Qiana Witted is an author and professor at the University of South Carolina, who will discuss 'Captions and Corpses: How to Read an EC Comic' on Feb. 7 at SDSU, addressing the ways one comic book publisher dealt with social messages in the 1950s
explores the response to, and impact of, comic book stories that addressed social issues in America during the 1950s, along with the public anxieties around those stories that ultimately led to congressional hearings and self-regulation in the industry. On Tuesday, Whitted will present “Captions and Corpses: How to Read an EC Comic” as a guest lecturer at San Diego State University through its Center for Comics Studies. The public lecture begins at 3 p.m. at the Gold Auditorium in the Donald P.
, researches and teaches about comics and graphic novels related to race and gender that raise questions about identity, representations of history, and other social issues. She took some time to talk about what was happening when these comics were being published, and how the influence of those works shows up today. In your upcoming lecture at San Diego State University, you’ll be discussing “Captions and Corpses: How to Read an EC Comic.
One of the things that made EC so popular, especially with older kids and even some adults, was that they were hugely violent or gruesome and a lot of the sensational images they put on the cover, like a severed head or corpses or mummies or vampires, those are the things that got people to make a purchase and spend their dime on the comic.
One of the things that happened was because EC had such enthusiastic fan communities and reading communities, a lot of those readers would go on to become adults who created comics. I think about the underground comics movement of the ‘60s and ‘70s, where there were a lot of countercultural, taboo messages. Many of those people grew up reading EC.
I would also add that one of the things EC didn’t have was a lot of Black creators. There were virtually no Black writers or artists at EC, and today that’s changed. I think that the influence of some of those stories, or the benefit of it, rather, is that we can now have Black creators who are telling their own stories, artists who are able to do things that they weren’t able to do in the ‘50s.
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