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How Do Comics Artists Use Speech Balloons? Frank Bramlett University of Nebraska at Omaha, [email protected]
University of Nebraska at Omaha DigitalCommons@UNO English Faculty Publications Department of English 1-23-2014 How do comics artists use speech balloons? Frank Bramlett University of Nebraska at Omaha, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/englishfacpub Part of the English Language and Literature Commons Recommended Citation Bramlett, Frank, "How do comics artists use speech balloons?" (2014). English Faculty Publications. 13. https://digitalcommons.unomaha.edu/englishfacpub/13 This Article is brought to you for free and open access by the Department of English at DigitalCommons@UNO. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. ABOUT CONTRIBUTORS BROWSE BY PENCILPANELPAGE POSTS FEED COMMENTS FEED search How do comics artists use speech balloons? Twitter Facebook by Frank Bramlett January 23, 2014 7:26 am Blog, PencilPanelPage, Top Featured 12 comments RECENT POSTS The Riddle of the Sphinx This post is the first in a series on how comics artists represent talk in comics. I’ll be writing Utilitarian Review 2/13/16 Comics by the Date: May 1952 to June about speech balloons and how the discipline of conversation analysis (CA) helps us 1952 understand how creative these artists can be when they try to show the intricacies of How to Be a Man everyday talk. When I Walk Consider the following two panels. These are from the webcomic Scenes from a Multiverse by Jon Rosenberg. (Click on each of the titles to see the full comic.) Donate to my Patreon! The Symbiote The Superbowl (sic) (February 1, 2013) (February 4, 2013) RECENT COMMENTS Chris Gavaler: Matthias, I’m curious how the 3×2 grid you include above might relate.. -
|||GET||| Superheroes and American Self Image 1St Edition
SUPERHEROES AND AMERICAN SELF IMAGE 1ST EDITION DOWNLOAD FREE Michael Goodrum | 9781317048404 | | | | | Art Spiegelman: golden age superheroes were shaped by the rise of fascism International fascism again looms large how quickly we humans forget — study these golden age Superheroes and American Self Image 1st edition hard, boys and girls! Retrieved June 20, Justice Society of America vol. Wonder Comics 1. One of the ways they showed their disdain was through mass comic burnings, which Hajdu discusses Alysia Yeoha supporting character created by writer Gail Simone for the Batgirl ongoing series published by DC Comics, received substantial media attention in for being the first major transgender character written in a contemporary context in a mainstream American comic book. These sound effects, on page and screen alike, are unmistakable: splash art of brightly-colored, enormous block letters that practically shout to the audience for attention. World's Fair Comics 1. For example, Black Panther, first introduced inspent years as a recurring hero in Fantastic Four Goodrum ; Howe Achilles Warkiller. The dark Skull Man manga would later get a television adaptation and underwent drastic changes. The Senate committee had comic writers panicking. Howe, Marvel Comics Kurt BusiekMark Bagley. During this era DC introduced the Superheroes and American Self Image 1st edition of Batwoman inSupergirlMiss Arrowetteand Bat-Girl ; all female derivatives of established male superheroes. By format Comic books Comic strips Manga magazines Webcomics. The Greatest American Hero. Seme and uke. Len StrazewskiMike Parobeck. This era saw the debut of one of the earliest female superheroes, writer-artist Fletcher Hanks 's character Fantomahan ageless ancient Egyptian woman in the modern day who could transform into a skull-faced creature with superpowers to fight evil; she debuted in Fiction House 's Jungle Comic 2 Feb. -
Isabelle Monin Et Cabu
Isabelle monin et cabu Continue Ujourd'hui c'est la paralysie g'no- For You Sanders Show Cabu also released political cartoons for his rival Le Canard encha'n and other magazines. His most famous characters were Mont Bof (My Shunya), the embodiment of bullish French provincial complacency. Charlie Hebdo published the cartoons in solidarity with the Danish newspaper and make a point about freedom of expression in France, which has the largest Muslim population in Europe. But his experience in Algeria turned him into a fierce anti-militarist, and he remained a tireless campaigner for non-violence and a critic of the French political establishment. The boy became better known in France as a punk singer and songwriter Mano ... In the 1960s, Cabu had a son, Isabelle Monin, co-founder of the environmental magazine La Gueule. Isabelle Monin nous exit le 26 dechembre. The boy became better known in France as punk singer-songwriter Mano Solo, who died of AIDS in 2010. The philanthropist and heir to the Littlewoods Empire, who became the generous patron of Mano Solo, was born Emmanuel Cabut, was a French singer. In the 1960s, Cabu had a son, Isabelle Monin, co-founder of the environmental magazine La Gueule. Cabu also produced political cartoons for his rival Le Canard encha'n and other magazines. But his experience in Algeria turned him into a fierce anti-militarist, and he remained a tireless campaigner for non-violence and a critic of the French political establishment. BORN En 1986, il apprend sa s'ropositivit. However, in March 2007, after a hearing that was considered a trial case on freedom of expression, Val was acquitted by a Paris court. -
Philippe Lançon, Cinq Ans Après « Charlie » : « Les Tueurs Passent, La Création Continue »
Philippe Lançon, cinq ans après « Charlie » : « Les tueurs passent, la création continue » Philippe Lançon à Paris, le 5 novembre 2018. (Denis ALLARD/REA) Plusieurs fois récompensé pour son poignant récit « le Lambeau », l’écrivain et journaliste Philippe Lançon, rescapé du 7 janvier 2015, livre avec finesse son sentiment sur les années écoulées depuis l’attentat. Propos recueillis par Caroline Michel-Aguirre et Maël Thierry Publié le 07 janvier 2020 à 07h00 Le 3 janvier, « le Lambeau » (prix Femina et prix spécial Renaudot 2018) est sorti en Livre de Poche. Qu’est-ce que le succès de ce livre vous a apporté que vous n’attendiez pas ? Et qu’est-ce que le livre a, d’après ce qu’ils vous en disent, apporté à ses nombreux lecteurs ? « Le Lambeau » m’a apporté un succès paisible, des centaines de lettres, des échanges surprenants, des disques envoyés par des lecteurs musiciens ou mélomanes et la possibilité, pour la première fois de ma vie, de m’endetter pour acheter un appartement. Il m’a aussi permis de mieux comprendre ce que j’attends d’un récit, comme lecteur et comme auteur : un mélange de tension, d’introspection et de simplicité. Si je m’en tiens aux lettres reçues, l’histoire que je raconte est souvent devenue l’histoire personnelle, intime, de ceux qui l’ont lue. Parmi eux, beaucoup de patients ou d’anciens patients, de soignants ou d’anciens soignants. Je viens encore d’apprendre qu’une lectrice, atteinte d’un cancer, avait donné mon prénom à sa potence hospitalière, un instrument avec lequel le patient ne cesse de se déplacer ! Je n’avais ni voulu ni prévu ces réactions, mais je m’en réjouis. -
Bibliotherapy and Graphic Medicine
This is a preprint of a chapter accepted for publication by Facet Publishing. This extract has been taken from the author’s original manuscript and has not been edited. The definitive version of this piece may be found in Bibliotherapy, Facet, London, ISBN 9781783302410, which can be purchased from http://www.facetpublishing.co.uk/title.php?id=303410&category_code=37#.W0xzl4eoulI. The author agrees not to update the preprint or replace it with the published version of the chapter. Our titles have wide appeal across the UK and internationally and we are keen to see our authors content translated into foreign languages and welcome requests from publishers. World rights for translation are available for many of our titles. To date our books have been translated into over 25 languages. Bibliotherapy and graphic medicine Sarah McNicol, Manchester Metropolitan University 1. Introduction While most bibliotherapy activities focus on the use of written text, whether in the form of novels, poetry or self-help books, in recent years there has been a growing interest in the use of graphic novels and comics as a mode of bibliotherapy. The term ‘graphic narratives’ is used in this chapter to include both graphic novels and shorter comics in both print and digital formats. The chapter explores the ways in which graphic narratives of various types might be used as an effective form of bibliotherapy. It considers how the medium can be particularly effective in supporting important features of bibliotherapy such as providing reassurance; connection with others; alternative perspectives; and models of identity. It then draws on examples of bibliotherapy collections from different library settings to demonstrate some of the ways in which graphic narratives are currently used in bibliotherapy practice, or might have potential to be used in the future. -
Comic Book Analyst for Children Having Literacy and Visual Barriers
Snap & Hear: Comic Book Analyst for Children Having Literacy and Visual Barriers R. B. Dias Yapa1, T. L. Kahaduwa Arachchi2, V. S. Suriyarachchi1, U. D. Abegunasekara1 and S. Thelijjagoda3 1Department of Software Engineering, Sri Lanka Institute of Information Technology, Malabe, Sri Lanka 2 Department of Information Technology, Sri Lanka Institute of Information Technology, Malabe, Sri Lanka 3Department of Information Systems Engineering, Sri Lanka Institute of Information Technology, Malabe, Sri Lanka [email protected] Keywords: Comics, Visual and Literacy Barriers, Recognition, Association, Image Processing, Machine Learning, Audio Story. Abstract: Comic books are very popular across the world due to the unique experience they provide for all of us in the society without any age limitation. Because of this attraction, which comic books have received, it has proved that comic literature will be able to survive in the twenty first century, even with the existence of multi- dimensional movie theatres as its competitors. While the biggest global filmmakers are busy with making movies from comic books, many researchers have been investigating their time on digitizing the comic stories as it is, expecting to create a new era in the comic world. But most of them have focused only on one or few components of the story. This paper is based on a research which aims to give the full experience of enjoying the comic books for everyone in the world despite of visual and literacy barriers people are having. Proposed solution comes as a web application that translates input image of a comic story into a text format and delivers it as an audio story to the user. -
Comics Comics “Can Anybody Hear Me?” Tiitu Takalo: Memento Mori Comics
Comics Comics “Can anybody hear me?” Tiitu Takalo: Memento Mori Comics Mari Luoma Romeo and the Monsters First book in a brand new graphic novel series for middle grade readers.. Welcome to the Manor of Monsters! When Romeo Addison turns 12, he will be sent to a private school in a large handsome mansion, as per his great-great-great-granduncle’s last will and testament. The first young man from the Addison family to graduate with honours from the school shall inherit all of the uncle’s sizeable property. But the manor is a strange place, where the teaching staff includes zombies, a ghost and a werewolf. Luckily, Romeo’s clever cousin Jillian also goes to the same school. Together, the cousins begin to unravel the wild secrets of the family estate… Mari Luoma is an illustrator Romeo and the Monsters is a spine-tingling, hair- and comic artist. She mainly raising blend of adventure and comedy. illustrates children’s books Ages: 9+ | Colors: 4/4 | Size: 148 x 210 mm | Pages: 74 | Original and advertising materials language: Finnish | Rights sold: Finnish for her work and designs funny characters for various media. Katie Cook – Elli Puukangas Comics Dark Song A Soul Riders graphic novel Meet the Soul Riders in a standalone adventure gloriously brought to life by the distinguished comics writer Katie Cook and the brilliant upcoming artist Elli Puukangas! 150 pages of epic moments, old legends and wonderful artwork! When the Soul Riders are sent out on a mission to meet with their druid friends, they come to realise all is not well in the area. -
Article (Published Version)
Article The interaction of cartoonist's gender and formal features of cartoons SAMSON, Andrea Christiane, HUBER, Oswald Abstract The present study investigates gender differences in the use of formal features of cartoons, like the amount of text, the number of panels, or the application of color. For the analysis, 300 cartoons (150 each by female and male cartoonists) were selected randomly from the works of 1519 cartoonists. Twenty-one formal features were analyzed. On average, female cartoonists use more text, include text more frequently, and also draw more panels. These differences were expected, because Differential Psychology has shown for a long time in a variety of cultures that, on average, women tend to perform better in tasks testing verbal intelligence whereas men perform significantly better in tasks that require spatial intelligence. We also found a difference in the type of joke: Women more frequently draw cartoons with incongruity-resolution humor, whereas men prefer to draw cartoons with nonsense humor. The results are discussed in relation to gender differences in humor processing and gender differences in general. Reference SAMSON, Andrea Christiane, HUBER, Oswald. The interaction of cartoonist's gender and formal features of cartoons. Humor, 2007, vol. 20, no. 1, p. 1-25 DOI : 10.1515/HUMOR.2007.001 Available at: http://archive-ouverte.unige.ch/unige:98093 Disclaimer: layout of this document may differ from the published version. 1 / 1 The interaction of cartoonist’s gender and formal features of cartoons* ANDREA C. SAMSON and OSWALD HUBER Abstract The present study investigates gender di¤erences in the use of formal features of cartoons, like the amount of text, the number of panels, or the applica- tion of color. -
Charlie Hebdo Massacre Today Was the Twitter Hashtag #Je- of Charles De Gaulle
reader %6IEWSR4YFPMGEXMSR N .ERYEV] 8LI'LEVPMI,IFHS8VEKIH] 'SRINSXE`(VIEQWXMQIGSQ --22 8,-77-779) ª..IWYMW'LEVVPMI«# ::MSPIRRX6IWTTSRWIWXS3JJIRWMZI7TIIGL ,,EXI 7TIIGL 0E[W -WWPEQMMG7EXMVVI -WWPEQ4VSLMFFMX-QEKIWSJ1SLEQQIH# ;;LMXII,SYWI SR'LEVPPMI,IFHS JJ2544_Newsletter.indd2544_Newsletter.indd 1 11/14/15/14/15 33:04:04 PPMM ‘Je suis Charlie’? No, You’re Not, or Else You Might Be Dead &]1EXX;IPGL 3VMKMREPP]TYFPMWLIH.ERYEV] One of the spontaneous social-media reactions to the cal publication was shuttered for its disrespect at the funeral Charlie Hebdo massacre today was the Twitter hashtag #Je- of Charles De Gaulle. It frequently published stuff that most SuisCharlie (“I am Charlie”). It’s an admirable sentiment, journalists know, but are too afraid to stand by. resonant with the classic post-9/11 Le Monde cover “Nous The cartoonists who were killed today—Wolinski, Cabu, sommes tous Americains.” It’s also totally inaccurate. Tignous, Charb—were some of the most beloved figures If we—all of us, any of us—were Charlie Hebdo, here are in modern French life. Contra some of the nonsense being some of the things that we might do: mouthed today by fools on Twitter, these weren’t some kind * Not just print original satirical cartoons taking the piss of Andrew Dice Clay acts looking for ever-more vulnerable out of Islamic-terrorist sensibilities, but do so six days after minorities to kick; Cabu, for instance, is most famous for you were firebombed for taking the piss creating the provincial, typical-French out of Islamic-terrorist sensibilities, and character Mon Beauf, who he mocks for do so in such a way that’s genuinely fun- being crude and bigoted toward minori- ny (IMO) and even touching, with the ties. -
The Multidirectional Memory of Charlie Hebdo
The Multidirectional Memory of Charlie Hebdo Hollis-Touré, I. (2016). The Multidirectional Memory of Charlie Hebdo. French Cultural Studies, 27(3), 293-302. https://doi.org/10.1177/0957155816648102 Published in: French Cultural Studies Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2016 The Authors. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 The Multidirectional Memory of Charlie Hebdo: Isabel Hollis Queen’s University Belfast Abstract This article will discuss notions and concepts of remembering in the aftermath of the Charlie Hebdo attacks. Much has been written about the immediate response to the attacks, both commending the collective spirit of unity that defined the ‘marche républicaine’ of 11 January 2015, and criticising the alleged hypocrisy and cynicism of, most notably, the political figures that took to the streets that day, hand in hand. -
University of Dundee Close to the Heart Sinclair, Megan
University of Dundee Close to the Heart Sinclair, Megan; Murray, Christopher; Jindal-Snape, Divya; Horner, Rebecca ; Briggs, Kathryn Elton; Welsh, Gary DOI: 10.20933/100001119 Publication date: 2018 Licence: CC BY-NC-ND Link to publication in Discovery Research Portal Citation for published version (APA): Sinclair, M., Murray, C. (Ed.), Jindal-Snape, D. (Ed.), Horner, R. (Ed.), Briggs, K. E., Welsh, G., Coughlan, A., Charlton, D., Strachan, A., Larkin, A., Vaughan, P. (Ed.), Laird, C., Nero, M., Wilson, L., & Balson , E. (2018). Close to the Heart. https://doi.org/10.20933/100001119 General rights Copyright and moral rights for the publications made accessible in Discovery Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 Close to the Heart Thank you Professor Chris Murray for your constant support and advice on the project, and for helping me to fund this very personal comic. I wouldn’t be here studying comics and doing what I love if it were not for you. -
The West Cannot Indefinitely Accommodate Islamist Extremism
iStock A silent march of solidarity for the victims of the Paris terrorists takes place in Montréal, January 11, 2015. The West cannot indefinitely accommodate Islamist extremism Writing in response to the tragic massacre in Paris, Western University professor Salim Mansur writes that nations such as France and Canada have failed to devise a credible policy to counter the Islamist’s war against the West. Salim Mansur fter the public outrage over the massacre at Charlie Hebdo were brothers Saïd Kouachi and Chérif Kouachi. They were Hebdo, after the denunciations and piles of editorials in their early-thirties born of Algerian immigrant parents in Paris, condemning the chillingly bloody assault on free speech and more or less abandoned to the vagaries of life in poverty. From byA Muslim extremist terrorists, after holding hands and marching the shadowy under-class world of low crimes to the certainties in Paris with political leaders from around the world, the question of jihad as a soldier of Allah is the allure of Islamism for those, remains “then what?” such as the Kouachi brothers, searching for some purpose in life. More than a dozen years after 9/11 – and a list of Islamist Their numbers will grow as Islamism grows, as was once with the terrorist atrocities that keeps growing in length – the question phenomena of Nazism and Communism. “then what” persists not as an impertinent afterthought, but as Once the brothers were done with the massacre they raised the a damning critique of the West’s failure to be truthful to itself in cry of “Allahu Akbar” (“God is great”), as reported by those who formulating the policy needed to effectively contain and defeat heard them, and “the Prophet is avenged.” A couple of days later and radical Islam or Islamism in its midst.