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1
Scanlon, Meaghan. "Canadian Comic Books at Library and Archives Canada." Papers of The Bibliographical Society of Canada 56, no. 1/2 (July 16, 2019): 37–51. http://dx.doi.org/10.33137/pbsc.v56i1/2.30363.
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Library and Archives Canada (LAC) has what is likely the largest collection of Canadian comic books in a Canadian library. LAC’s collection has three distinct parts: comics acquired via legal deposit,the John Bell Collection of Canadian Comic Books, and the Bell Features Collection. These holdings, which span the history of the comics medium in Canada, represent a significant resource for researchers studying Canadian comics. This article looks at each of the three main parts of LAC’s comic book collection, giving anoverview of the contents of each part, and providing information on how researchers can discover and access these comics. The article also briefly explores other comics-related holdings at LAC. Its purposeis to provide a starting point for researchers seeking to make use of LAC’s comic book collections.
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Lichtblau, Krzysztof. "Polski komiks wojenny z czasów PRL-u." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 12, 2017): 80–89. http://dx.doi.org/10.24917/3919.
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Polish comic books from the Polish People’s Republic period After years of fighting with comics book the authorities of the Polish People’s Repulic started using it for its own objectives. Propaganda was the basic target of the comic book narration and interference in history was the main element of it. In my publication I will present images of war created by authorities in the main comic books from the Polish People’s Republic period.Propaganda used by authorities helped to show friendship between Poland and Soviet Union. What is more, using comic books in a political game allowed to create a demonic image of the so-called enemies; Germany especially, but also everything what was connected to the west politics and culture was considered hostile.Comic books became a great tool in governments’ hands for propaganda objectives. Simpifications and contrasts which are used in comics were a great way of ideological speech.Key words: comic book; war; propaganda;
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Aleixo, Paul A., Daniel Matkin, and Laura Kilby. "What do teachers think about the educational role of comic books?: A qualitative analysis." Studies in Comics 11, no. 2 (November 1, 2020): 387–404. http://dx.doi.org/10.1386/stic_00037_1.
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An exploratory, qualitative, study into the views of teachers on the use of comic books in education was carried out. Three secondary school teachers with varying experiences of comic books were interviewed using an open-ended format. Results of a thematic analysis indicated three clear areas of thinking around comic books: firstly, comic books are considered to be a medium of children’s entertainment, and not associated with educational practice; secondly, when the medium is employed in education, it should primarily be used with students that require extra support and thirdly, comic books represent a ‘missed opportunity in education’ and have not achieved their full potential due to a lack of comic book resources for use in the classroom. All three concepts are discussed in light of research evidence supporting the use of comics in educational contexts and concerns are highlighted that suggest these themes might represent a barrier to the future use of comics in these areas. Further qualitative and quantitative research to expand these initial findings is also suggested.
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Ciemniewski, Marcin. "Indian spooks: What Indian Comic Books Readers Are Afraid of." Politeja 16, no. 2(59) (December 31, 2019): 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.
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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?
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Sherwood, Rosie. "New Readings: The Comic as Artists’ Book." Art Libraries Journal 40, no. 1 (2015): 16–19. http://dx.doi.org/10.1017/s0307472200000067.
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Artists’ books consider every aspect of the book in the creation of meaning. How might reading the comic book through this context extend the possibilities of the art form? Can considering the whole book change the way creators and readers approach the comic? This article considers the space between book arts and comics, asking how they might fit together and considering the possible benefits of this expanded reading for the comic book as a form.
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Le, Van Huynh Ha, and Oanh Thi Kieu Doan. "Comic Books." International Journal of Computer-Assisted Language Learning and Teaching 12, no. 4 (October 1, 2022): 1–22. http://dx.doi.org/10.4018/ijcallt.310082.
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Collaborative learning is an educational approach that allows learners to learn effectively in groups and construct new knowledge together. Online collaborative learning takes place on an online platform. This educational approach is evaluated as an effective solution to the learner's isolation in online courses. This action research aims to investigate the impact of online collaborative learning by designing comic books on diminishing the learner's isolation and exploring the obstacles to making online comic books. One hundred fifty freshmen at Van Lang University, Vietnam took part in a 10-week project. The action research method was used in combination with three data collection instruments: notes, questionnaires, and focused group interviews. The findings indicate that online collaborative learning with comics can remove the isolation feelings and bring a sense of community to online learners. The research also pointed out difficulties that may arise during designing comics. The action plan has pedagogical values and should be duplicated for the sake of online learning and teaching.
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Woo, Benjamin. "Is there a comic book industry?" 9ª Arte (São Paulo) 9, no. 1 (December 21, 2020): 122–44. http://dx.doi.org/10.11606/issn.2316-9877.v9i1p122-144.
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The “American comic book industry” is not American, its true product is not comic books, and it may not even be an industry. This article uses a geospatial map of comic book and graphic novel publishers active in the US market as well as sales estimates derived from both the direct market of specialty comic book retailers and trade book stores to question inherited “mental maps” of comic book publishing, such as the divide between “mainstream” and “alternative”/“independent” publishing. Adopting a relational approach, it suggests that a sociology of comics publishing – and of the cultural industries more generally – must be cautious of taking on board un-sociological concepts like “industry.”
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Yu, Chiejheaca Jehanna G., and Ernil D. Sumayao. "Development and Implementation of a Contextualized Comic Book to Improve Students’ Conceptions of Cell Division." Asia Pacific Journal of Educators and Education 37, no. 2 (December 30, 2022): 301–23. http://dx.doi.org/10.21315/apjee2022.37.2.15.
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Cell division was identified as one of the least learned competencies in teaching biological science to junior high school students. Comics’ combination of pictures and words makes the process more engaging to students by changing their perspective on learning. Reading literacy and motivation are improved by contextualized comic books. The use of comic books as instructional material significantly influences academic attainment, particularly for low achieving youngsters. As a result, instructors’ teaching strategies and approaches reflect the growth and inclusion of comics in teaching-learning. The study aimed to develop and assess a contextualized comic book teach-ing cell division concepts to improve students’ conceptions. The research used a modified exam from the General Biology book based on Curriculum Guide Competency and Most Important Learning Competency (MELC). The accomplishment exam consisted of 20 items covering the following topics: Cell Division/ Cell Cycle. The contextualized comic book was rated accept-able and with moderate agreement by the evaluators. The findings showed that the developed contextualized comic book positively influenced the knowledge level of the student’s cell division concepts. Moreover, there was a significant difference between the student’s pre-test and post-test mean scores. Additionally, they positively perceived that the developed contextualized comic book had increased their interest and creativity and enhanced their knowledge and understanding of Cell Division. Because of their significance to the teaching process, instructional comics are suggested for inclusion in many courses, notably in science.
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Syska, Rafał. "Comics in museums. Paradoxes of the presence and absence of comics in museum exhibition practices." Kultura Popularna 60, no. 2 (January 31, 2020): 148–61. http://dx.doi.org/10.5604/01.3001.0013.7341.
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The article analyzes the phenomenon of exhibitions dedicated to comic books, which are displayed in museum and gallery spaces. It presents the theory of contemporary narrative exhibitions. Using some tools of the latest research on the art of exhibition, the author analyzes the status of a comic book in a museum landscape. He reflects on the diversity of the comic book’s presence in everyday practices, the other nature of comic's experience by a visitor, and a link between comic books and other media, especially film. He describes the role of the viewer, who becomes the object in relations with a comic book transformed into a subject as a museum artifact.
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Midkiff, Emily. ""This malfeasance must be stopped!": Flora & Ulysses and the Literary Quality of Children's Books." Children's Literature Association Quarterly 48, no. 4 (December 2023): 343–56. http://dx.doi.org/10.1353/chq.2023.a930095.
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Abstract: Flora & Ulysses by Kate DiCamillo carefully negotiates between what is expected of comic books and what is expected of literary children's novels, resulting in a book that borrows from and signals both traditions. As a result, Flora & Ulysses challenges the different values traditionally assigned to comic books and literary children's books, but without ever becoming too radical. In this article, analysis of this text and its archival materials held in the Kerlan Collection demonstrates how the book pushes for a wider acceptance of comics formatting as valuable literature, while also exemplifying the value systems still in place.
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Jee, Benjamin D., and Florencia K. Anggoro. "Comic Cognition: Exploring the Potential Cognitive Impacts of Science Comics." Journal of Cognitive Education and Psychology 11, no. 2 (2012): 196–208. http://dx.doi.org/10.1891/1945-8959.11.2.196.
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Increasing people’s interest and involvement in science is a growing concern in education. Although many researchers and educators seek innovations for classroom instruction, much could be gained by harnessing the activities that people perform at their leisure. Although new media are constantly emerging, comic book reading remains a popular activity for children and adults. Recently, there has been an explosive increase in the creation of educational comic books, including many about science. This rapid increase in science comics far outstrips our understanding of how comics impact people’s beliefs and interests in science. In this theoretical article, we draw on research from cognitive science and education to discuss heretofore unexplored cognitive impacts of science comics. We propose several ways in which learning could be enhanced or impaired through reading science comics and discuss several broader issues related to the use of comic books in education, including individual differences and informal learning.
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Hosler, Jay, and K. B. Boomer. "Are Comic Books an Effective Way to Engage Nonmajors in Learning and Appreciating Science?1." CBE—Life Sciences Education 10, no. 3 (September 2011): 309–17. http://dx.doi.org/10.1187/cbe.10-07-0090.
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Comic books employ a complex interplay of text and images that gives them the potential to effectively convey concepts and motivate student engagement. This makes comics an appealing option for educators trying to improve science literacy about pressing societal issues involving science and technology. Here, we report results from the first systematic assessment of how a science comic book can affect student learning and attitudes about biology. We used pre- and postinstruction instruments to measure students’ attitudes about biology, attitudes about comics, and content knowledge about evolution before and after using the science comic book Optical Allusions in their classes. On the preinstruction instrument, nonmajors reported the lowest scores on the content test and attitude surveys relative to the other groups. However, on the postinstruction instrument, nonmajors’ content scores and attitudes showed a statistically significant improvement after using the comic book, particularly among those with lower content knowledge at the start of the semester. The improvement in attitudes about biology was correlated to attitudes about comics, suggesting that the comic may have played a role in engaging and shaping student attitudes in a positive way.
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Wolski, Michał. "Type in pictures. Comic book lettering in contemporary American comics. An overview." Kultura Popularna 60, no. 2 (January 31, 2020): 162–86. http://dx.doi.org/10.5604/01.3001.0013.7342.
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This paper focuses on the issue of comic book lettering in mainstream American comics with an aim to introduce theoretical and methodological framework for further analysis of comic book typography. First, it addresses numerous aspects of relations between text and image in comics and presents the brief history of lettering in American comic book industry, as it grew apart from its European counterpart in the early years of development and became much more institutionalized, in no part because of the works of Will Eisner, Gaspar Saladino and especially Richard Starkins, who introduced an affordable means of using the digital typography in early 90s' comic books. In its main part the paper presents the classification of usage of lettering in comics' communicates, which distinguishes the diegetic (graphic, verbal and mental) and non-diegetic (meta- or paratextual and narrative) communicates. This analysis was based on the research sample of over 700 comic book issues, mostly from the Ultimate Marvel imprint (2000–2015) In the final paragraphs, the author critically examines functions of comic book typography and outlines three possible fields of further study.
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Buoye, Alexander, Arne De Keyser, Zeyang Gong, and Natalie Lao. "Intellectual property extensions in entertainment services: Marvel and DC comics." Journal of Services Marketing 34, no. 2 (February 13, 2020): 239–51. http://dx.doi.org/10.1108/jsm-06-2019-0224.
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Purpose The purpose of this paper is to look into the topic of IP category extensions in an entertainment setting. The main goal of the study is to explore the reciprocal spillover effect of customer experience (CX) ratings with an intellectual property (IP) in one medium (i.e. film) on the sales of the same IP in other media (i.e. comic books). Design/methodology/approach The study is based on 21-years of monthly top 300 comic book direct market sales data linked to the release schedule and domestic box office gross figures for films featuring Marvel and DC comic book IP appearing in the weekly top 50 films over the same time period. The analysis is based on a hierarchical linear (i.e. mixed) model to account for the nested structure of the data. Findings The analysis reveals that CX ratings of weekly top 50 films featuring comic book IP have a quadratic relationship with comic book sales by the two major publishers. Films receiving very good but not excellent ratings are associated with the highest levels of incremental comic book sales. Research limitations/implications The model is based on sales of periodical comic books in the direct market only (i.e. specialty shops) and does not account for sales of digital comics or collected editions through other channels. The analysis is also limited to IP for the two major publishers (Marvel and DC comics). Originality/value This study expands current knowledge on CX spillover effects between different media, contributing to entertainment and CX-literature alike.
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Peterle, Giada. "Comic book cartographies: a cartocentred reading of City of Glass, the graphic novel." cultural geographies 24, no. 1 (June 23, 2016): 43–68. http://dx.doi.org/10.1177/1474474016643972.
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This article responds to the call for a deeper theoretical and methodological exchange between the disciplines involved in geohumanities research and proposes comic books as an environment for interdisciplinary, geo/cartographical and literary critical research practice. The analysis considers the emerging field of ‘comic book geographies’ and suggests a further opening to ‘comic book cartographies’. Hence, by referring to the ‘spatiocentred’ approaches emerging in literary theory and criticism, I propose a ‘geocritical’ and ‘cartocentred’ reading of comics to explore the ‘cartographies of the comic book’. I individuate the peculiar map-like features of comics’ spatial grammar to interpret the comic book as both a cartographer and a map. Moreover, taking into account the recent shift in cartographic theory towards an ‘emergent cartography’, I propose an ‘ontogenetic’ understanding of comics as maps. Through both their representational and non-representational map-like features, comics are intended ‘as always mappings’, providing the author/reader with a truly mapping experience. The analysis of the exemplary case study of City of Glass, the graphic novel transposition of Auster’s novel by Paul Karasik and David Mazzucchelli, counts as a first attempt to propose a ‘cartocentred’ reading of the cartographies inserted within and emerging from a comic book. This article suggests that a ‘cartocritical’ reading of comics could provide comic studies, cultural geography and literary theory with new insights, as well as cartographic theory with an unexplored laboratory to keep on ‘rethinking maps’ from an ‘emergent’ perspective.
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Kurnia, Jusep, and M. nasrul Kamal. "PERANCANGAN BUKU KOMIK BAHAYA NARKOBA TERHADAP ANAK." DEKAVE : Jurnal Desain Komunikasi Visual 10, no. 2 (February 17, 2020): 288. http://dx.doi.org/10.24036/dekave.v10i2.108164.
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Drug abuse has an adverse effect which can lead to addiction (addiction) which results in dependency. Drug abuse in Indonesia is increasingly happening in some circles ranging from people with low and high economics.The purpose of designing this comic is to inform children about the dangers of drugs and as a precautionary measure so as not to increase drug abuse. The chosen media is comic books because comic books have a lot of pictures so it is interesting for children.This design produced a comic book as the main media, and was also supported by several other media, namely: Poster, Sticker, Totebag, X-banner, Tshirt, Key Chain, and Backdrop as supporting the main media and as a promotional media.Keywords: Comics, Drugs.
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Głownia, Dawid. "Pacification of Rebellious Comics by the Comic Code On the Example of Changes Introduced Into Reprints of Pre-1955 Comics." Kultura Popularna 60, no. 2 (January 31, 2020): 188–204. http://dx.doi.org/10.5604/01.3001.0013.7343.
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The article discusses the issue of changes introduced into reprints of pre-1955 American comics in order to adapt them to requirements of the Comic Code. Pre-1955 American comic books are characterized as “rebellious” — challenging norms and aesthetic rules of contemporary America – and the activities of Comic Code Administration as a form of their pacification. What follow next is a presentation of main strategies of adaptation of pre-1955 comics to the requirements of the Comic Code identified on the basis of analysis of fifty reprints. In the last part the author compares the original and reprinted versions of three comics books stories, shows how dramatically the plot of stories could change due to introduction of prescriptions of the Comic Code Administration.
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Sayılgan, Özge. "Exploring Interactivity in Digital Comics." Interactive Film & Media Journal 3, no. 1 (June 6, 2023): 97–105. http://dx.doi.org/10.32920/ifmj.v3i1.1687.
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The digital revolution has reconditioned our media landscape, instigating hybridity in traditional forms and reshaping the nature of storytelling through enhanced interactivity. This paper scrutinizes the transformative interplay of digital technologies and comic books, engendering new media narrative forms such as interactive comics and redefining conventional sequential storytelling. As a reflection of this evolution, comic books, long recognized as sequential art, have broadened their narrative scope by integrating elements of motion, interactivity, and game-like attributes. This research explores four distinct types of digital comics: Meanwhile: An Interactive Comic Book (Zarfhome Software, 2018), Framed (Noodlecake Studios, 2014), Florence (Mountains Studio, 2018), and Our Plague Year (Burton, 2022). By adopting Sheldon’s categories of interactivity and Lebowitz and Klug's interactive story spectrum, we analyze these stories' levels of interactivity and linearity. The findings indicate that the complexity, diversity, and multitude of reader agency do not necessarily render a story interactive in terms of content. While these digital comics vary significantly in design, most still adhere to a traditional linear narrative framework despite the diversity and many interactive elements. Only “Meanwhile: An Interactive Comic Book” deviates from linearity, manifesting non-linear, web-like narrative structures and branching story paths. This analysis unravels the nuanced hybridization of digital media and comic books, illuminating how digital technologies reshape and augment our narrative practices. The digital revolution has not only brought about a new storytelling habitat but also expanded our understanding of co-authorship, thus pushing the boundaries of sequential storytelling in an ever-evolving digital culture. It also highlights the importance of recognizing the differences between interacting with the medium and interacting with the story itself. Consequently, this research contributes to the understanding of the intricate relationship between digital technologies, interactivity, and sequential storytelling, paving the way for further exploration in the field of digital comics.
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Hunt, Whitney. "Negotiating new racism: ‘It’s not racist or sexist. It’s just the way it is’." Media, Culture & Society 41, no. 1 (October 4, 2018): 86–103. http://dx.doi.org/10.1177/0163443718798907.
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Comic books are being adapted into film and television series, encouraging underrepresented voices to become more prominent in comic book culture. White men continue to dominate the culture as creators and principle characters. Yet, women and people of color are consuming comic books and films at increasing rates prompting fans to use social media outlets and online forums to engage in conversations about race in pop culture. Employing a qualitative content analysis of an online forum tailored to comic book culture, this research investigates how fans negotiate their continued fandom of comics amid claims that the industry is discriminatory toward people of color. Findings reveal forum discussion is adopting framings of new racism when accounting for a lack of diversity in comic book films. Specifically, this research shows how fans rely on White racial framings throughout discussion. Central themes indicate most forum participants suggest only overt discrimination implies that race matters and minimize the effects of historical processes. Moreover, few fans challenge traditional representations normalizing White dominance. This study contributes to research on new racism and the prevalence of White racial framings in contemporary American society.
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Kirsh, Steven J., and Paul V. Olczak. "Violent Comic Books and Judgments of Relational Aggression." Violence and Victims 17, no. 3 (June 2002): 373–80. http://dx.doi.org/10.1891/vivi.17.3.373.33661.
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This study investigated the effects of reading extremely violent versus mildly violent comic books on the interpretation of relational provocation situations. One hundred and seventeen introductory psychology students read either an extremely violent comic book or a mildly violent comic book. After reading the comic books, participants read five hypothetical stories in which a child, caused a relationally aggressive event to occur to another child, but the intent of the provocateur was ambiguous. After each story, participants were asked a series of questions about the provocateur’s intent; potential retaliation toward the provocateur; and the provocateur’s emotional state. Responses were coded in terms of amount of negative and violent content. Results indicated that participants reading the extremely violent comic books ascribed more hostile intent to the provocateur, suggested more retaliation toward the provocateur, and attributed a more negative emotional state to the provocateur than participants reading the mildly violent comic book. These data suggest that social information processing of relationally aggressive situations is influenced by violent comic books, even if the comic books do not contain themes of relational aggression.
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Lo, Patrick, Bradley Allard, Kevin K. W. Ho, Joyce Chao-chen Chen, Daisuke Okada, Andrew Stark, James Henri, and Chung-chin Lai. "Librarians’ perceptions of educational values of comic books: A comparative study between Hong Kong, Taiwan, Japan, Australia and New Zealand." Journal of Librarianship and Information Science 51, no. 4 (March 29, 2018): 1103–19. http://dx.doi.org/10.1177/0961000618763979.
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Comic books are becoming increasingly popular in the field of education. In the past, comic books were excluded from school libraries and classrooms. However, with the resurgence in the popularity of comic books and students’ increased demands for them, they are now considered as recreational reading with educational value. In response to this, school libraries have begun collecting comic books and including them as part of their regular collections. This research paper reflects on the current situation of comic books in primary and middle school library collections and examines school librarians’ perceptions towards educational values of comics. The investigation was launched in Hong Kong, Taiwan, New Zealand, Australia and Japan – making comparisons amongst different levels (primary school and secondary school), and different types (public school and private school) of schools in five different countries. Questionnaire surveys were sent to selected school librarians and were the main method of data collection. A total number of 683 responses were collected for this study. Research results include librarians’ attitudes towards comic books in school libraries, adolescent readers’ use of school libraries, their reading and borrowing practices, as well as other problems encountered with the on-going maintenance of comic books as part of the school libraries’ regular collections.
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Gipson, Grace D. "Now It’s My Time! Black Girls Finding Space and Place in Comic Books." Arts 12, no. 2 (March 28, 2023): 66. http://dx.doi.org/10.3390/arts12020066.
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This essay examines how Black girl narratives are finding and making space and place in the arena of comic books and television. With the rise in Black girl (super)hero protagonists on the comic book pages and adapted television shows, it is essential to explore the significance of their rising inclusion, visibility, and popularity and understand how they contribute to the discourse surrounding the next generation of heroes. Guided by an Afrofuturist, Black feminist, and intersectional framework, I discuss the progressive possibilities of popular media culture in depicting Black girlhood and adolescence. In Marvel Comics’ “RiRi Williams/Ironheart”, DC Comics’ “Naomi McDuffie”, and Boom! Studios’ “Eve”, these possibilities are evident. Blending aspects of adventure, fantasy, sci-fi, and STEM, each character offers fictional insight into the lived experiences of Black girl youth from historical, aesthetic, and expressive perspectives. Moreover, as talented and adventurous characters, their storylines, whether on the comic book pages or the television screen, reveal a necessary change to the landscape of popular media culture.
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Leshem, Bar. "Visualizing Superman: Artistic Strategizing in Early Representations of the Archetypal Man in Comic Books." Arts 10, no. 3 (August 31, 2021): 62. http://dx.doi.org/10.3390/arts10030062.
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In 1933, Jerry Siegel and Joe Shuster, two Jewish teenagers from Ohio, fashioned an ideal personality called Superman and a narrative of his marvelous deeds. Little did they suspect that several years after conceptualizing the figure and their many vain attempts to sell the story to various comic book publishers, their creation would give rise to the iconic genre of comic book superheroes. There is no doubt that the Superman character and the accompanying narrative led to Siegel and Shuster, the writer and artist, respectively, becoming famous. However, was it only the appealing character and compelling narrative that accounted for the story’s enormous popularity, which turned its creators into such a celebrated pair, or did the visual design play a major part in that phenomenal success? Recent years have seen a burgeoning interest in the comic book medium in several disciplines, including history, philosophy, and literature. However, little has been written about its visual aspect, and comic book art has not yet been accorded much recognition among art historians. Since the integration of storyline and art is what allow the comic book medium to be unique and interesting, I contend that there should be a focus on the art as well as on the narrative of works in comic books. In the present study, I explore the significance of the visual image in the prototype of the Superman figure that Siegel and Schuster sold to DC Comics and its first appearance in the series American Comic Books. I argue that although the popularity of Superman’s first appearance was due to the conceptual ideals that the character embodied, the visual design of the ideal man was also an essential factor in its success. Accordingly, through a discussion of the first published Superman storyline, I emphasize the artistic-visual value of the figure of this protagonist in particular and the comic book medium in general.
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Guynes, Sean A. "Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia." Public Journal of Semiotics 6, no. 1 (December 23, 2014): 58–72. http://dx.doi.org/10.37693/pjos.2014.6.11916.
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Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.
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Rehana, Rehana, Eva Oktaviani, Jawiah Jawiah, and Eva Susanti. "Manfaat Buku Komik terhadap Respon Maladaptif Anak Sebelum Operasi." Journal of Telenursing (JOTING) 5, no. 2 (October 17, 2023): 2585–93. http://dx.doi.org/10.31539/joting.v5i2.7601.
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This research aims to identify the benefits of comic books as an educational medium for children's physiological and psychological maladaptive responses before surgery. The method used in this research is a descriptive research method with a case study approach. The study results show that perioperative use of comic book educational media can reduce children's physiological and psychological maladaptive responses before surgery. There was a decrease in preoperative anxiety based on APAIS scores in both research subjects, namely from high stress to mild anxiety after reading perioperative comic books. In conclusion, using perioperative comic book educational media can reduce maladaptive responses in children before surgery.
Keywords: Comic Book, Anxiety, Surgery, Perioperative, Maladaptive Response
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Hasian, Irene, and Anissa Jiwojati Utami. "Tinjauan Desain Karakter Komik Mice terhadap Kesesuaian Karakter Indonesia." Magenta | Official Journal STMK Trisakti 2, no. 01 (February 3, 2018): 271–88. http://dx.doi.org/10.61344/magenta.v2i01.31.
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The increase in popularity of Indonesian comics happens after many print and webcomic presence comics as a medium of communication between the author with the reader. Growth of Indonesian comic starts as expression media of author’s frustration about Indonesian politic and nowadays comic as a sliceâ€ofâ€life comic or in order to tell certain situation.
Cartoonist Muhammad Misrad commonly called Mice is a comic artist who is already struggling in the comic world for a dozen years and successfully communicating the Indonesian people's lives and many people call it as so†Indonesian comic. The character by Mice is perceived by writer as a soâ€Indonesian character. This reinforces the author desire to examine the character of Mice comic and the suitability with Indonesian character. The method used in this research is a qualitative approach. The explanation of the research methods for the required data will be divided into several different sub chapters. Phases of the research starting from data collection, sampling process, analyzing process, to conclusion.
The writer uses a sample based on the comic book that tells the story of Indonesia people daily life from 2011 to 2015 as many as two samples of comic books. The analysis focuses on the visual character that covers the body shape, manner of dress, facial expressions and body gestures. The conclusions drawn by the overall visual analysis of the characters in the comic as well as compliance with reality.
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Krusemark, Renee. "Teaching with Batman and Sherlock: Exploring student perceptions of leadership using fiction, comic books, and Jesuit ideals." Creighton Journal of Interdisciplinary Leadership 2, no. 1 (May 14, 2016): 71. http://dx.doi.org/10.17062/cjil.v2i1.32.
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<p>Employers seek college graduates with leadership skills, but studies indicate not all students graduate with leadership ability. Furthermore, an interdisciplinary perspective of leadership implies that leadership learning and ability can be achieved with a variety of methods. This study sought to understand how reading fiction, including comic books and traditional books, engages undergraduate student perceptions of leadership. A group (N = 17) of community college students first read a Batman comic book, The Long Halloween, and then read a traditional (no images) book, A Study in Scarlet, the first Sherlock Holmes story. Participant perceptions of leadership were collected using structured surveys. The study determined that participant perceptions of leadership in the comic book were formed similarly to perceptions of leadership in the traditional book, although slight differences were noted. The study’s findings suggest that (a) fiction can engage student perceptions of leadership and (b) comic books can provide educational readings similar to traditional (no images) books.</p>
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Derkachova, Olga, Oksana Tytun, and Solomiya Ushnevych. "EDUCATIONAL AND CULTURAL POTENTIAL OF INCLUSIVE COMICS." Mountain School of Ukrainian Carpaty, no. 26 (April 26, 2022): 16–22. http://dx.doi.org/10.15330/msuc.2022.26.16-22.
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The article deals with the research on comics' educational and cultural potential, particularly inclusive comic books, and their influence on inclusive culture formation. Inclusive graphic stories have long been part of the readership abroad. Gradually, this tradition is becoming popular in the Ukrainian cultural space. The chronology of the implementation of inclusive education in Ukraine is established, a brief overview of the regulatory framework is given. There is more and more inclusive literature on the Ukrainian book market: it is both translations and works of domestic writers, it is literature for the youngest, teenagers, adults, and it is fiction and nonfiction. In 2019 the first inclusive comic book "Friends 2.0" appeared. It was published with the support of the Ukrainian Cultural Foundation within the framework of the Inclusive Art program. The comic book "Friends 2.0" is an illustrative material for the analysis. The given research identifies the features of inclusive literature and clarifies its role in forming a tolerant society. The main evolutionary steps of comics are conveyed (Egyptian drawings in the burial chambers, "Ocelot's Claw", The Bayeux Tapestry, William Hogarth’s caricatures, stories in drawings by Rodolphe Töpffer, "Max und Moritz" by Wilhelm Busch, "The Yellow kid" by Richard Outcault and others). The basic terms and concepts of comic book culture are explained, taking into account the specifics of their translation. The history of Ukrainian comics is written daily, undergoes great changes, forms the main slogans and ideas in which it operates and develops. Currently, Ukrainian comics are established as a separate literary and art genre. Inclusive "Friends 2.0". comics are five stories based on real events. Every story is a story of struggle and victory. These are the first inclusive stories in the Ukrainian cultural space. They proclaim that everyone in the world is important, that disability is not a sentence, the importance of adaptation and inclusion, faith and dreams that come true. The article highlights the structural and semantic components of the stories in the comic book "Friends 2.0", analyzes the role of the motto in the content of the stories of this book, the background of panels, characters, and more. The analysis of inclusive comic strips as achievements of comic book culture and as examples of graphic texts in which the inclusive component dominates is offered. It helps to identify a special type of superhero in "Friends 2.0". The educational potential of such comics and their influence on the context of inclusive culture are identified.
Keywords: inclusive literature, inclusive comics, comic book, diegesis, narrative, encapsulation, motto, superhero.
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Dzhumaylo, O. A. "New books on comics." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 8, no. 2 (June 30, 2023): 148–67. http://dx.doi.org/10.18522/2415-8852-2023-2-148-167.
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The review analyzes current issues and approaches in the academic study of comics on the material of generalizing scholar books published in 2020– 2022. The focus is on two dictionaries of key concepts in the field of comics studies (“Keywords for Comic Studies”, “Key Terms in Comics Studies”) and two collective monographs of a systematizing bent (“Comics Studies: a Guidebook”, “More Critical Approaches to Comics”). In addition, the monograph “Comics as a Research Practice: Drawing “Narrative Geographies Beyond the Frame” is discussed as an example of interdisciplinary (humanitarian geography in the study of comics) and activist practice in comics studies. The importance of research through the prism of a narrative approach is shown in the scholar book “The Narratology of Comic Art”. Taking into account the fact that comics are both a medium and an instrument of entertainment economics, politics, personal self-expression, and one of the notable forms of everyday culture, the following topical aspects of the theory and practice of studying comics are highlighted: the legitimization of comics in academic culture and contemporary neoliberal university; the intermedial / multimodal / transmedia status of comics; problematization of the concept of comics and its historiography as a constructed entity in dependence of the chosen scholar approach; specific historical, social, political, economic and cultural contexts in which comics are created and interpreted; comics as an expression of critical reflection and activist position (of the creator and of the researcher); intellectualization of academic discourse on comics; attention to the issues of specific poetics of comics as a verbal-visual-figurative medium, the breadth of its genre catalog, dynamic forms of distribution and consumption culture of comics (adaptation and transmedia storytelling).
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Kirsh, Steven J., and Paul V. Olczak. "RATING COMIC BOOK VIOLENCE: CONTRIBUTIONS OF GENDER AND TRAIT HOSTILITY." Social Behavior and Personality: an international journal 29, no. 8 (January 1, 2001): 833–36. http://dx.doi.org/10.2224/sbp.2001.29.8.833.
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This study assessed the influence of gender and trait hostility on perceptions of extremely-violent and mildly-violent comic books. Participants rated comic books on a variety of factors, including levels of violence and humor. Gender, but not trait hostility, was significantly related to the comic book ratings. The methodological and psychological implications of these findings are discussed.
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Murawski, Bartosz. "Herosi w odcinkach. Wczesne ekranizacje komiksów o superbohaterach." Kultura Popularna 3, no. 49 (March 31, 2017): 24–35. http://dx.doi.org/10.5604/01.3001.0009.8042.
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Films based on comic books are now at the peak of their popularity. Every year we get at least a couple of movies about superheroes. These are high-budget productions, perfected to the smallest detail. But it was not always so. In my article I discuss the first attempts to filming comics – so-called “serials” filmed in the 1940’s. These films were shot quickly, cheaply and without paying special attention to faithfulness of the source material. However, these movies had also an impact on conventions presented in modern comic book movies.
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Summers, Tim. "‘Sparks of Meaning’: Comics, Music and Alan Moore." Journal of the Royal Musical Association 140, no. 1 (2015): 121–62. http://dx.doi.org/10.1080/02690403.2015.1008865.
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ABSTRACTComics have become a significant part of modern popular culture. This article examines the ways in which music is involved with comics, and develops methods for analysing musical moments in comic books. The output of the writer Alan Moore (b. 1953) is used as the domain for examining music and comics. This popular author's works are notable for their sophisticated use of music and their interaction with wider musical culture. Using case studies from the comic books V for Vendetta (1982–9), Watchmen (1986–7) and the second and third volumes of The League of Extraordinary Gentlemen (2002–12), the article demonstrates that the comic can be a musically significant medium (even to the point of becoming a piece of virtual musical theatre), and argues that music in comics serves to encourage readers to engage in hermeneutic criticism of musical and musical-literary texts.
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Presser, Alexandra, Gilson Braviano, and Eduardo Côrte-Real. "Webtoons." Convergences - Journal of Research and Arts Education 14, no. 28 (November 30, 2021): 67–78. http://dx.doi.org/10.53681/c1514225187514391s.28.28.
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There is a noticeable gap in academic studies between comic books and hypermedia. On the one hand, are found several publications on both printed and digital comic books. On the other hand, are publications aimed at media and technologies for content usability for small screen devices. Therefore, this study focuses on the development of comic books for small screen device reading. A parameter guide for the so-called Webtoons was developed, based on theoretical foundation, observation of webcomics in this style on content platforms, and 3 phases of qualitative field research. The research included interviews with comic artists, comic book professionals, and, seeking successive refinement, the guide's presentation to students as educational material.
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Engel, E. A., and M. V. Deneko. "Linguacreative Foundations of the German Comic Book "Dig, Dag, Digedag"." Bulletin of Kemerovo State University 21, no. 4 (December 31, 2019): 1139–49. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1139-1149.
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The paper features linguistic and creative foundations in the German comic book "Dig, Dag, Digedag". Modern linguacultural, cognitive studies, and discursive practices are aimed at studying comics, which are a series of drawings with brief accompanying texts. However, comic books consist of two components – verbal and nonverbal, which means that graphic novels and strips have linguacreative foundations. The author performed philological and semiotic analyzes to identify the linguistic and creative foundations of the German comic book. The algorithm of the philological analysis included literary description of the time and place, the most original and interesting scenes in several editions, lexical expressive means and stylistic devices. The semiotic analysis featured the graphics related to the non-verbal component. The linguistic and creative foundations of the comic are manifested in original plots that allow its readers to escape from everyday and political problems through fun, exciting, and informative trips to Ancient Rome, Sicily, ancient Arab countries, the Moon and Mars, as well as to an uninhabited island. The carefully selected scientific and mundane knowledge is transmitted through verbal means and comic book graphics, making young readers expand their horizon. The use of such tools as hyperbole, metaphor, pun, as well as diverse vocabulary within the text of the comic, also suggests linguistic creativity of the German comic book "Dig, Dag, Digedag".
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Whatley, Edward. "Sources: Comics Through Time: A History of Icons, Idols, and Ideas." Reference & User Services Quarterly 54, no. 4 (June 19, 2015): 80. http://dx.doi.org/10.5860/rusq.54n4.80a.
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Comics Through Time: A History of Icons, Idols, and Ideas is an ambitious, four-volume title that "seeks to capture some of the richness" of comics history and "provide information on this history for a wide range of users, from casual fans of comics to professional scholars of the form" (xxiii). Each of the four volumes covers a specific time period, beginning in the 1900s with comic strips and continuing to the present. Just as the volumes cover a broad expanse of time, they also deal with a diverse array of subjects, including comic strips, comic books, comics creators both well-known and obscure (often accompanied by large photographs), comics publishers, and genres such as science fiction and horror.
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Debrenne, M. "Image of Russia in French-Language Comics." NSU Vestnik. Series: Linguistics and Intercultural Communication 19, no. 4 (November 22, 2021): 167–80. http://dx.doi.org/10.25205/1818-7935-2021-19-4-167-180.
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This article initiates research on the representation of Russia in French comic books. From 1849 to the present about 400 volumes have been published. In this paper, the notion “comics about Russia” include: a) a book of comics in which the action takes place either in the tsarist Russia, the USSR or contemporary Russia, b) a book in which a character or a place of the above period are involved. After an overview of the types of books and genres of comics about Russia (documentary, historical, adventure, science fiction, comical, as well as literary adaptations), an analysis of the visual aspect of comic books, mainly the covers, is given. Such recurring elements as snow, red color, five-pointed star, trains, blood, weapons, beautiful girls, ugly old ladies, and old cars are considered. We discuss the reasons for the practical absence of such stereotypes as black caviar, bears and some others. Then we analyze the role of the Russian language in the realization of the image of Russia, on the example of borrowed words, toponyms, anthroponyms, and utterances. Сyrillic, transliterated text and insertion of certain letters from Cyrillic into Latin are examined, as well as the presence or absence of translation and its correctness. The author underlines cases in which nonexistent toponyms, names and surnames, remotely resembling Russian words, are used. The question is whether such errors are accidental or indicate the authors' evident lack of interest in the adequate depiction of the reality. At the end of the paper the author proposes a frame for the analysis of any comic book about Russia. Apart from the mentioned above, this frame takes into account such aspects as characteristics of the "Russian" personages and their actions. Hopefully, the frame will make it possible to observe the evolution of the image of Russia, the link between stereotypes and the type of comic book as well as to compare the same image in French mass-media, literature, and movies. In the future we would like to find out whether the use of these stereotypes comes from the authors' insufficient knowledge of the Russian reality, or from their intention to create and reinforce the existing stereotypical image of this country.
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Ijaz, Saba, Muhammad Awais, Mudasar Ali Nadeem, and Farahat Ali. "Rendering Muslims as Terrorists in the English Comic Books: Analysis of Liberty for All and Holly Terror." Journal of Social Sciences Research, no. 68 (August 31, 2020): 785–96. http://dx.doi.org/10.32861/jssr.68.785.796.
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Comic books are not only designed to entertain the readers but they also become a medium to communicate something between the lines. Comic books are a popular medium in western countries. This paper investigated the depiction of terrorist incidents allegedly involving Muslims in English comic books. The study aimed to analyze the treatment that was given to the Muslim and non-Muslim characters especially as a part of terrorist organizations while showing real-life terrorism based incidents. It was also intended to explore how they induced fear appeal in their stories regarding particular characters. Through purposive sampling, two comic books have been selected to know how the Muslim characters in the comic book were portrayed in a derogatory manner and to know how they have recaptured the incident of September 11, 2001. Liberality for All and Holy Terror are the two books that were selected and analyzed by using the method of content analysis. Drawing upon the theoretical perspective of Agenda Setting (and Framing), it is assumed that the comic books were prepared deliberately to depict Muslims in a deprecating approach. The results ask the orientalist scholars to raise their eyebrows toward the depiction of Muslims in comic books whose audience is relatively younger and the particular portrayal in such manner can have a profound and longer effect on the young minds regarding Muslims.
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Dewanty, Via Luviana, Dewi Kusrini, and Renindra Atsilah Putri. "Literature Review: Penggunaan Komik dalam Pembelajaran Bahasa Asing untuk Pengembangan Media Ajar Bahasa Jepang Berfokus pada Bentuk dan Tampilan Komik." Chi'e: Journal of Japanese Learning and Teaching 10, no. 1 (March 27, 2022): 1–10. http://dx.doi.org/10.15294/chie.v10i1.48541.
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The study was aimed to discover the form of comics used in language learning and the development process, as well as the style of the Comic suitable with the interest of Japanese language students used in the previous study, which is expected to elaborate types of necessary research in the future for Japanese language teaching material development. There were 20 articles reviewed related to comics development for language learning. Based on the review result, it was found that 1) There are two types of comics, namely 1-Panel Comic used to explain one specific material and 4-Panel Comic used for conversation materials. However, there has yet any research related to comics development in the form of comic books; 2) In terms of process, both types of comics are formulated and developed by referring to a curriculum and learning plan so that the comics may assist students in understanding learning material; 3) Comic styles discussed in previous researches refer to American comic style, and thus less suitable to be used as Japanese language learning materials. The style used in Japanese comics is predicted to be more attractive for Japanese language students. However, there has yet any scientific study on the development of Japanese style comics in Japanese language learning.
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Putro, Dimas. "PERKEMBANGAN TREN MEMBACA KOMIK PADA ERA DIGITAL DI INDONESIA." SOURCE : Jurnal Ilmu Komunikasi 7, no. 2 (November 6, 2021): 115. http://dx.doi.org/10.35308/source.v7i2.3640.
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Comics is a reading medium that is a favorite for some people in Indonesia. Reading comics has become a habit or a hobby for some people. Various types of titles, genres, and types of comics have been found in the world and also in Indonesia. In this digital era, printed comics are challenged by the changing times that have migrated from the printed book system to digital books. This study wants to see how the comic fan community has an opinion about the displacement that occurs in the world of comics. In the existing dualism, each version that exists in the type of printed or digital comic has its own appeal for its fans. Comics have become an alternative reading medium which is a hobby for some people. The convergence of comics at this time received mixed opinions from the audience. Digital and printed comics still have an attractive side for the audience to continue reading and collecting.
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Rubinstein, Iván Facundo, and Laura Nallely Hernández Nieto. "Governmental propaganda in Mexican comics. The case of El Libro Vaquero." Punctum. International Journal of Semiotics 06, no. 02 (March 1, 2021): 207–28. http://dx.doi.org/10.18680/hss.2020.0029.
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This article aims to analyze comic books’ use as vehicles for political communication. Employing socio-semiotic methodology, we describe the discursive operations utilized to disseminate governmental propaganda (a particular type of political communication) in Mexican popular culture. Our corpus comprises institutionally commissioned comic inserts in one of the most iconic magazines of contemporary Mexico: El Libro Vaquero [‘The Cowboy Book’]. According to our findings, these comics tend to make citizens primarily responsible for implementing public policy, ignore the structural causes of the social problems they represent, reducing them to a sum of individual issues, and, finally, downplay state responsibilities while painting a positive image of the different State institutions. Consequently, we should take these comics as a type of institutional propaganda rather than as social marketing.
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Addis, Michela, and Gabriele Troilo. "Humanizing a Superhero: An Empirical Test in the Comic Books Industry." International Business Research 9, no. 11 (October 17, 2016): 189. http://dx.doi.org/10.5539/ibr.v9n11p189.
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<p>One of the most firmly-established and widespread marketing policies in the comic book industry is the humanization of superheroes as a strategy to achieve success, especially for characters populating the Marvel Universe. However, there is no clear evidence of how exactly artists actually and operatively create human superheroes, and whether those variables truly affect sales of comic books. To address those two issues we run a quali-quantitative study by interviewing experts, and regressing sales on a broad range of variables of comic books gathered through content analysis and secondary data sources. Our findings show that humanization is not as powerful as expected in driving sales of comic books.</p>
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Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.
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AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.
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Ecenbarger, Charlie. "Comic Books, Video Games, and Transmedia Storytelling." International Journal of Gaming and Computer-Mediated Simulations 8, no. 2 (April 2016): 34–42. http://dx.doi.org/10.4018/ijgcms.2016040103.
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This article illuminates the transmedia storytelling techniques in The Walking Dead comic book and video game. Telltale Games' The Walking Dead localizes itself within the comic book world of The Walking Dead by acting as a transmedia storytelling device and using intertextuality comics to assist game players with meaning-making. By participating in the game, Telltale rewards players with additional information about The Walking Dead universe, as well as creating a contingent but separate narrative that expands upon the existing Walking Dead world. This exploration of The Walking Dead offers insights into the specific methods that are being employed by creators to further engage the audience in the transmedia storyworld.
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Laksana, Sigit Dwi, Ayok Ariyanto, Moh Tajab, Aldo Redho Syam, and Lilis Sumaryanti. "Comic Strip Media Assisted by Digital Gamification: Increasing Student Behavior Targets and User Engagement in the Learning Process." E3S Web of Conferences 500 (2024): 05006. http://dx.doi.org/10.1051/e3sconf/202450005006.
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Comics multiplying must become the center of attention for educators, especially educators at the elementary school (SD) level. Seeing this, the world of education began to approach the comic media. Comic media has already started to be developed in the field of education, an expert in psychology who is famous for behavioristic theory, Edward Lee Thorndike, has researched comics, the results of this study reveal that a child is accustomed to reading comic books more than usual, for example within one month, the child reads a minimum of 1 comic book, this is the same as the child reading several textbooks every year, of course, this will affect reading skills/abilities for children and will increase mastery and vocabulary which is far more than usual. A child who doesn't like reading comics. It is by the expression. One picture is worth a thousand words, meaning that one image has the same value as a thousand words. Educational comic media is an innovative media that can be used as an alternative media to overcome learning difficulties for children, primarily covering matters related to material interests and understanding. Based on the distribution of learning outcomes in the experimental class, which obtained an average value of 73.79 (high) learning outcomes. While the results of the distribution of learning outcomes for the control class received an average value of learning outcomes of 47.75 (moderate). Based on the research conducted, the researcher obtained a value (Sig. (2-tailed)) of 0.000 <0.05, which means that comic strip media has a significant effect on student learning outcomes.
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Żaglewski, Tomasz. "The Universe-al Storytelling. Towards A ‘Spatial’ Narrative Model in Modern Comic Book Cinema." Panoptikum, no. 26 (October 19, 2021): 169–88. http://dx.doi.org/10.26881/pan.2021.26.08.
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The aim of the article is to analyze modern superhero films through the specifics of superhero narratives in comics. By referring to the ‘organic’ elements of graphic super-storytelling – like retcon or crossover – the author tries to explain the main shift within comic book adaptations heading towards a ‘universe-al’ mode of narration. By doing so the analysis concentrates on the most succesful recent cases of superhero films as attempts to achieve a narrative ‘remediation’ of comic books’ spatial organization that requires reconsideration of the status of an individual superheroic franchise (or sub-franchise) within the larger universe of pre-existing, future and even alternate texts.
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Słowik, Aleksandra. "Posthumanistyczny potencjał polskiego fandomu komiksowego." Zarządzanie w Kulturze 23, no. 1 (May 30, 2022): 55–73. http://dx.doi.org/10.4467/20843976zk.22.004.15870.
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The Post-human Potential of a Polish Comic Book Fandom Comic books are an undeniable part of the modern culture, gaining more popularity every year. Reading comics influences the perception of communing with other products of culture, which results in the transformation of reading into new cultural practices. They may be the result of individual participation, however, the effectiveness of undertakings may often depend on the results of teamwork and collective participation practices. Initially, the grassroots movements of comic book enthusiasts are transformed with time into forms of structured activity. Such an organized community has the potential to implement the assumptions of critical post-humanism, according to which man is not hyper-causative and should participate with actors other than human. This work outlines the historical background of the comic book fandom, considers the idea of participation in culture, analyzes the initiatives taken with particular emphasis on socially engaged activities and content, characterizes the problems faced by the community and relates individual aspects of its functioning to critical post-humanism. The research methodology was based on the analysis of the literature on the subject, virtual ethnology and interviews. The obtained results showed the comic book community as a heterogeneous community that grew out of the need for change. This fandom is involved in initiatives related to diversity, ecology, emancipation and equality, at the same time trying to popularize the comic culture medium.
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Garland, Tammy S., Christina Policastro, Kathryn A. Branch, and Brandy B. Henderson. "Bruised and Battered: Reinforcing Intimate Partner Violence in Comic Books." Feminist Criminology 14, no. 5 (May 17, 2018): 584–611. http://dx.doi.org/10.1177/1557085118772093.
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Previous studies have examined intimate partner violence (IPV) in popular culture; however, little attention has been given to the presence of domestic violence myths in comic books. Using a convenience sample taken from popular comic book series, this content analysis examines the prevalence of IPV and the myths used to justify such portrayals. Findings indicate that the reinforcement of IPV through myths is clearly evident within mainstream comic books. Discussion of the negative impact of the acceptance and reinforcement of IPV myths is addressed.
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Buldakova, Yulia V., and Dmitry A. Shishkin. "Comics in Russia: Transmedia Narrative and Publishing Strategies." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 115–30. http://dx.doi.org/10.17223/23062061/23/7.
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Mass culture creates genre-and-style phenomena that possess both the illusion of a simplified understanding and a complex aesthetic nature. Comics is a phenomenon reflecting trends in the development of mass culture at the turn of the 21st century. In comics, the plot and genre are secondary (graphic novel, various adaptations and retellings), the aesthetics is ambivalent (playful and serious; secular, amateurish and professional), the text has a complex artistic nature (creolisation, polycodedness, centaurism, transmedia features) and, at the same time, an essential goal for reaching commercial success and facilitated consumption/perception. The article aims to describe and analyse the genre-and-style features of the comic strip as a transmedia phenomenon of mass culture. These features give grounds for assessing the principles and tendencies of the presence of the comics in the domestic book market, in particular, the ways of forming the publishing repertoire. The general trend of the modern study of comics (in addition to analysing specific samples of the genre) is the reflection of visual aesthetics in the artistic structure of its text. It is the basis for the inclusion of this genre into mass literature. The peculiarity of the poetics of the comic book lies in the transmedia and sequenciality means that organise the dramatic narrative and visual plot as equal artistic spaces. In combination with the experience of visual media, the genre, style, and discourse of mass culture acquire attributes of transmedia, marginality, and transfer, i.e. tendencies to the mobility of the borders of the traditional genre-and-style system and going beyond them with the help of several different media (visualisation). They have an impact on the genre-and-style features of the comics, and the features of the multimedia information space built on repetition and convergence—sequels, remakes—are becoming more and more familiar. The intention to replicate recognisable stories readers demand encourages major publishers to rely on comic book remakes, comic book adaptations, comic book sequels. There is an extensive development “in depth and in breadth” of the already familiar successful plot, character, aesthetic discourse. Publishing houses are not interested in expanding the thematic repertoire of the comic book, but they seek to update and deepen the reading experience through the emergence of national genre patterns, the discovery of new authors’ names. This leads to a non-linear dynamics in both book publishing and book selling practices in the comics industry and in the genre. The change in the range of comic books is mainly due to various types of remakes, including plot (plot and style, when the aesthetics of the narrative changes) variants of a well-known story. Thus, publishers are faced with common problems in their marketing strategies: objective, related to the lack of understanding of the genre nature and existence of comics, and specifically publishing—the emergence of special technological operations in the production of comics as a publication.
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Asimakoulas, Dimitris. "Aristophanes in Comic Books: Adaptation as Metabase." Meta 61, no. 3 (March 23, 2017): 553–77. http://dx.doi.org/10.7202/1039219ar.
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Translation studies researchers have for a long time critically engaged with the idea of translation being a mode of creative rewriting across media and cultural or temporal divides. Adaptation studies experts use a similar premise to study products, processes and reception of adaptations for specific locales. This article combines such perspectives in order to shed light on an under-researched area of comic adaptation: this is the metabase, or transfer, of Aristophanic comedies to the comic book format in Greek and their subsequent translation into English for an e-book edition (Metaichmio Publications 2012). The paper suggests a model for the close reading of creative transfer based on Lefèvre’s (2011; 2012) typology of formal properties of comics and Attardo’s (2002) General Theory of Verbal Humour. As is shown, visual rhythm and text-image relations create a rich environment for anachronism, parody, comic characterisation and ideological comments, all of which serve a condensed plot. The English translation rewrites cultural/ideological references, amplifies obscenity and emphasizes narrator visibility, always taking into consideration the mise en scène.
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Igareda, Paula. "Approach to the translation of sound in comic books." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 3 (November 3, 2017): 343–63. http://dx.doi.org/10.1075/babel.63.3.03iga.
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Abstract The relationship between texts and images in comics is essential from the graphic point of view and for the understanding of the story. Hence, the translation of comics has certain peculiarities that other literature genres do not have, partly due to its combination of iconic language and literary language. Among the wide array of interesting topics within this field, we are going to focus on a great challenge for translators: the graphic and phonetic values of the sounds in comics. Technical advances have improved comic books translation: nowadays modifying an element of the vignette no longer involves redrawing the whole animation. Thus, the translation of this literature genre can now focus on other problematic issues, such as the translation of sounds. Taking into account the lack of categorization of these sounds, this article deals with the translation of inarticulate sounds, interjections and onomatopoeias from English comic books into Spanish in order to observe the existing trends in these issues and to confirm if the new technologies have changed the translators’ task in the last 25 years.