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British Library Conference Centre
The Fifth International Graphic Novel and Comics Conference 18 – 20 July 2014 British Library Conference Centre In partnership with Studies in Comics and the Journal of Graphic Novels and Comics Production and Institution (Friday 18 July 2014) Opening address from British Library exhibition curator Paul Gravett (Escape, Comica) Keynote talk from Pascal Lefèvre (LUCA School of Arts, Belgium): The Gatekeeping at Two Main Belgian Comics Publishers, Dupuis and Lombard, at a Time of Transition Evening event with Posy Simmonds (Tamara Drewe, Gemma Bovary) and Steve Bell (Maggie’s Farm, Lord God Almighty) Sedition and Anarchy (Saturday 19 July 2014) Keynote talk from Scott Bukatman (Stanford University, USA): The Problem of Appearance in Goya’s Los Capichos, and Mignola’s Hellboy Guest speakers Mike Carey (Lucifer, The Unwritten, The Girl With All The Gifts), David Baillie (2000AD, Judge Dredd, Portal666) and Mike Perkins (Captain America, The Stand) Comics, Culture and Education (Sunday 20 July 2014) Talk from Ariel Kahn (Roehampton University, London): Sex, Death and Surrealism: A Lacanian Reading of the Short Fiction of Koren Shadmi and Rutu Modan Roundtable discussion on the future of comics scholarship and institutional support 2 SCHEDULE 3 FRIDAY 18 JULY 2014 PRODUCTION AND INSTITUTION 09.00-09.30 Registration 09.30-10.00 Welcome (Auditorium) Kristian Jensen and Adrian Edwards, British Library 10.00-10.30 Opening Speech (Auditorium) Paul Gravett, Comica 10.30-11.30 Keynote Address (Auditorium) Pascal Lefèvre – The Gatekeeping at -
Manga As a Teaching Tool 1
Manga as a Teaching Tool 1 Manga as a Teaching Tool: Comic Books Without Borders Ikue Kunai, California State University, East Bay Clarissa C. S. Ryan, California State University, East Bay Proceedings of the CATESOL State Conference, 2007 Manga as a Teaching Tool 2 Manga as a Teaching Tool: Comic Books Without Borders The [manga] titles are flying off the shelves. Students who were not interested in EFL have suddenly become avid readers ...students get hooked and read [a] whole series within days. (E. Kane, personal communication, January 17, 2007) For Americans, it may be difficult to comprehend the prominence of manga, or comic books, East Asia.1. Most East Asian nations both produce their own comics and publish translated Japanese manga, so Japanese publications are popular across the region and beyond. Japan is well-known as a highly literate society; what is less well-known is the role that manga plays in Japanese text consumption (Consulate General of Japan in San Francisco). 37% of all publications sold in Japan are manga of one form or another, including monthly magazines, collections, etc. (Japan External Trade Organization [JETRO], 2006). Although Japan has less than half the population of the United States, manga in all formats amounted to sales within Japan of around 4 billion dollars in 2005 (JETRO, 2006). This total is about seven times the United States' 2005 total comic book, manga, and graphic novel sales of 565 million dollars (Publisher's Weekly, 2007a, 2007b). Additionally, manga is closely connected to the Japanese animation industry, as most anime2 television series and films are based on manga; manga also provides inspiration for Japan's thriving video game industry. -
Korean Webtoons' Transmedia Storytelling
International Journal of Communication 13(2019), 2094–2115 1932–8036/20190005 Snack Culture’s Dream of Big-Screen Culture: Korean Webtoons’ Transmedia Storytelling DAL YONG JIN1 Simon Fraser University, Canada The sociocultural reasons for the growth of webtoons as snack culture and snack culture’s influence in big-screen culture have received little scholarly attention. By employing media convergence supported by transmedia storytelling as a theoretical framework alongside historical and textual analyses, this article historicizes the emergence of snack culture. It divides the evolution of snack culture—in particular, webtoon culture—to big-screen culture into three periods according to the surrounding new media ecology. Then it examines the ways in which webtoons have become a resource for transmedia storytelling. Finally, it addresses the reasons why small snack culture becomes big-screen culture with the case of Along With the Gods: The Two Worlds, which has transformed from a popular webtoon to a successful big-screen movie. Keywords: snack culture, webtoon, transmedia storytelling, big-screen culture, media convergence Snack culture—the habit of consuming information and cultural resources quickly rather than engaging at a deeper level—is becoming representative of the Korean cultural scene. It is easy to find Koreans reading news articles or watching films or dramas on their smartphones on a subway. To cater to this increasing number of mobile users whose tastes are changing, web-based cultural content is churning out diverse subgenres from conventional formats of movies, dramas, cartoons, and novels (Chung, 2014, para. 1). The term snack culture was coined by Wired in 2007 to explain a modern tendency to look for convenient culture that is indulged in within a short duration of time, similar to how people eat snacks such as cookies within a few minutes. -
Korean Webtoonist Yoon Tae Ho: History, Webtoon Industry, and Transmedia Storytelling
International Journal of Communication 13(2019), Feature 2216–2230 1932–8036/2019FEA0002 Korean Webtoonist Yoon Tae Ho: History, Webtoon Industry, and Transmedia Storytelling DAL YONG JIN1 Simon Fraser University, Canada At the Asian Transmedia Storytelling in the Age of Digital Media Conference held in Vancouver, Canada, June 8–9, 2018, webtoonist Yoon Tae Ho as a keynote speaker shared several interesting and important inside stories people would not otherwise hear easily. He also provided his experience with, ideas about, and vision for transmedia storytelling during in-depth interviews with me, the organizer of the conference. I divide this article into two major sections—Yoon’s keynote speech in the first part and the interview in the second part—to give readers engaging and interesting perspectives on webtoons and transmedia storytelling. I organized his talk into several major subcategories based on key dimensions. I expect that this kind of unusual documentation of this famous webtoonist will shed light on our discussions about Korean webtoons and their transmedia storytelling prospects. Keywords: webtoon, manhwa, Yoon Tae Ho, transmedia, history Introduction Korean webtoons have come to make up one of the most significant youth cultures as well as snack cultures: Audiences consume popular culture like webtoons and Web dramas within 10 minutes on their notebook computers or smartphones (Jin, 2019; Miller, 2007). The Korean webtoon industry has grown rapidly, and many talented webtoonists, including Ju Ho-min, Kang Full, and Yoon Tae Ho, are now among the most famous and successful webtoonists since the mid-2000s. Their webtoons—in particular, Yoon Tae Ho’s, including Moss (Ikki, 2008–2009), Misaeng (2012–2013), and Inside Men (2010–in progress)—have gained huge popularity, and all were successfully transformed into films, television dramas, and digital games. -
2019-09-12-Pk-Fbd-Final.Pdf
PRESS KIT Brussels, September 2019 The 2019 Brussels Comic Strip Festival Brussels is holding its 10th annual Comic Strip Festival from 13 to 15 September 2019 From their beginning at the turn of the previous century, Belgian comics have really become famous the world over. Many illustrators and writers from our country and its capital are well- known beyond our borders. That is reason enough to dedicate a weekend to this rich cultural heritage. Since its debut in 2010, the Brussels Comic Strip Festival has become the main event for comics fans. Young and old, novices and experts, all share a passion for the ninth art and come together each year to participate in the variety of activities on offer. More than 100,000 people and some 300 famous authors gather every year. For this 2019 edition, the essential events are definitely on the schedule: autograph sessions, the Balloon's Day Parade and many more. There's a whole range of activities to delight everyone. Besides the Parc de Bruxelles, le Brussels Comic Strip Festival takes over the prestigious setting of Brussels' Palais des Beaux-Arts, BOZAR. Two places that pair phenomenally well together for the Brussels Comic Strip Festival. Festival-goers will be able to stroll along as they please, enjoying countless activities and novelties on offer wherever they go. From hundreds of autograph signings to premiere cartoon screenings and multiple exhibitions and encounters with professionals, ninth art fans will have plenty to keep them entertained. Finally, the Brussels Comic Strip Festival will award comics prizes: The Atomium Prizes, during a gala evening when no less than €90,000 will be awarded for the best new works from the past year. -
Star Wars Art: Comics PDF Book
STAR WARS ART: COMICS PDF, EPUB, EBOOK Dennis O'Neil | 180 pages | 12 Oct 2011 | Abrams | 9781419700767 | English | New York, United States Star Wars Art: Comics PDF Book The Mandalorian. Mecklenburg received B. Non-necessary Non-necessary. I loved how they talked about "laser swords" and about how Luke looked "a little soft. Audiences first witnessed the lava-covered Mustafar back in Revenge of the Sith , but its presence in the overall Star Wars mythos has been much more widespread. Start the Conversation. Star Wars: The Force Awakens 1—6. Star Wars and sequential art share a long history: Star Wars debuted on the comic-book page in , when Marvel Comics began publishing a six-part adaptation of the first film, which morphed into a monthly comic book. All models feature two LCD screens. You may return the item to a Michaels store or by mail. Star Wars: Captain Phasma 1—4. Star Wars Adventures: Forces of Destiny 1—5 []. Most media released since then is considered part of the same canon, including comics. If you consider yourself a Jedi at the game of darts than this Star Wars Dartboard is for you. This book is not yet featured on Listopia. Leia 1 [] Reprints Star Wars Also at Amazon. And it? October 25, James Kelly Design 0. Learn how to enable JavaScript on your browser. Pin this product on Pinterest. Archived from the original on November 21, Now the third book […]. Archived from the original on May 7, Reproduction is clear and sharp. Star Wars Art: Comics Writer Return to Book Page. -
Image Comics : the Road to Independence Pdf, Epub, Ebook
IMAGE COMICS : THE ROAD TO INDEPENDENCE PDF, EPUB, EBOOK George Khoury | 280 pages | 03 Jul 2007 | TwoMorrows Publishing | 9781893905719 | English | Raleigh, United States Image Comics : The Road to Independence PDF Book Start of add to list layer. Answers abound in the thrilling conclusion to The God Dilemma. Billy Candelaria marked it as to-read May 28, From time to time. About this product. The always energetic Marc Silvestri was the first of the Image co-founders to ever experience a degree of major success when he became the regular penciler of The Uncanny X-Men in Batman had not been reinvented yet by Frank Miller, Superman was longdead. Pre-owned Pre-owned. Show More Show Less. Who is Demus, the first vampire? The publishers! There's just one problem: The powers don't belong to him. In , Erik became the publisher of Image Central, as he hopes to usher in a new era of renaissance for the company that he helped co-found. No, I just missed that. Will they live to cover Blitzkrieg Bop another day? Was your first wife understanding of your career choice? He had a great imagination, and the guy just obviously loves the medium. I got form letters from Marvel and DC. I think it was Art Adams first. Read more It was just such a frustrating, inefficient way to get to the end result. If you did have a career path, you wound up at the apex at The X-Men working with guys like Chris Claremont. Take Captain America. I went by. Both Jim and Todd. -
Consuming Japan Early Korean Girls Comic Book Artists’ Resistance and Empowerment
CHAPTER 6 CONSUMING JAPAN EARLY KOREAN GIRLS COMIC BOOK ARTISTS’ RESISTANCE AND EMPOWERMENT Kukhee Choo, National University of Singapore / University of Tokyo Kukhee Choo is a Postdoctoral Fellow at the Asian Research Institute, National University of Singapore and an Exchange Research Fellow at the University of Tokyo. INTRODUCTION The recent popularity of Japanese anime and manga in the global market has sparked a variety of academic research. In Japan, both media fall under the term kontentsu (‘content’), and the Japanese government passed the Content Industry Promotion Law bill in 2004 in order to ‘offi- cially’ promote anime and manga as a Japanese product globally.1 This change has come with the growth of the United States market since the mid-1990s. However, before the Japanese gov- ernment decided to support the anime and manga industries, there was a wave of Japanese products – which included music, television dramas, manga, anime and video games – popularly consumed in Asia throughout the 1990s (Iwabuchi 2002). South Korea (henceforth Korea) was no exception. Although the Korean government only officially allowed Japanese cultural products into the Korean market after 1998, a continuous backdoor for such products, mostly manga, had existed for many decades prior to Korea’s ‘open door’ policy. The Korean military government constantly tried to prevent the public from ‘expos- ure’ to Japanese products throughout the 1970s and 1980s due to a concern that they would corrupt Korean morals and sentiment. The primary concern arose from the colonial past: Koreans had a deep-rooted fear of Japanese cultural products as they reminded them of Japan’s Occupation. -
Comfort Women’ Comics, Multi- Faceted Revisiting the 2014 Manhwa Exhibit in Angoulême from the Perspective of Manga Studies
Jaqueline Berndt ‘Comfort Women’ Comics, Multi- faceted Revisiting the 2014 Manhwa Exhibit in Angoulême from the Perspective of Manga Studies Keywords: manga, manhwa, representation, genre, affect Introduction The International Comics Festival in Angoulême, held annually around the end of January, is the biggest of its kind in Europe, and it plays an important role also for Asian actors. While Japanese artists have been receiving festival awards since the late 1990s and Japanese publishers have been attending the festival as well, the Korean government began official participation in 2003.1 In view of the recent international tensions in East Asia, it is not surprising that such festivals, too, may become the site of political contention. Precisely this happened in early 2014. At the time, the 41st festival commemorated the centennial of World War I, and in relation to the subtheme of war-induced violence against women, the French organizers had accepted the proposal of a state-sponsored Korean exhibition featuring specially commissioned comics2 (Kor. manhwa) on 1 Followed by Hong Kong in 2011 and Taiwan in 2012. 2 I refrain from using the word comic book/s due to its connotation of a specific, American publication format. In line with recent comics studies custom, the word comics signifies both the singular and the plural. 143 ‘comfort women,’ that is, “women forced into sexual slavery between 1932–45 to provide sex for Japanese soldiers” (Kingston 2014, 43) (fig. 1).3 When this leaked out in August 2013, a Japanese revisionist named Fujii Mitsuhiko took action; specifically, he launched the ROMPA pro- ject and booked a booth within the Little Asia hall of the festival where he intended to disseminate his counter-narrative, a self-produced 83-page comics (Jp. -
Manga and the Graphic Novel, According to a List of Key Discursive Characteristics
The Influence of Manga on the Graphic Novel Simon Grennan There is a noticeable, though imperfect, historic parallel between the increase in the readership of Anglophone manga since the early 1990s and the maturation of concepts of the graphic novel, as an “Anglophone” comics genre, since the 1980s. According to a number of approaches, this historic parallel offers opportunities to scrutinize relationships between the development of the two genres (Couch 2010, Hatfield 2005).In particular, this parallel offers the opportunity to historicize descriptions of the complex ways in which these emerging relationships revised diverse practices of visioning, producing and reading comics, in order either to entrench or transform specific markets and cultures, precipitating new types of product and creating new types of reading experience. This chapter will summarize distinctions between the traditions of manga and the graphic novel, according to a list of key discursive characteristics. It will focus on a number of case studies that exemplify some foundational activities for the genre of the graphic novel beween1980 and 2000. According to Laurence Venuti’s descriptions of “foreignization” and “domestication,” it will discuss ways in which manga practices have been adopted and transformed by Anglophone markets and readers, relative to the maturation of the graphic novel. Specifically, the chapter will consider foreignization strategies in Miller’s Ronin, Anglophone translations of Koike and Kojima’s Kozure Ōkami (Lone Wolf and Cub), Nakazawa’s Hadoshi no Gen (Barefoot Gen) and in Spiegelman’s Maus, touching upon the significance of experiences of Anglophone anime for the adoption of manga practices by the graphic novel in the same period. -
British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2013 Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Salisbury, Derek, "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books" (2013). Graduate College Dissertations and Theses. 209. https://scholarworks.uvm.edu/graddis/209 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. -
Graphic Novels - Faqs
Graphic Novels - FAQs What are graphic novels? Michelle Gorman defines a graphic novel as “. an original book-length story, either fiction or nonfiction, published in comic book style . or a collection of stories that have been published previously as individual comic books . .” Gorman, Michelle. Getting Graphic!: using graphic novels to promote literacy with preteens and teens. Worthington, OH: Linworth Publishing, 2003. (p. xii) According to Gorman there is no widely accepted term for the graphic nonfiction, “therefore the use of the seemingly erroneous label of “novel” for all books created in a comic-style format must be understood and accepted as the status quo.” (p. xii) The criteria that we have developed for NC are categorized as Graphic Novels: Fiction, Graphic Novels: Nonfiction and Graphic Novel Multimedia. What is manga? Manga (mahn-guh) are serial comics originally published in Japan that usually read right to left and back to front and contain characters with exaggerated facial and body characteristics. Some genres of manga are shonen for boys, shojo for girls and kodomo for children. The Korean term for print comics is Manhwa (mahn-hwah) and the Chinese call their comics manhua. What is anime? Anime (ah-nee-may), originally from Japan, is the term for animated feature films, television programs and original video animation (OVA). It comes from the Japanese word animeshon, a translation of animation. Why does DPI include Supports NC K-12 curriculum as one of the criteria for evaluating Graphic Novels? Please see the following competency goals and objectives: • Grade 2 (LA) 1.05 Use a variety of strategies and skills to read self-selected texts independently for 20 minutes daily.