Tuesday, 26 March 2013

Game of Thrones, only anime I haven't shared a student's RIP project in a while, so I feel I should remind you of what they are: The final assignment of my visual rhetoric course is called Rhetoric in Practice (or RIP). It has two components. To paraphrase the rubric: the students create their own rhetorical performance, explore questions of how to target an audience, follow the conventions of a genre, choose the medium for their message, and all the while, use the critical tools they’ve been learning all quarter to develop their ideas. They then perform a rhetorical analysis of their own work via a detailed writer's memo. The pedagogical theory behind this is sound: by forcing them to do something fun at the end of the quarter, I get better evaluations the tools I taught them over the course of it become more solidly ensconced in their brain-space. Only this time, instead of deducing the rhetorical intent behind someone else's decisions, they must decide how to communicate their message to their target audience most effectively. One of the highlights of this quarter was a remake of the Game of Thrones opening credit sequence, only intended for an audience of the sort one finds at the University of California, Irvine: I hope that, as a student project completed in a little under two weeks, this doesn't violate Fair Use and won't be taken down, but I can't be sure. Also, I'll credit the student when I hear back from her about whether she wants credit for it. Given that I've already had a Disney animator think it worthy of praise, though, I'm fairly comfortable sharing it with the world.
Representations of rape in comic books [I'm re-posting this because I received an email on my earlier post inquiring as to whether "cartoons" are capable of tackling difficult social issues responsibly. I think this old post demonstrates how something as ostensibly slight as a "cartoon" can have a profound impact on a person's moral development.] The year was 1988. I was a recent transplant to Louisiana and a tad on the introverted side. (What with being deaf and all.) So I spent endless hours reading comic books. I may have “like ‘em liked” some girls at this point, but can find no evidence of it in my fourth grade yearbook. Not only did I know nothing about girls, I distinctly remember not even knowing what this “rape” thing I heard about on the news was. But I mowed my lawn every day—my father having decided to instill the value of hard work by allowing me to earn $4 whenever I wanted by re-mowing what my new work ethic transformed into a hilariously mangy lawn—and so I had plenty of money to blow on X-books. Meaning I spent most afternoons blissfully unaware of anything that didn’t involve the X-Men or X-Factor or The New Mutants or, if I was desperate enough, Alpha Flight. One late October afternoon, I purchase a copy of X-Men #236. On the cover Wolverine and Rogue are hung by their feet from a scaffold, flanked on both sides by grinning fools in military garb. (This image disturbs me more now than it did then.) What had happened? The X-Men had sacrificed themselves to save the world, only in the end they were granted a reprieve: they would be dead to the world but would live undetected and undetectable in the Australian outback. They were invisible to all forms of electronic recording devices. They were able to move throughout the world invisible to all by the naked eye. Or so they thought until a fascist state called “Genosha” declared war on them. To make a long story short: shit hit fans. Wolverine and Rogue were captured. For those unfamiliar with the comics or the films, Rogue has the power to absorb the memories and/or mutant powers of whomever she touches. So, naturally, she doesn’t touch anyone for fear of knocking them unconscious and draining them of their “life energy.” Her entire life Rogue has wanted nothing more than to touch someone without hurting them. To be loved. But she’d come to accept the fact that this would never happen. This self-sacrifice moved my fourth-grade mind. I sympathized with her despite having no clue as to what she sacrificed or why. I only knew that it pained her and, being the good sympathetic identifier that I was, I felt her pain by proxy. So without really knowing why, I wanted Rogue to be able to touch people. And after she’s captured by the Genoshans, she’s stripped of her mutant powers. Now she can touch people without having to worry about killing them. For a moment,...

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