DOCSLIB.ORG

La Última Alúa. (Un Motion Comic)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Última Alúa. (Un Motion Comic) LA ÚLTIMA ALÚA (UN MOTION COMIC) EXPLORACIÓN DE LOS ELEMENTOS CONSTITUTIVOS DEL MOTION COMIC EN LA ADAPTACIÓN DE UN RELATO LITERARIO ANDRÉS MAURICIO MONTOYA VILLANUEVA UNIVERSIDAD DEL VALLE FACULTAD DE ARTES INTEGRADAS DEPARTAMENTO DE DISEÑO PROGRAMA DE DISEÑO GRÁFICO SANTIAGO DE CALI 2014 LA ÚLTIMA ALÚA (UN MOTION COMIC) EXPLORACIÓN DE LOS ELEMENTOS CONSTITUTIVOS DEL MOTION COMIC EN DE LA ADAPTACIÓN DE UN RELATO LITERARIO ANDRÉS MAURICIO MONTOYA VILLANUEVA TRABAJO DE GRADO PRESENTADO COMO REQUISITO PARA OPTAR AL TÍTULO DE DISEÑADOR GRÁFICO DIRECTOR CARLOS ANDRÉS ORTEGA GARCÍA UNIVERSIDAD DEL VALLE FACULTAD DE ARTES INTEGRADAS DEPARTAMENTO DE DISEÑO PROGRAMA DE DISEÑO GRÁFICO SANTIAGO DE CALI 2014 Facultad de Artes Integradas Programas Académicos de Diseño C.C. 43071 UNIVERSIDAD DEL VALLE FACULTAD DE ARTES INTEGRADAS DEPARTAMENTO DE DISEÑO PROGRAMA ACADÉMICO DE DISEÑO GRÁFICO ACTA DE APROBACIÓN DE PROYECTO DE GRADO El Estudiante ANDRÉS MAURICIO MONTOYA VILLANUEVA identificado con Cédula de ciudadanía número 1130595947 de Cali y código 200622043, presentó La Última Alúa (Un motion comic). Exploración de los elementos constitutivos del motion comic en la adaptación de un relato literarioざ, el cual fue aprobado por el siguiente jurado evaluador: Jurado Diseñador: Miguel Alejandro Bohórquez Nates Jurado Asesor: Edier Becerra Álvarez Jurado Experto: Diego Zúñiga Para constancia de lo anterior, se firma en la ciudad de Santiago de Cali, el 20 de Octubre de 2014, según Acta 12-2014 del Comité del Programa. CARLOS ANDRÉS ORTEGA GARCÍA Director del Proyecto del Proyecto PABLO ANDRÉS JARAMILLO ROMERO ÁNGEL MIGUEL URIBE BECERRA Vo. Bo. Director del Programa Académico Vo. Bo. Jefe Diseño Gráfico Departamento de Diseño Sandra P. Franco G. Edificio 382 – Oficina 4028 – Ciudad Universitaria de Meléndez Telefax [57-2] 321 2375 – Apartado Aéreo 25360 Santiago de Cali – Colombia [email protected] http://diseno.univalle.edu.co/ TABLA DE CONTENIDO INTRODUCCIÓN 1 1. PLANTEAMIENTO DEL PROBLEMA 5 1.1. ANTECEDENTES Y DELIMITACIONES 5 1.1.1. Antes del motion comic 7 1.1.2. El motion comic como tal 14 1.1.3. El motion comic en Colombia 24 1.2. JUSTIFICACIÓN 33 1.3. PREGUNTA DE INVESTIGACIÓN 35 1.4. OBJETIVOS 36 1.4.1. Objetivo general 36 1.4.2. Objetivos específicos 36 2. MARCO TEÓRICO 36 2.1. EL MOTION COMIC E INTERNET 36 2.1.1. El desarrollo de Internet 37 2.1.2. Cambio de paradigma comunicativo 39 2.1.3. YouTube como herramienta para la publicación de producciones independientes 43 2.2. EL MOTION COMIC COMO RELATO 45 2.2.1. Características de un relato 45 2.2.2. Historia, relato y discurso 49 2.2.3. La diégesis 50 2.2.4. Los existentes: los personajes y el ambiente 52 2.2.5. Estructura del relato 57 2.3. LA ADAPTACIÓN 59 2.3.1. Proceso de adaptación 61 2.3.1.1. Desglose de continuidad 62 2.3.1.2. Idea, story line y sinopsis 62 2.3.1.3. Caracterización de los personajes 63 2.3.1.4. Estructura dramática y Escaleta 65 2.3.1.5. Guión literario 66 2.3.1.6. Story board 68 2.4. EL MOTION COMIC COMO LENGUAJE 71 2.4.1. Consideraciones sobre los lenguajes 71 2.4.2. El cómic 74 2.4.2.1. La viñeta 79 2.4.2.2. El montaje en el cómic 85 2.4.2.3. Globos, locugramas e ideogramas 94 2.4.2.4. Didascalias, cartelas o cartuchos 97 2.4.2.5. Rotulación 99 2.4.2.6. Onomatopeyas 101 2.4.2.7. Signos cinéticos o movilgramas y tipos de movimientos 103 2.4.2.8. El gesto y la postura 105 2.4.2.9. Conclusiones respecto al cómic 108 2.4.3. El dibujo animado 109 2.4.3.1. Encuadre 115 2.4.3.2. Plano, escena y secuencia 121 2.4.3.3. Movimientos 122 2.4.3.4. Banda sonora 127 2.4.3.4.1. La palabra 128 2.4.3.4.2. Los efectos sonoros o ruidos 130 2.4.3.4.3. La música 132 2.4.3.4.4. El silencio 133 2.4.3.5. El montaje en el audiovisual 134 2.4.3.6. Transiciones 136 2.4.3.7. Diseño de créditos 139 2.4.3.8. Conclusiones respecto al dibujo animado 140 3. PROCESO DE ANÁLISIS DE REFERENTES 141 3.1. MÉTODO DEL ANÁLISIS 142 3.1.1. Broken Saints 145 3.1.2. Watchmen. The motion comic 146 3.1.3. Astonishing X-Men: Gifted 147 3.1.4. Neuroblaste 149 3.1.5. Stephen King´s N 150 3.1.6. Anacrónica. The timeless girl 151 3.1.7. Butiman 153 3.1.8. Folklor. El Cazador 154 3.1.9. 4Ríos 155 3.1.10. Secta 157 3.2. CONCLUSIONES DEL ANÁLISIS 158 3.2.1. Espectro del motion comic 159 4. DESARROLLO DE LA ÚLTIMA ALÚA (MOTION COMIC) 162 4.1. ADAPTACIÓN DEL CUENTO 162 4.1.1. Desglose de continuidad 163 4.1.2. Idea temática y la idea dramática 164 4.1.3. Story line 164 4.1.4. Sinopsis 165 4.1.4.1. Sinopsis general de la serie 165 4.1.4.2. Sinopsis Capítulo 1 165 4.1.5. Caracterización de personajes y escaleta 166 4.1.6. Guión literario y Story board 166 4.2. DESARROLLO TÉCNICO Y GRÁFICO 167 4.2.1. Criterios técnicos 167 4.2.1.1. Representación del movimiento 167 4.2.1.2. Representación del sonido 168 4.2.1.3. Unidad mínima de montaje 169 4.2.2. Elementos compositivos 170 4.2.2.1. Diseño de personajes, estudio de gestos y posturas 170 4.2.2.2. Globos, cartuchos, rotulado y su comportamiento 174 4.2.2.3. Onomatopeyas 176 4.2.2.4. Viñetas 176 4.2.2.5. Diseño de título 177 5. CONCLUSIONES 179 6. FUENTES DE IMÁGENES 182 6.1. CÓMICS 182 6.2. FILMES ANIMADOS 183 6.3. SERIES TELEVISIVAS ANIMADAS 183 6.4. DOCUMENTALES 183 6.5. CINEMÁTICAS DE VIDEOJUEGOS 184 6.6. TRÁILERES PROMOCIONALES 184 6.7. MOTION COMICS 184 6.8. ARTE 185 7. REFERENCIAS BIBLIOGRÁFICAS 185 ANEXOS 191 ENTREVISTAS 191 Elder Manuel Tobar 191 Padadi Ramírez 195 Profesor Perucho Mejía 200 Jaime Luis Villalba Paternina 211 Daniel Mauricio Greiff Tovar 214 LAS ÚLTIMAS ALÚAS DE LA NOCHE. RESUMEN 225 DESGLOSE DE CONTINUIDAD 228 FICHAS DE PERSONAJES 234 ESCALETA 239 GUIÓN LITERARIO 240 STORY BOARD 244 LISTA DE FIGURAS Fig. 1.01. Marvel Superheroes (1967). Grant-Ray-Lawrence Company & Marvel Comics 9 Fig. 1.02. Thor (1967). Grant-Ray-Lawrence Company & Marvel Comics 9 Fig. 1.03. Marvel Superheroes (1967). Grant-Ray-Lawrence Company & Marvel Comics 9 Fig. 1.04. Marvel Superheroes (1967). Grant-Ray-Lawrence Company & Marvel Comics 10 Fig. 1.05. Un perro llamado Dolor (2001). Story Board SL 10 Fig. 1.06. Los amantes de Suzie Bloom. Historia para un Western, parte del documental Noche sin fortuna (2010) 12 Fig. 1.07. Los amantes de Suzie Bloom. Historia para un Western, parte del documental Noche sin fortuna (2010) 12 Fig. 1.08. DMC (Digital Motion Comics). Página web que comercializa motion comics 15 Fig. 1.09. Broken Saints (2001-2002). Independiente 16 Fig. 1.10. Broken Saint (2006). 20th Century Fox. Versión para DVD 17 Fig. 1.11. Watchmen, the motion comic (2009), Warner Bros/DC Comics 18 Fig. 1.12. Watchmen (1987). Alan Moore, Dave Gibbons & John Higgins 18 Fig. 1.13. Astonishing X-Men: Gifted (2009). Marvel Entertainment 19 Fig. 1.14. Spider-Woman: Agent of S.W.O.R.D. (2009). Marvel Entertainment 21 Fig. 1.15. Stephen King´s N (2008). Marvel Entertainment/CBS Interactive 21 Fig. 1.16. F.E.A.R. 2 (2009), Monolite 22 Fig. 1.17. InFamous (2009). Sucker Punch Productions 23 Fig. 1.18. Metal Gear Solid: Peace Walker (2010). Konami/Kojima Productions 23 Fig. 1.19. Metal Gear Solid: Peace Walker (2010). Konami/Kojima Productions 23 Fig. 1.20. Metal Gear Solid: Peace Walker (2010). Konami/Kojima Productions 24 Fig. 1.21. Neuroblaste (2013). Radio-Canada.ca 24 Fig. 1.22. Anacrónica: la chica atemporal (2013), Independiente 28 Fig. 1.23. El cazador (s.f). Ave Negra 29 Fig. 1.24. Butiman (2013), Independiente 30 Fig. 1.25. 4Ríos (2012), Con el apoyo del Centro Ático y la Universidad Javeriana Bogotá 31 Fig. 2.01. Formato básico de panel de story board 69 Fig. 2.02. Ejemplo de representación de un movimiento de cámara 70 Fig. 2.03. Convención para representar un fundido encadenado 70 Fig. 2.04. Convención para representar un fundido de negro 70 Fig. 2.05. Convención para representar un fundido a negro 70 Fig. 2.06. Los magos en El libro de los muertos (2006), Scott Allie (Editor) 76 Fig. 2.07. El chico muerte en El libro de los muertos (2006), Scott Allie (Editor) 76 Fig. 2.08. Sin City (1994), Frank Miller 77 Fig. 2.09. Corto Maltés. Fábula de Venecia (2004), Hugo Pratt 79 Fig. 2.10. Berserk Vol. 4 (2004). Kentaro Miura 80 Fig. 2.11. Coto Maltés. La casa dorada de Samarkanda (1999), Hugo Pratt 82 Fig. 2.12. Tortugas ninja mutantes. (1999), Kevin Eastman & Peter Laird 82 Fig. 2.13. Mis problemas con las mujeres (2002), Robert Crumb 82 Fig. 2.14. Sin City (1994), Frank Miller 82 Fig. 2.15. Berserk vol. 1 (2001), Kentaro Miura 83 Fig. 2.16. Sin City (1994), Frank Miller 84 Fig. 2.17. Berserk vol. 4 (2002), Kentaro Miura 84 Fig. 2.18. La cuneta en El libro de los muertos (2006), Scott Allie (Editor) 85 Fig.
Load more

Recommended publications
  • Designing Motion Comic About Information of Indonesian's
    Designing Motion Comic About Information of Indonesian’s Traditional Medicine (Case Study: Djammoe) Y Satrio1* and A Zulkarnain2 1,2Visual Communication Design Department, Faculty of Design, Universitas Pelita Harapan, Jl.MH. Thamrin Boulevard Lippo Village 1100, Tangerang 15810, Indonesia *E-mail: [email protected] Abstract. Jamu is an Indonesian traditional health beverage, but among young people, it is deemed out-of-date and a drink for old people. These images take form because young people only get minimal exposure to jamu and because there are modern beverages that they prefer. In this project, the theme of information about jamu will be presented in the form of a digital comic, because the interest in reading textbooks among young people has been gradually diminishing and they prefer reading entertainment books, such as comic books. This project uses a literature study. The literature study is conducted to get information about the theme and the design theories that are going to help with the process of designing the project. The final product of this project is a motion comic. Visual research study and keywords are adjusted to the target audience of this project. The result of the research is used as a guide in the whole process of making the digital comic, from the pre-production to the post-production process. This paper focuses on discussing the application of several design theories in the motion comic project. Keywords. Health, Traditional, Jamu, Young People, Digital Comic 1. Introduction Jamu according to the National Agency of Drug and Food Control of Indonesia is categorized as traditional medicine.
    [Show full text]
  • Manga Vision: Cultural and Communicative Perspectives / Editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, Manga Artist
    VISION CULTURAL AND COMMUNICATIVE PERSPECTIVES WITH MANGA ARTIST QUEENIE CHAN EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL MANGA VISION MANGA VISION Cultural and Communicative Perspectives EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL WITH MANGA ARTIST QUEENIE CHAN © Copyright 2016 Copyright of this collection in its entirety is held by Sarah Pasfield-Neofitou and Cathy Sell. Copyright of manga artwork is held by Queenie Chan, unless another artist is explicitly stated as its creator in which case it is held by that artist. Copyright of the individual chapters is held by the respective author(s). All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/mv-9781925377064.html Series: Cultural Studies Design: Les Thomas Cover image: Queenie Chan National Library of Australia Cataloguing-in-Publication entry: Title: Manga vision: cultural and communicative perspectives / editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, manga artist. ISBN: 9781925377064 (paperback) 9781925377071 (epdf) 9781925377361 (epub) Subjects: Comic books, strips, etc.--Social aspects--Japan. Comic books, strips, etc.--Social aspects. Comic books, strips, etc., in art. Comic books, strips, etc., in education.
    [Show full text]
  • 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
    [Show full text]
  • “Motion Comic: El Nuevo Soporte Del Cómic”
    UNIVERSIDAD POLITECNICA DE VALENCIA ESCUELA POLITECNICA SUPERIOR DE GANDIA MÁSTER EN POSTPRODUCCION DI GITAL “Motion comic: el nuevo soporte del cómic” Tipología 1: Trabajo de investigación TRABAJO FINAL DE MÁSTER Autor: Jesús Cuahutemoc Aguirre Curiel Director: Beatriz Herraiz Zornoza Gandia, Julio de 2013 Resumen Los motion comics son considerados como un nuevo estilo de animación digital dentro de los nuevos soportes del cómic. Se caracterizan por ser una adaptación de la narrativa y grafismo del cómic a animación conservando su arte original. Estas animaciones son principalmente adaptaciones de cómics ya publicados, ejemplo de esto son los motion comics de Watchmen (2008) y Astonishing Xmen (2012), cómics ya publicados en 1986 y 1995 respectivamente. En el presente documento se hace referencia este nuevo soporte, desde su concepto, su historia, se propone a su vez una clasificación de acuerdo a las características de la animación. Se presentan los soportes, aplicaciones y servicios de visualización, así como los factores que propiciaron al cómic a desarrollarse fuera del soporte impreso. Se analizan los elementos más importantes del grafismo del cómic y su adaptación al motion comic. Y se propone finalmente un workflow audiovisual basado en las herramientas de postproducción que utilizamos a través del Máster de Postproducción Digital. Palabras claves Motion comic, animación, cómics 2 Abstract The motion comics are considered as a new digital animation style within new cómic stands. Characterized by an adaptation of the cómic narrative and graphics to animation retaining its original artwork. These animations are mainly adaptations of cómics already published example of this is the motion comic are Watchmen (2008) and Astonishing Xmen (2012), cómics published in 1986 and 1995 respectively.
    [Show full text]
  • Create.Canterbury.Ac.Uk
    Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Please cite this publication as follows: Smith, Craig (2012) Motion comics: modes of adaptation and the issue of authenticity. Animation Practice, Process & Production, 1 (2). pp. 357-378. ISSN 2042-7875 . Link to official URL (if available): http://dx.doi.org/10.1386/ap3.1.2.357_1 This version is made available in accordance with publishers’ policies. All material made available by CReaTE is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Contact: [email protected] Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Please cite this publication as follows: Smith, Craig (2012) Motion comics: Modes of adaptation and the issue of authenticity. Animation Practice, Process & Production, 1 (2). pp. 357-378. ISSN 20427875 Link to official URL (if available): http://www.intellectbooks.co.uk/journals/view-Article,id=13546/ This version is made available in accordance with publishers’ policies. All material made available by CReaTE is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Contact: [email protected] Animation Practice, Process & Production Volume 1 Number 2 pp. 357–378 Intellect Limited 2011 Craig Smith Motion comics: Modes of adaptation and the issue of authenticity Craig Smith, Queen’s University Belfast Abstract Motion comics can be considered as an emerging form of digital animation that typically appropriates and remediates an existing comic book narrative and artwork into a screen-based animated narrative.
    [Show full text]
  • Year 8 Gifted & Talented Media Arts Motion Comic Assignment
    Year 8 Gifted & Talented Media Arts Motion Comic Assignment A motion comic (or animated comic) is a form of animation combining elements of print comic books and animation. Individual panels are expanded into a full shot while sound effects, voice acting, and animation are added to the original artwork. Text boxes and sound effect bubbles are typically removed to feature more of the original artwork being animated. Motion comics are often released as short serials covering a story arc of a long running series or animating a single release of a graphic novel. Single release issues of a story arc are converted into ten- to twenty- minute-long episodes depending on content. Your Task: In groups of 3-4 create a small (2-3min) motion comic using the Adobe Suite, predominately, After Effects. You will need to plan & storyboard before creating the animation. You will divide the animation into equal parts to be working on and then bring them together at the end, using Premiere to create the animation. This task will make you have to watch different tutorials on After Effects to create the desired special effects you want to achieve in your animation. The teachers will upload relevant tutorials to the class blog. You HAVE to use COPYRIGHT FREE images – so that’s why the Digital Comic Museum, is useful. It’s a resource which has comics available to download that are copyright free and in the public domain. Year 8 Gifted & Talented Media Arts Motion Comic Marking Key Pre-Production 4 Produces a detailed plan and structured storyboard that considers
    [Show full text]
  • MA How to Make Comics the Successful Way WH.Pdf
    How to Make Comics the Successful Way An Investigation into the Strategies for Successful Comics Creators by William Hill Canterbury Christ Church University Thesis submitted for the Degree of MA by Research 2021 Abstract Success is chiefly viewed as a destination point, often containing no clear direction as to how to arrive, or assurances of when one’s arrival has taken place. House this delicate theme of success amongst the vast genre of comics books and several questions occur: “What is success?” “Who has previously been successful?” “How did they gain success?” “What are the proven routes to success?” This study explores the different methods to find success within the comics industry, these methods included classical approaches such as periodical comics and newspaper strips as well as the more contemporary avenues such as self-publishing & web-comics. To gain a solid understanding and context of the commercial aspect of the business, first the study reviews the history of the comics industry. This is followed by an analysis of the definition and essential components of the comic book, to achieve a better understanding of the structure and classification of comics and, therefore, their intrinsic value as a product. The rise of the digital revolution, recent developments in technologies and web2.0 have not only contributed to expanding areas of production, distribution and fandom recognition, but also to implement innovative ideas and projects. This has led to the expansion of both profitable potentials and perilous pitfalls. To analyse the implications of these new means of creation and distribution, themes such as Communities, Pitfalls of the Internet Age and Crowdfunding have been explored.
    [Show full text]
  • Lost in the Static?: Comics in Video Games." Intermedia Games—Games Inter Media: Video Games and Intermediality
    Lippitz, Armin. "Lost in the Static?: Comics in Video Games." Intermedia Games—Games Inter Media: Video Games and Intermediality. Ed. Michael Fuchs and Jeff Thoss. New York: Bloomsbury Academic, 2019. 115–132. Bloomsbury Collections. Web. 1 Oct. 2021. <http:// dx.doi.org/10.5040/9781501330520.ch-005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 02:17 UTC. Copyright © Michael Fuchs, Jeff Thoss and Contributors 2019. You may share this work for non- commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 5 Lost in the Static? Comics in Video Games Armin Lippitz omics have attracted more and more attention in mainstream culture. As a C result, the estimated market size of the medium in North America has doubled since 1997. 1 One reason for this growing interest in the medium is, without a doubt, the success of cinematic adaptations of comic books. However, video games have experienced an even bigger boom in popularity in recent years. Indeed, global games revenues have been growing and have effectively caught up with the movie industry. A cause for, as much as a result of, the increased success of these two media is their integration into transmedia storyworlds. These networks of texts, which collectively tell a continuous story distributed over various media outlets, have become routine for most mainstream, blockbuster titles, regardless of the initial core text’s medium. Comics and video games seem to be particularly well suited for transmedia explorations because they have always tapped into the potentials of expanding their storyworlds and extending their experiences across media, as Hans-Joachim Backe has argued.
    [Show full text]
  • Mapping the Use of Comics in Health Education… Noe/Levin
    Mapping the Use of Comics in Health Education… Noe/Levin APPENDIX II List of Included Studies A.Gillies, P., A. Stork, and M. Bretman. "Streetwize Uk: A Controlled Trial of an Aids Education Comic." [In English]. Health Education Research 5, no. 1 (1990): 27-33. Agurcia, M. A., A. Carolyn, Ross Shegog PhD, H. Steven, and M. Deanna. "Formative Evaluation of the" Time Twisters": A Comic Book Based Obesity Prevention Curriculum for Elementary School Students." (2007 2007). Al-Delaimy, A. K., H. M. Al-Mekhlafi, Y. A. L. Lim, N. A. Nasr, H. Sady, W. M. Atroosh, and R. Mahmud. "Developing and Evaluating Health Education Learning Package (Help) to Control Soil- Transmitted Helminth Infections among Orang Asli Children in Malaysia." [In English]. Parasites and Vectors 7, no. 1 (2014). Al-Jawad, M. "Comics Are Research: Graphic Narratives as a New Way of Seeing Clinical Practice." [In English]. Journal of Medical Humanities 36, no. 4 (2015): 369-74. Alam, S., G. Elwyn, S. Percac-Lima, S. Grande, and M. A. Durand. "Assessing the Acceptability and Feasibility of Encounter Decision Aids for Early Stage Breast Cancer Targeted at Underserved Patients." [In English]. BMC Medical Informatics and Decision Making 16, no. 1 (2016): 1-13. Albright, Kendra S., and Karen Gavigan. "Information Vaccine: Using Graphic Novels as an Hiv/Aids Prevention Resource for Young Adults." Journal of Education for Library and Information Science 55, no. 2 (03/01/ 2014): 178-85. Aleixo, Paul A., and Claire E. Norris. "Planarian Worms, Shock Generators and Apathetic Witnesses: Teaching Psychology and Graphic Novels." Psychology Teaching Review 19, no.
    [Show full text]
  • Defining Digital Comics: a British Library Perspective
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Apollo Journal of Graphic Novels and Comics ISSN: 2150-4857 (Print) 2150-4865 (Online) Journal homepage: http://www.tandfonline.com/loi/rcom20 Defining digital comics: a British Library perspective Jen Aggleton To cite this article: Jen Aggleton (2018): Defining digital comics: a British Library perspective, Journal of Graphic Novels and Comics, DOI: 10.1080/21504857.2018.1503189 To link to this article: https://doi.org/10.1080/21504857.2018.1503189 © 2018 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 25 Jul 2018. Submit your article to this journal Article views: 448 View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcom20 JOURNAL OF GRAPHIC NOVELS AND COMICS https://doi.org/10.1080/21504857.2018.1503189 ARTICLE Defining digital comics: a British Library perspective Jen Aggleton Faculty of Education, University of Cambridge, Cambridge, UK ABSTRACT ARTICLE HISTORY This article presents a working definition of digital comics for the Received 24 November 2017 specific context of the British Library. It explores formal and socio- Accepted 16 July 2018 cultural characteristics of digital comics as well as the sociocultural KEYWORDS issues surrounding comic collections at national libraries. This Digital comics; webcomics; article argues for the value of flexible working definitions over comic apps; comic formal definitions and explores the problematic issue of defini- definitions; library tional authority at a national institution such as the British Library. collections This article defines what distinguishes a digital comic from a print comic and explores visual, functional, and sociocultural features of digital comics before presenting a flexible, composite working definition of a digital comic.
    [Show full text]
  • Using the Concept of Timeframing to Implement Animation in the Motion Comic Adaptation of Bumi
    Using the Concept of Timeframing to Implement Animation in the Motion Comic Adaptation of Bumi K R Pangaribuan1, A Zulkarnain2 1,2Visual Communication Design Department, Faculty of Design, Universitas Pelita Harapan, Jl. MH. Thamrin Boulevard Lippo Village 1100, Tangerang 15810, Indonesia *E-mail: [email protected], [email protected] Abstract. Motion comics are known for their implementation of animation in static comics, but the goal of the animation itself is rarely thought about. Some use animation in comics just for the sake of creating a moving comic, without really thinking about the strengths animation can bring. Understanding the concept of timeframing and the seven characteristics of a motion comic will help improve the use of animation in a motion comic. Keywords. Timeframing, motion comic, digital comic, animation 1. Introduction With the advancement of technology, comics that were distributed through print, have now taken form digitally and can be read through phones, laptops, and tablets. Not only are these comics uploaded online, but a lot of creative techniques are being used in the comics that can only be done digitally. One of them would be the use of animation. Digital comics combined with animation are often called interactive or motion comics. There are a lot of different types of motion comics. Some may take the original static comic and add little animations in the panels, some have implemented voice-over and music, and some have even transformed the comic into full-length 2D animation. This has caused a lot of controversy on what a comic truly is, and what essence animation can bring on an already well-done static comic.
    [Show full text]
  • LESSON 5 Love Is Kind SUPER CHURCH 2.0 MEMORY VERSE: Ephesians 4:32, “…Be Kind to One Another....” (NKJV)
    AGAPE LESSON 5 Love Is Kind SUPER CHURCH 2.0 MEMORY VERSE: Ephesians 4:32, “…be kind to one another....” (NKJV) TAKE HOME POINT: Be kind to others. ➤ TO THE TEACHER: God gives us lots of opportunities to show kindness. Let’s look at some of the opportunities: There are three things to know • The new kid. Have you ever been the new kid at school or about kindness: church? What does that feel like? Many times the new kid is ignored at school and even at church. New kids should not 1. God gives have to fight their way into our cliques. us lots of • The unpopular kid. Every school has one of these kids. He opportunities or she is the kid that everybody picks on. Kids can be pretty to show mean sometimes. Especially when it becomes fun to pick on kindness. the unpopular kid. God wants us to be kind to everybody. 2. How we show • The bully. This is the kid that is always angry. He takes out kindness. his anger on the other kids. Do we have to be kind to the bully? Absolutely! Jesus died for everybody, even for bullies. 3. What do you How do we show kindness? There are different ways that we do if you are can show kindness to others. the kid that doesn’t have • We can show kindness with our words. You can go up to the any friends? new kid and start talking to him or her. Ask them questions. Say kind things about them (their hair looks nice, they have a cool backpack.) Continued on next page LESSON 5 PAGE | 1 ©2010 Mark Harper Ministries AGAPE LESSON 5 SUPER CHURCH 2.0 • We show kindness with our actions.
    [Show full text]