African American studies

This thesis examines how co-creators Kelly Sue DeConnick and Valentine De Landro's 2014 graphic work, Bitch Planet, is in all conceivable ways a seminal and prescient example of — to use their term — "non-compliance" in the comics form and industry. From its inception as a feminist dystopia, written by a white woman and illustrated by a Black man, in an industry that is over-represented by white men, Bitch Planet is a prime example of activist comics that is situated perfectly within the "Blue Age" of comics, to use the term coined by comic scholar Adrienne Resha. This is evident in the main narrative of Bitch Planet in which, in an industry still over-represented by white characters, the main cast of characters are four Black women and one Japanese-American woman, each of whom we see come up against a theologically patriarchal white supremacist system that imprisons them for crimes that are gendered, racialized, classist and ableist. DeConnick and De Landro's collaboration with other artists extends from Laurenn McCubbin's satirical paratextual in-universe advertisements on the back page of each comic which complement Bitch Planet's main narrative to an invitation to world- building to the greater comic community, allowing creators with marginalized identities to craft short comic stories that satirically and deeply explore the socio-political issues developed in the main narrative of Bitch Planet. The final act of "non-compliance" comes out of the expansion of authorship of Bitch Planet to the readership via the letters pages, and beyond: highlighting readers' Twitter messages, connecting with them through Tumblr, and posting pictures of fan "non-compliant" tattoos within the pages of Bitch Planet.

Author Keywords: Bitch Planet, comics, critical race studies, dystopia , gender studies, intersectional feminism

The scope of my scholarship has undergone a primarily interdisciplinary approach with an emphasis on historiographic scholarship and method, with the support of communication and sociological theory to underpin my core arguments in each chapter. I use the theories of Third Space, commodified racism, and common sense racism in combination to provide an in-depth analysis of prior scholarship on professional wrestling, contemporary and historic fan activities, and biographic information about professional wrestlers. My first chapter examines prior scholarly methodologies and approaches for broaching the topic of professional wrestling while providing a unique and effective alternative for negotiating with the complex and often-tenuous relationship between professional wrestling, race, and collective memory. I evaluate the seminal works that make up the body of previous professional wrestling scholarship, specifically focusing on dramaturgy as a scholarly approach that limits focus to in-ring performance. In Chapter 2, I provide an in-depth analysis of first-hand accounts by and about Black professional wrestlers, charting the ways in which commodified and common sense racism affect both their careers and personal perspectives on race. Drawing on the tradition of minstrelsy, the chapter defines the ways that Black professional wrestlers have been categorized as mere sources of entertainment rather than being portrayed as skilled, athletic, or serious contenders for wrestling titles. My third chapter assesses twenty-first century fan engagement with professional wrestling content within the context of online Third Spaces. The chapter highlights the points of ideological division amongst fans, who both support and resist the wrestling industry's common sense and commodifying racism.

Keywords: Pro wrestling; commodified racism, common sense racism, Third Space, critical race theory, American history, fan studies

Author Keywords: commodified racism, common sense racism, critical race theory, fan studies, Pro wrestling, Third Space