Scrolling, Swiping, Selling: Understanding Webtoons and the Data-Driven Participatory Culture Around Comics
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Smart Speakers & Their Impact on Music Consumption
Everybody’s Talkin’ Smart Speakers & their impact on music consumption A special report by Music Ally for the BPI and the Entertainment Retailers Association Contents 02"Forewords 04"Executive Summary 07"Devices Guide 18"Market Data 22"The Impact on Music 34"What Comes Next? Forewords Geoff Taylor, chief executive of the BPI, and Kim Bayley, chief executive of ERA, on the potential of smart speakers for artists 1 and the music industry Forewords Kim Bayley, CEO! Geoff Taylor, CEO! Entertainment Retailers Association BPI and BRIT Awards Music began with the human voice. It is the instrument which virtually Smart speakers are poised to kickstart the next stage of the music all are born with. So how appropriate that the voice is fast emerging as streaming revolution. With fans consuming more than 100 billion the future of entertainment technology. streams of music in 2017 (audio and video), streaming has overtaken CD to become the dominant format in the music mix. The iTunes Store decoupled music buying from the disc; Spotify decoupled music access from ownership: now voice control frees music Smart speakers will undoubtedly give streaming a further boost, from the keyboard. In the process it promises music fans a more fluid attracting more casual listeners into subscription music services, as and personal relationship with the music they love. It also offers a real music is the killer app for these devices. solution to optimising streaming for the automobile. Playlists curated by streaming services are already an essential Naturally there are challenges too. The music industry has struggled to marketing channel for music, and their influence will only increase as deliver the metadata required in a digital music environment. -
Manga Book Club Handbook
MANGA BOOK CLUB HANDBOOK Starting and making the most of book clubs for manga! STAFF COMIC Director’sBOOK LEGAL Note Charles Brownstein, Executive Director DEFENSE FUND Alex Cox, Deputy Director Everything is changing in 2016, yet the familiar challenges of the past continueBetsy to Gomez, Editorial Director reverberate with great force. This isn’t just true in the broader world, but in comics,Maren Williams, Contributing Editor Comic Book Legal Defense Fund is a non-profit organization Caitlin McCabe, Contributing Editor too. While the boundaries defining representation and content in free expression are protectingexpanding, wethe continue freedom to see to biasedread comics!or outmoded Our viewpoints work protects stifling those advances.Robert Corn-Revere, Legal Counsel readers, creators, librarians, retailers, publishers, and educa- STAFF As you’ll see in this issue of CBLDF Defender, we are working on both ends of the Charles Brownstein, Executive Director torsspectrum who byface providing the threat vital educationof censorship. about the We people monitor whose worklegislation expanded free exBOARD- Alex OF Cox, DIRECTORS Deputy Director pression while simultaneously fighting all attempts to censor creative work in comics.Larry Marder,Betsy Gomez, President Editorial Director and challenge laws that would limit the First Amendment. Maren Williams, Contributing Editor In this issue, we work the former end of the spectrum with a pair of articles spotlightMilton- Griepp, Vice President We create resources that promote understanding of com- Jeff Abraham,Caitlin McCabe,Treasurer Contributing Editor ing the pioneers who advanced diverse content. On page 10, “Profiles in Black Cartoon- Dale Cendali,Robert SecretaryCorn-Revere, Legal Counsel icsing” and introduces the rights you toour some community of the cartoonists is guaranteed. -
« WEBTOON, Spécial Pyeongchang »
COMMUNIQUÉ DE PRESSE « WEBTOON, Spécial PyeongChang » EXPOSITION DU 19 JANVIER AU 28 FEVRIER 2018 AU CENTRE CULTUREL CORÉEN Vernissage le mercredi 24 janvier 2018 à partir de 18h Une exposition à double thématique, nommée pour l’occasion «Webtoon, Spécial PyeongChang », s’ouvrira à Paris du 19 janvier au 28 février 2018 dans la grande galerie du Centre Culturel Coréen. Il s’agit de la première exposition de webtoons organisée conjointement par le Centre Culturel Coréen et la Korea Manhwa Contents Agency (KOMACON). © Korea Manhwa Contents Agency (KOMACON) Le terme « Webtoon » - combinaison des mots « web » et « toon » (cartoon) -, désigne la bande dessinée numérique diffusée sur le net. Il y a actuellement en Corée 59 plateformes avec 3183 auteurs de BD et 9148 différents cartoons disponibles. Les webtoons sont accessibles depuis un mobile et peuvent être regardés quel que soit le lieu où on se trouve : dans le métro, dans le bus, dans la rue… C’est certainement cette grande accessibilité qui explique le véritable « boom », ces dernières années, de ce nouveau type de bande dessinée en Corée. L’exposition « Webtoon, Spécial PyeongChang », outre l’objectif d’aborder le thème des J.O. d’hiver, permettra de faire découvrir aux visiteurs du Centre Culturel le potentiel à la fois technologique et créatif des webtoons coréens. Scindé en deux grandes parties avec une zone 1 « webtoon » d’un côté et une zone « J.O. de PyeongChang à travers les manhwas » de l’autre, l’espace d’exposition abordera chacun des deux thèmes sous un éclairage différent. Dans la zone « webtoon », on pourra découvrir l’histoire des BD coréennes en ligne, ainsi qu’une présentation des plateformes de diffusion disponible en France et aux États-Unis, telles que Delitoon, Line Webtoon, Lezhin Comics, Tapas Media, TappyToon, etc. -
Le Marché De La Bande Dessinée Numérique Et Les Ressources Mises À Ma Disposition M’Auront Éclairé Un Peu Plus Sur Le Sujet Et Ses Enjeux
Diplôme national de master Domaine - sciences humaines et sociales Mention – sciences de l’information et des bibliothèques Parcours – publication numérique Septembre 2018 Septembre / Le marché de la Bande dessinée nativement numérique Mémoire de fin d’étude de fin Mémoire Sarah SCHWEIGHOFFER Sous la direction de Benoît Epron Maître de conférences – enssib Remerciements Je tiens tout d’abord à remercier Monsieur Benoît EPRON et Monsieur Antoine FAUCHIE, respectivement Maître de Conférences et Chef de projet Web indépendant, pour leurs précieux conseils quant à l’élaboration et l’orientation de ce mémoire. Je souhaite aussi exprimer ma gratitude envers Monsieur Pascal ROBERT, Professeur à l’Enssib, dont les cours sur la Bande dessinée - en première année de master - m’ont insufflé l’envie de découvrir davantage cet art. Sans votre passion dans votre enseignement, ce mémoire n’aurait certainement pas vu le jour. Merci à vous. Je souhaiterais ensuite remercier le dessinateur et réalisateur Victor Dulon – alias Vidu – pour m’avoir laissé utiliser sans hésitation son œuvre L’Immeuble pour illustrer mes propos sur le Turbomédia. Ce mémoire a gagné en couleurs grâce à vous. Ma reconnaissance va ensuite à Monsieur Denis ZWIRN, Président au sein de l’entreprise Numilog, passionné par la Corée du Sud, lecteur de manhwa et de webtoons : votre point de vue sur le marché de la bande dessinée numérique et les ressources mises à ma disposition m’auront éclairé un peu plus sur le sujet et ses enjeux. Enfin je tenais à remercier les personnes ayant contribué -
Schlage Electronics Brochure
Safer. Smarter. More stylish. SCHLAGE KEYLESS LOCKS Deliver quality and innovation with reliable access control systems from Schlage. PROVIDE YOUR CUSTOMERS WITH SIMPLE, KEYLESS SECURITY. HUB HUB HUB CONNECTION CONNECTION CONNECTION HUB HUB HUB CONNECTION CONNECTION CONNECTION FREE FREE FREE APP APP APP BUILT-IN BUILT-IN BUILT-IN WIFI WIFI WIFI SMART WIFI DEADBOLT HANDS-FREE HANDS-FREE HANDS-FREE VOICE CONTROL VOICE CONTROL VOICE CONTROL A smarter way in. The built-in WiFi of the Schlage EncodeTM Smart WiFi Deadbolt provides secure remote access from anywhere – no hubs or adapters required – making integration with smart home technology seamless and simple. LIFETIME LIFETIME LIFETIME GUARANTEE GUARANTEE GUARANTEE SMART LOCK. SMART INVESTMENT. ● Works with Schlage Home app, Key by Amazon and Ring Video Doorbell ● Use the Schlage Home app to update the lock to the latest features SECURITY AND DURABILITY EASY EASY EASY INSTALLATION INSTALLATION INSTALLATION ● Built-in alarm technology senses potential door attacks ● Highest industry ratings for residential Security, Durability and Finish ACCESS CODES ● Schedule access codes so guests can only enter when you want them to ● Lock holds up to 100 access codes The Schlage Home app provides simple setup, remote connectivity and future compatibility exclusively for the Schlage Encode Smart WiFi Deadbolt and Schlage Sense Smart Deadbolt. 3 SMART DEADBOLT Smart made easy. The Schlage Sense® Smart Deadbolt makes it easy to set up and share access with the Schlage Home app for iOS and Android™ smartphones. -
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. -
Violent Comic Books and Perceptions of Ambiguous Provocation Situations
MEDIAPSYCHOLOGY, 2, 47–62. Copyright © 2000, Lawrence Erlbaum Associates, Inc. Violent Comic Books and Perceptions of Ambiguous Provocation Situations Steven J. Kirsh Paul V. Olczak Department of Psychology State University of New York-Geneseo This study investigated the effects of reading very violent versus mildly violent comic books on the interpretation of ambiguous provocation situations, independent of trait hostility. 119 introductory psychology students read either a violent comic book, Curse of the Spawn, or a mildly violent comic book, Archie & Friends. After reading the comic books, participants read six short stories in which a child caused a negative event to happen to another child, but the intent of the peer causing this negative event was ambiguous. After each story, participants were asked a series of questions about the harmdoer’s intent, potential retaliation toward the harmdoer, and about the harmdoer’s emotional state. Responses were coded in terms of amount of negative and violent content. Results indicate that those male participants reading the violent comic books responded more negatively on the ambiguous provocation story questions than male participants reading the mildly violent comic books. For females, responding was primarily governed by trait hostility. These data suggest that hostile attributional bias may be influenced by gender, trait hostility, and exposure to violent media. Over the past two decades, voluminous research has focused on media influences (e.g., television, video games) on aggression. These studies consistently find that exposure to violent themes in media is significantly related to aggressive behavior and thoughts (Anderson, 1997, Berkowitz, 1984, Cesarone, 1998). An additional, yet understudied, source of media violence to which individuals are frequently exposed is comic books. -
Comic Book Reading, Reading Enjoyment, and Pleasure Reading Among Middle Class and Chapter 1 Middle School Students
Comic Book Reading, Reading Enjoyment, and Pleasure Reading Among Middle Class and Chapter 1 Middle School Students Joanne Ujiie and Stephen D. Krashen Seventh grade boys in two schools, one middle class and one in which 82% of the students were eligible for Chapter 1 funding were asked about comic book reading. Those who reported more comic book reading also reported more pleasure reading in general, greater reading enjoyment, and tended to do more book reading. There was no difference in frequency of comic book reading between the two schools. Contrary to the view of some writers (Wertham, 1954), research shows that comic book readings does not replace other kinds of reading. Comic book readers, in gerneral, read as much as non-comic book readers (Witty, 1941; Heisler, 1947; Bailyn, 1959; Swain, 1978) and the results of one study suggest they read more (Blakely, 1958). Krashen (1993) suggests that comic book reading and other kinds of light reading may serve as an important bridge from everyday "conversational" language to what Cummins (1991) terms "academic language." This view is supported by studies showing that comic book texts contain more rare words than ordinary conversation does (Hayes and Ahrens, 1988), as well as case histories of readers who credit comic books with providing them with the linguistic basis for reading more difficult texts (e.g. Mathabane, 1986). To our knowledge, all previous studies of comic book reading have been done with middle class children. In this paper, we examine comic book reading in two middle schools of different socio-economic class, one middle class and one less affluent, in order to determine the extent to which comic book reading varies with social class. -
PDF Download Reinventing Comics How Imagination and Technology
REINVENTING COMICS HOW IMAGINATION AND TECHNOLOGY ARE REVOLUTIONIZING AN ART FORM 1ST EDITION PDF, EPUB, EBOOK Scott McCloud | 9780060953508 | | | | | Reinventing Comics How Imagination and Technology Are Revolutionizing an Art Form 1st edition PDF Book That said, this is a fascinating book for a number of reasons. TM: You made a point in Understanding Comics about how time equals space in comics. But there is a stunning jewel in the surrounding stone, and if you chipped away everything else the book would still be worth whatever you paid for it these days probably like a quarter for this chapter alone. We have in stock every item we list. This is a very long book, so people have time to adjust to my style. Whereas Understanding Comics was a timeless philosophical study for the sake of the art, Reinventing Comics moors itself firmly in the late 90s, exhaustively studying the history and industry of comics as it stood in the 90s and how it may shape up in the then-future. SM: I agree with you to an extent about there being a fundamental reader participation component to comics and that achieving that transparency in comics is a lot harder than it is in novels. But I was looking for a strong emotional effect. As others have noted, "Reinventing Comics" is more a product of its time and thus less timeless than McCloud's "Understanding Comics. May 09, zilby rated it it was ok Shelves: kw. That I put enough speed bumps [in] the growing complexity of those pages, that people would more naturally slow down. -
Webtoons: the Next Frontier in Global Mobile Content
Media Webtoons: The next frontier in global mobile content Overweight (Maintain) Webtoons: No. 1 in Korea = No. 1 in the world Korea is the birthplace of webtoons. As a “snack-culture” format optimized to Industry Report smartphones, Korea’s webtoons have made significant progress over the years and September 20, 2019 now boast the strongest platform/content competitiveness in the world. As demand for mobile entert ainment continues to grow, webtoons are capturing the eyes and wallets of an increasing number of users, presenting a significant opportunity for Korean platform providers. Mirae Asset Daewoo Co., Ltd. Webtoons to take shape as a distinct market [Media ] Webtoons are more than just an online conversion of paper-based comic books. They Jeong -yeob Park represent a new form of content created by the mobile internet ecosystem. Not only is +822 -3774 -1652 the potential audience larger, but the time spent on webtoons tends to be longer than [email protected] time spent reading paper comics. In Kor ea, webtoons already account for the second largest share of time spent on apps, after videos. When assuming full monetization, the size of the webtoon market is on a completely different level than the traditional comic book market. Webtoons are also gai ning traction among younger people in the global market, similar to what we saw in Korea five to 10 years ago. With the help of marketing and a well-established user/writer base, webtoons look likely to take root as a new culture in overseas markets. Of note, LINE Webtoon has seen impressive user growth in the US , with 8mn monthly active users (MAU).