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English-Language Graphic Narratives in Canada
Drawing on the Margins of History: English-Language Graphic Narratives in Canada by Kevin Ziegler A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2013 © Kevin Ziegler 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re- evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). -
Writing About Comics
NACAE National Association of Comics Art Educators English 100-v: Writing about Comics From the wild assertions of Unbreakable and the sudden popularity of films adapted from comics (not just Spider-Man or Daredevil, but Ghost World and From Hell), to the abrupt appearance of Dan Clowes and Art Spiegelman all over The New Yorker, interesting claims are now being made about the value of comics and comic books. Are they the visible articulation of some unconscious knowledge or desire -- No, probably not. Are they the new literature of the twenty-first century -- Possibly, possibly... This course offers a reading survey of the best comics of the past twenty years (sometimes called “graphic novels”), and supplies the skills for reading comics critically in terms not only of what they say (which is easy) but of how they say it (which takes some thinking). More importantly than the fact that comics will be touching off all of our conversations, however, this is a course in writing critically: in building an argument, in gathering and organizing literary evidence, and in capturing and retaining the reader's interest (and your own). Don't assume this will be easy, just because we're reading comics. We'll be working hard this semester, doing a lot of reading and plenty of writing. The good news is that it should all be interesting. The texts are all really good books, though you may find you don't like them all equally well. The essays, too, will be guided by your own interest in the texts, and by the end of the course you'll be exploring the unmapped territory of literary comics on your own, following your own nose. -
Foregrounding Narrative Production in Serial Fiction Publishing
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2017 To Start, Continue, and Conclude: Foregrounding Narrative Production in Serial Fiction Publishing Gabriel E. Romaguera University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Romaguera, Gabriel E., "To Start, Continue, and Conclude: Foregrounding Narrative Production in Serial Fiction Publishing" (2017). Open Access Dissertations. Paper 619. https://digitalcommons.uri.edu/oa_diss/619 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. TO START, CONTINUE, AND CONCLUDE: FOREGROUNDING NARRATIVE PRODUCTION IN SERIAL FICTION PUBLISHING BY GABRIEL E. ROMAGUERA A DISSERTATION SUBMITTED IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2017 DOCTOR OF PHILOSOPHY DISSERTATION OF Gabriel E. Romaguera APPROVED: Dissertation Committee: Major Professor Valerie Karno Carolyn Betensky Ian Reyes Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2017 Abstract This dissertation explores the author-text-reader relationship throughout the publication of works of serial fiction in different media. Following Pierre Bourdieu’s notion of authorial autonomy within the fields of cultural production, I trace the outside influence that nonauthorial agents infuse into the narrative production of the serialized. To further delve into the economic factors and media standards that encompass serial publishing, I incorporate David Hesmondhalgh’s study of market forces, originally used to supplement Bourdieu’s analysis of fields. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
Enhanced Webcomics”: an Analysis of the Merging Of
University of Amsterdam Spring Semester 2015 Department of Media Studies New Media and Digital Culture Supervisor: Dr. Erin La Cour Second reader: Dr. Dan Hassler-Forest MA Thesis “Enhanced Webcomics”: An Analysis of the Merging of Comics and New Media Josip Batinić 10848398 Grote Bickersstraat 62 f-1 1013 KS Amsterdam [email protected] 06 264 633 34 26 June 2015 Table of Contents 1. Introduction .......................................................................................................................... 1 2. Defining Comics, Webcomics, and Enhanced comics ....................................................... 6 3. Literary Basis ...................................................................................................................... 11 4. Analysis ................................................................................................................................ 27 4.1 Infinite Canvas ................................................................................................................................. 27 4.2. Moving Image and Sound ............................................................................................................... 37 4.3 Co-Authorship and Reader-Driven Webcomics ............................................................................... 43 4.4 Interactivity ...................................................................................................................................... 49 5. Epilogue: A new frontier for comics ................................................................................ -
Scrolling, Swiping, Selling: Understanding Webtoons and the Data-Driven Participatory Culture Around Comics
. Volume 17, Issue 2 November 2020 Scrolling, swiping, selling: Understanding Webtoons and the data-driven participatory culture around comics Nicolle Lamerichs, HU University of Applied Sciences Utrecht, The Netherlands Abstract: Comics cannot be isolated from their active audiences. Scholars have investigated the fans who attend San Diego Comic Con (Scott 2011), who draw their own manga (Lamerichs 2014), and who socialize at comic stores (Woo 2011). Despite this deep entwinement of comics with their audiences, comic studies and fan studies have developed as two different disciplines, which could work together more closely. Whereas comic studies often tend to center on the medium comics, fan scholars commonly investigate how audiences respond to a particular source-text, and remix or rewrite the story. In this article, I argue that comic books and their fandom is in a shift towards different platforms, business models and technologies. The platform economy is drastically changing the relationship between fans and creators. Through a case-study of the platform Webtoon, I demonstrate how contemporary comics and their interfaces are changing from texts to systems and business models. I argue that this changes the nature of the participatory culture around digital comics and their fandom from a bottom-up subculture to a data-driven economy. Keywords: Fan studies, fandom, webtoons, web comics, platform economy, comic studies Introduction Contemporary comic book fandom is rapidly developing. One reason is that the narratives and characters of comic books are increasingly rewritten for television, games and film. The conclusion of the first phase of the Marvel Cinematic Universe, Avengers: Endgame (2019), grossed nearly $2.8 billion worldwide, and became the highest-grossing film of all time (Whitten 2019). -
Rethinking Webcomics: Webcomics As a Screen Based Medium
Dennis Kogel Digital Culture Department of Art and Culture Studies 16.01.2013 MA Thesis Rethinking Webcomics: Webcomics as a Screen Based Medium JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanities Art and Culture Studies Tekijä – Author Dennis Kogel Työn nimi – Title Rethinking Webcomics: Webcomics as a Screen Based Medium Oppiaine – Subject Työn laji – Level Digital Culture MA Thesis Aika – Month and year Sivumäärä – Number of pages January 2013 91 pages Tiivistelmä – Abstract So far, webcomics, or online comics, have been discussed mostly in terms of ideologies of the Internet such as participatory culture or Open Source. Not much thought, however, has been given to webcomics as a new way of making comics that need to be studied in their own right. In this thesis a diverse set of webcomics such as Questionable Content, A Softer World and FreakAngels is analyzed using a combination of N. Katherine Hayles’ Media Specific Analysis (MSA) and the neo-semiotics of comics by Thierry Groensteen. By contrasting print- and web editions of webcomics, as well as looking at web-only webcomics and their methods for structuring and creating stories, this thesis shows that webcomics use the language of comics but build upon it through the technologies of the Web. Far from more sensationalist claims by scholars such as Scott McCloud about webcomics as the future of the comic as a medium, this thesis shows that webcomics need to be understood as a new form of comics that is both constrained and enhanced by Web technologies. Although this thesis cannot be viewed as a complete analysis of the whole of webcomics, it can be used as a starting point for further research in the field and as a showcase of how more traditional areas of academic research such as comic studies can benefit from theories of digital culture. -
BREATHING LIFE INTO WEBCOMICS Pay Attention
v H Ma l ap d e sk a a nr ik BREATHING LIFE INTO WEBCOMICS Pay Attention Bachelor Degree Project in Media Arts, Aesthetics and Narration 30 ECTS Spring term 2018 Pernilla Larsson Supervisor: Lissa Holloway-Attaway Examiner: Lars Vipsjö Abstract This work explored the potential issues concerning attention when adding animation to a webcomic. The aim of the research has been to quantify reader reactions to a comic with animated elements to investigate potential gain or loss from the new format. The research question is formulated with regards to the specific issues of attention and distraction that movement poses on a reader’s ability to focus on the narrative content. A prototype comic tested the guidelines discovered in the background with regards to how animation should work in comics. The results shows that with the guidelines participation reaction becomes more predictable. The prototype was tested on a small group of participants, and the results show that while animations do distract they do not necessarily negatively impact reader experience. The conclusion is that animation within comics has the potential to further the media expression and that is worthy of further study. Key Words: Animation, Webcomics, Attention Table of Contents 1. Introduction………………………………………………………………………………………………. 1 2. Background………………………………………………………………………………………………. 2 2.1 Comics on the Web……………………………………………………………………………………………….… 2 2.1.1 Comics: media or medium?.......................................................................................... 2 -
Adapting the Graphic Novel Format for Undergraduate Level Textbooks
ADAPTING THE GRAPHIC NOVEL FORMAT FOR UNDERGRADUATE LEVEL TEXTBOOKS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Brian M. Kane, M.A. Graduate Program in Arts Administration, Education, and Policy The Ohio State University 2013 Dissertation Committee: Professor Candace Stout, Advisor Professor Clayton Funk Professor Shari Savage Professor Arthur Efland Copyright by Brian M. Kane 2013 i ABSTRACT This dissertation explores ways in which the graphic narrative (graphic novel) format for storytelling, known as sequential art, can be adapted for undergraduate-level introductory textbooks across disciplines. Currently, very few graphic textbooks exist, and many of them lack the academic rigor needed to give them credibility. My goal in this dissertation is to examine critically both the strengths and weaknesses of this art form and formulate a set of standards and procedures necessary for developing new graphic textbooks that are scholastically viable for use in college-level instruction across disciplines. To the ends of establishing these standards, I have developed a four-pronged information-gathering approach. First I read as much pre factum qualitative and quantitative data from books, articles, and Internet sources as possible in order to establish my base of inquiry. Second, I created a twelve-part dissertation blog (graphictextbooks.blogspot.com) where I was able to post my findings and establish my integrity for my research among potential interviewees. Third, I interviewed 16 professional graphic novel/graphic textbook publishers, editors, writers, artists, and scholars as well as college professors and librarians. Finally, I sent out an online survey consisting of a sample chapter of an existing graphic textbook to college professors and asked if the content of the source material was potentially effective for their own instruction in undergraduate teaching. -
Access to Tools
In early 2015, the London-based studio Eden Films released the first issue of their interactive motion comic titled Redemption: The Challenge. The comic tells the biblical myth of the fall of rebellious angels and the subsequent establishment of Lucifer-Satan as the ruler of Hell. Some of the other fallen angels decide to rebel against the rule of Satan and overthrow him, setting the stage for the development of the story. Of course, such a fantastical and mythical world begs for a decorative and fanciful visual presentation, and the creators use several digital techniques, such as parallaxing, animation and sound effects in order to invigorate traditionally drawn images and make them more appealing and engaging. The story was originally conceptualized as a feature film, but the creators wanted to take advantage of the opportunities digital technologies oargoffer, and create a comic in a format that is not the same old print. The first issue was made available on their website in form of motion comic. It is a mash of comics elements, with parallax animation, music score and interactivity all in one place. Such a compound of media would give life to a ‘truly cinematic experience from just a series of flat drawings’, they claim in their ‘Making Of’ documentary. Comics are an example of a medium that has taken on new forms in the digital realm. Being a combination of visual and textual components, comics offer many ways in which these can be reshaped and presented in a new light. The physical limitations of the printed page are lifted as computer screens offer virtually unlimited space to arrange comics panels. -
A Historical Approach to Webcomics: Digital Authorship in the Early 2000S
THE COMICS GRID Journal of comics scholarship Research How to Cite: Misemer, L. 2019. A Historical Approach to Webcomics: Digital Authorship in the Early 2000s. The Comics Grid: Journal of Comics Scholarship, 9(1): 10, pp. 1–21. DOI: https://doi.org/10.16995/cg.162 Published: 07 June 2019 Peer Review: This article has been peer reviewed through the double-blind process of The Comics Grid: Journal of Comics Scholarship, which is a journal published by the Open Library of Humanities. Copyright: © 2019 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Third-party content is included in articles for research and educational purposes only under Academic Fair Dealing/Fair Use. Unless otherwise stated all third-party content is copyright its original owners; all images of and references to characters and comic art presented on this site are ©, ® or ™ their respective owners. Open Access: The Comics Grid: Journal of Comics Scholarship is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Leah Misemer, ‘A Historical Approach to Webcomics: THE COMICS GRID Digital Authorship in the Early 2000s’ (2019) 9(1): Journal of comics scholarship 10 The Comics Grid: Journal of Comics Scholarship. DOI: https://doi.org/10.16995/cg.162 RESEARCH A Historical Approach to Webcomics: Digital Authorship in the Early 2000s Leah Misemer Georgia Institute of Technology, Atlanta, GA, US [email protected] Available on the web and often excerpted by the visually-oriented algorithms of social media feeds, webcomics arguably have the broadest reach of any form of comics, yet they remain under-theorized. -
Technological Innovations in Social Storytelling with Sequential Art
Technological Innovations in Social Storytelling with Sequential Art The Infinite Canvas 2.0 Ben Serrette Table of Contents Title ................................................................................................................................................. 1 Project Title ................................................................................................................................. 1 Design Name ............................................................................................................................... 1 Name ............................................................................................................................................... 1 Introduction ..................................................................................................................................... 2 Summary ..................................................................................................................................... 2 Problem Space ............................................................................................................................ 2 Importance and User base ........................................................................................................... 3 The Design .................................................................................................................................. 4 Approach and Methodology ..........................................................................................................