasher, Captain
               America, The Shadow, The Spider, The Green Hornet
Weeks 13-15:   more recent developments in comics (E. C.,
               underground comics, graphic novels, etc.); recent
               animation (including Japanese and
               computer-generated).

Requirements:  Numerous short exercises and experiments; active
               class participation; a final paper/project