Summary of Krazy Kat, the Poetics of Passing | Michael Tisserand | Talks at Google

00:00:00 - 00:50:00

In this video, Michael Tisserand discusses the comic strip "Krazy Kat" and how it explores the idea of beauty. He also discusses how George Herman used the landscape of Arizona in his comics to represent different aspects of beauty, such as Native American art and nature. Finally, he discusses how Herman's work has been appreciated by modern audiences.

• 00:00:00 In this talk, Michael Tisserand discusses the history and development of "crazy cat" comic strip, which was first published in 1913. He also presents a few examples from the strip from the early 20th century that feature stereotypical depictions of African-Americans.
• 00:05:00 This video discusses the history of "Krazy Kat," one of the earliest American comic strips. The comic strip features a character named Crazy Cat, who is often mistaken for a love letter. Officer Pupp and Ignatz, two of Crazy Cat's enemies, also appear in the strip. Officer Pupp is obsessed with stopping Crazy Cat, while Ignatz spends his time throwing bricks at the cat. Crazy Cat's love life is also explored, with various characters commenting on her relationships. The comic strip continued to be published until 1944, when Charles Schulz (creator of "Peanuts") discovered it.
• 00:10:00 Michael Tisserand discusses the strip, "Krazy Kat," with examples of how the comic's characters can be interpreted as non-binary. He also discusses Gabriel Ballot's essay for The New Yorker about the strip.
• 00:15:00 The video focuses on the life and work of George Herman, a black cartoonist who is known for his satirical depictions of white people and racial passing. Herman's work reflects the experience of black Americans during the Jim Crow era, when they had to struggle against discrimination in both their personal and professional lives.
• 00:20:00 In 1910, a boxing match between Jack Johnson and Jim Jeffries was moved to Reno, Nevada because of white hysteria. George Herrmann was in New York, and did comic after comic satirizing the white hysteria.
• 00:25:00 In this video, Michael Tisserand discusses the poetic nature of the 1927 cartoon "Krazy Kat," which features a white pugilist (Jim Jeffries) fighting a large black opponent. The white pugilist is often depicted as a portly gentleman due to his lack of fighting weight, while the large black opponent is often portrayed as a threatening force. The black boxer is often shown as winning the fight, despite the white pugilist's superior skills in the ring. This poetic use of visual imagery is often subversive and used for the white pugilist's own ends. The child in the video is observing changes in public schools, as the color line has been replaced by the color line of the imaginary line dividing the earth in half. The fight films of Jack Johnson and Jim Jeffries are destroyed in the name of decency, but Ignatz Mouse and Crazy Cat (both introduced in 1913) continue to thrive.
• 00:30:00 In this video, Michael Tisserand discusses the comic strip "Krazy Kat" and how it explores the idea of beauty. He also discusses how George Herman used the landscape of Arizona in his comics to represent different aspects of beauty, such as Native American art and nature. Finally, he discusses how Herman's work has been appreciated by modern audiences.
• 00:35:00 The video discusses the history and significance of comic book character "crazy cat." It covers the themes of division and violence in society, and how the character reflects this in his own stories. The author argues that the character's story is incomplete, and that Hermann's work should be looked at in its entirety to get the full picture. He also points to parallels between the current world and the 1960s New Orleans depicted in the author's book.
• 00:40:00 Michael Tisserand talks about the influence of comic books on his life and how they've influenced his work as a general. He also discusses the influence of comic books on the development of his career.
• 00:45:00 The speaker discusses the idea of racial passing, or the idea that one can be both racially and culturally different from the majority of their population and still be accepted and celebrated. He discusses the importance of comics as a medium for exploring these concepts, and how his great-grandfather's story is a perfect example of racial passing. He also discusses his own experience of racial passing and how it has shaped his understanding of the world.
• 00:50:00 Michael Tisserand discusses the aesthetics of passing in his talk "Krazy Kat, the Poetics of Passing." He points out that, in the 1940s, there was no racial or sexual passing, but now there is a new form of passing called "orientation passing." He also points out that, in the comics, Krazy Kat is multi-dimensional and full of beauty. He encourages audience members to purchase his books and visit their local independent bookstore.