Journal articles on the topic 'Films and comics'
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Borodo, Michał. "Exploring the Links Between Comics Translation and AVT." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 68. http://dx.doi.org/10.21992/t9xk9x.
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For a very young but steadily developing subfield of Translation Studies such as the translation of comics it seems only natural to look to other research areas within the discipline for inspiration and research methods. This is also one of the aims of the present article, which will attempt to point to certain similarities between comics translation and the subdiscipline of Translation Studies known as AVT (Audiovisual Translation) and the field of subtitling in particular. Both films and comic books are multimodal texts based on the interplay between the verbal and the visual. What is more, both films and comic books are primarily based on dialogue, which is nevertheless transcribed and communicated in writing in both subtitled films and translated comics. Text will, in both cases, usually appear in clearly specified areas, that is at the bottom of the screen (with some exceptions) in subtitled films, and in speech balloons (with some exceptions) in the case of comics. Furthermore, text may be condensed due to the existence of spatial and technical constraints, such as the limited number of characters that may appear at the bottom of the screen or the size of speech balloons and the type of the lettering employed in the case of comics. It is particularly the latter aspect, that is textual condensation related to both spatial constraints and the multimodal character of comics, that the article will focus on, investigating the first Polish translations of Calvin and Hobbes comic strips created by the American cartoonist Bill Watterson.
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Muñoz Muñoz, Selene, and Marta Martínez Márquez. "Ogea Pozo, M.M.; Rodriguez Rodriguez, F. (eds.) Insights into audiovisual and comic translation. Changing Perspectives on films, comics and videogames. Córdoba: UCOPress, Translation and Interpreting Series, III, 2019, 213 pp. ISBN 978-84-9927-469-0." Hikma 19, no. 1 (May 25, 2020): 279–83. http://dx.doi.org/10.21071/hikma.v19i1.12645.
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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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Ahmed, Maaheen. "Instrumentalising Media Memories." European Comic Art 12, no. 1 (June 1, 2019): 1–20. http://dx.doi.org/10.3167/eca.2019.120102.
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Krzysztof Gawronkiewicz and Krystian Rosenberg’s Achtung Zelig! recounts an unabashedly absurd story about the Second World War, involving an encounter between a Nazi commander who was a former clown and a Jewish father and son with monstrous faces. To understand the construction and function of the Polish comic’s narration of the war, this article introduces the concept of media memories. Such memories encompass techniques and works that ‘haunt’ cultural productions. Achtung Zelig! interweaves key media and contexts, layering its story through the media memories of carnivals, comics (e.g. Maus) and films (e.g. The Great Dictator). In instrumentalising media memories, the comic engages in a heavily mediated dialogue with the issue of representing traumatic realities.
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Żaglewski, Tomasz. "Infinite Narratives on Infinite Earths. The Evolution of Modern Superhero Films." Panoptikum, no. 22 (December 17, 2019): 158–72. http://dx.doi.org/10.26881/pan.2019.22.06.
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After almost 20 years of a succesful run of superhero films it seems that we are now entering into the fully-developed format of this kind of cinema. Through films like “Avengers: Infinity War”, “Logan” or “Spider-Man: Into the Spider-verse” the general audience all over the world is becoming familiar with strictly comics-based forms and ideas like retcon, crossover or the multiverse paradigm (that serves as a model for ‘infinite’ superhero narratives and limitless iterations of characters). Despite the fact that popular cinema had already introduced some of these elements before – like the crossover aesthetic in Universal Studios’ horrors from the 1930s and 1940s – modern superhero cinematic universes can be seen as much more demanding productions for the viewers in terms of following strongly comic books-based modes of the ‘multiverse-centric’ perception. As a result we can right now observe an emerging process of turning even the non-superheroic popular cinematic features into very ‘comic booky’ narrative patterns. In this article I’m interested in analyzing the most recent cases of superhero cinema by looking at some specific titles as a way of introducing the narrative systems and tools from superhero comics into cinema.
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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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Figueiredo, Camila Augusta Pires de. "INCOMPATIBLE ONTOLOGIES IN THE TRANSPOSITION OF GRAPHIC NOVELS TO FILMS." Em Tese 16, no. 3 (December 31, 2010): 171. http://dx.doi.org/10.17851/1982-0739.16.3.171-183.
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This article proposes a discussion on the specificities of the comics medium and their consequence to the process of transposition of comics – and particularly of graphic novels – into films. In order to support this debate, I will draw upon Irina Rajewsky’s and Pascal Lefèvre’s theoretical articles.
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Vukadinovic, Bojan. "Serbian public, Japanese anime, films and comics." Kultura, no. 138 (2013): 217–26. http://dx.doi.org/10.5937/kultura1338217v.
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McMurtry, Leslie. "Dark night of the soul: Applicability of theory in comics and radio through the scripted podcast drama." Studies in Comics 10, no. 2 (November 1, 2019): 235–54. http://dx.doi.org/10.1386/stic_00004_1.
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Abstract This article responds to McCloud's theoretical framework for comics and applies this framework to audio drama, which I argue is, like comics, a mono-sensory medium (one can only be seen in static image and the other can only be heard); both require a great degree of closure from the audience to frame together sequential narratives (of visual art and sound, respectively). To do this, it uses the case study of Marvel and Stitcher's Wolverine: The Long Night (2018), a 'scripted podcast' (audio drama). While comics are escaping from decades of critical disregard due to their status as a popular or lowbrow medium, radio and by extension audio drama still suffer from critical neglect. It is, therefore, one of the aims of the article to release audio drama theory from torpor by applying theory from comics. W:TLN has been chosen as a case study due to its status as a made-for-podcast story rather than an adaptation from an existing comic book; it also responds to trends within audio drama towards a non-fiction/fiction amalgamation influenced by true crime podcast conventions. This article argues that W:TLN's understanding of audio/radio as a mono-sensory medium is overdetermined in its use of blindness, darkness and radiogenics. It also discusses the ways in which comics and audio drama use time and space. The article also examines the reasons why the podcast medium has been deemed acceptable within the wider Marvel Comics Universe and the ways in which W:TLN responds to implied continuity through a transmedia conception of character attributes (e.g., how the continuity of the X-Men films influences the story and characters in W:TLN).
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Miller, Ann. "Interview with Hannah Berry." European Comic Art 14, no. 1 (March 1, 2021): 69–88. http://dx.doi.org/10.3167/eca.2020.140105.
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In this interview, the Brighton-based comics artist Hannah Berry discuses her current role as Comics Laureate, which has included the commissioning of a survey into the conditions of work of comics artists in the United Kingdom and has demonstrated the financial hardship that most of them endure. She also talks about the importance of mentoring, organising work around childcare, and how she came to produce a weekly strip for the New Statesman. The interview then focuses on Berry’s three published graphic novels, touching on the influence of films, the tension between storytelling and play with the codes of the medium, the use of gutters and text as elements in a horror story, comics as a corrective to fake news, and the political research that underlies satire.
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Miller, Ann. "Interview with Hannah Berry." European Comic Art 14, no. 1 (March 1, 2021): 69–88. http://dx.doi.org/10.3167/eca.2021.140105.
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In this interview, the Brighton-based comics artist Hannah Berry discuses her current role as Comics Laureate, which has included the commissioning of a survey into the conditions of work of comics artists in the United Kingdom and has demonstrated the financial hardship that most of them endure. She also talks about the importance of mentoring, organising work around childcare, and how she came to produce a weekly strip for the New Statesman. The interview then focuses on Berry’s three published graphic novels, touching on the influence of films, the tension between storytelling and play with the codes of the medium, the use of gutters and text as elements in a horror story, comics as a corrective to fake news, and the political research that underlies satire.
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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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Boillat, Alain. "Perspectives on Cinema and Comics." European Comic Art 10, no. 1 (March 1, 2017): 9–23. http://dx.doi.org/10.3167/eca.2017.100103.
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This article focuses on the relatively little-known editorial context of children’s French-language comics serials at a time when they constituted the main distribution channel of the bande dessinée medium (before the album became the dominant format), from the immediate post-war years to the mid-1950s. I examine the importance given to the adaptation of films into bande dessinée by studying the editorial strategy to which this practice of adaptation contributes (focusing on the magazine L’Intrépide [The daredevil], which, at the time, specialised in adaptation) and the narrative and figurative aspects of the adapters’ approaches. I show in particular how bandes dessinées are inscribed in genres that structure the periodical publications, where these were previously established in the cinematographic domain such as the swashbuckler and the western. The processes of condensation or amplification of the narrative, as well as the use of the feuilleton, are at the centre of the case studies.
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Medina Rodríguez, Sandra. "From Hollywood." Neuróptica, no. 2 (May 17, 2021): 95–116. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.202025421.
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Resumen: En el presente artículo se analizarán las versiones cinematográficas realizadas a partir de los cómics del guionista de historietas inglés Alan Moore (Northampton, 1953). Hasta la fecha, cuatro han sido las novelas gráficas de Moore que han sido llevadas a la pantalla: From Hell, La liga de los hombres extraordinarios, V de Vendetta y Watchmen. Asimismo, el eje de atención se centrará en las modificaciones propuestas por estos filmes, que han distorsionado y alterado la esencia y el mensaje profundo que originariamente contienen las obras de Moore.
Abstract: In this article we will analyze the film versions made from the comics of the english comic writer Alan Moore (1953, Northampton). To date, four have been Moore's graphic novels brought to the screen: From Hell, The League of Extraordinary Gentlemen, V for Vendetta and Watchmen. In our study we will identify the modifications in these films that have distorted and altered the essence and profound message contained in Moore's works.
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Sáez de Adana, Francisco. "At This Theatre Next Week!:." Neuróptica, no. 2 (May 17, 2021): 135–56. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.202025423.
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Resumen: En este artículo se muestra la estrecha relación que en los años 30 y 40 del siglo XX se estableció entre el cómic y el serial cinematográfico. Se explora la importancia del cómic tanto a nivel cuantitativo, con la gran producción de películas seriales basadas en cómics, como cualitativo, con la interrelación que se produjo a nivel narrativo entre el modelo de serialidad infinita de las tiras de prensa y el modelo narrativo de los seriales. Se produjo una relación intermedial a nivel industrial que fue fundamental a la hora del desarrollo de los seriales y que tiene muchos paralelismos con el modelo de franquicias que domina el panorama audiovisual en nuestros días.
Abstract: This paper shows the close relationship that was established between the comic and the movie serials in the 1930s and 1940s. The importance of comics is explored both quantitatively, with the great production of serial films based on comics, and qualitatively with the interrelation that occurred at a narrative level between the open ended narrative model of the comic strips and the narrative model of the serials. There was an intermedia relationship at the industrial level that was essential when it came to developing the serials and that has many parallels with the franchise model that dominates the audiovisual scene today.
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Bigych, Oksana B., and Diana A. Rusnak. "АВТЕНТИЧНІ МЕДІА-РЕСУРСИ ЯК ЗАСІБ ФОРМУВАННЯ У МАЙБУТНІХ УЧИТЕЛІВ ФРАНЦУЗЬКОЇ МОВИ МІЖКУЛЬТУРНОЇ КОМУНІКАТИВНОЇ КОМПЕТЕНТНОСТІ." Information Technologies and Learning Tools 70, no. 2 (April 27, 2019): 165. http://dx.doi.org/10.33407/itlt.v70i2.2440.
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In the article it is identified the role of authentic media-resources for development of students – prospective French language teachers intercultural communicative competency at language practice lecture room studies. All components of intercultural communicative competency as the target for development at language high education institution are specified. Taking into account the authenticity as a powerful feature among the innovative tools of teaching foreign languages and cultures media-resources are highlighted. Among modern approaches for teaching foreign language the communicative approach, as well as for studying culture sociological, anthropological and semiotic approaches are chosen. In the context of the sociological approach any cultural event is seen as a social phenomenon and their common role in the society is studied. In the context of the anthropological approach culture questions are treated in terms of everyday life. The semiotic approach studies the culture as a sign language that can save and spread some information. As a result of scientific research types (printed, electronic, audio, visual, mixed audio-visual) and forms of authentic media-resources were identified. They are used during teaching the students foreign languages and cultures. Didactic potential of French advertisement, comic pictures (comics), movies (comedies, short films), soap operas, songs, printed and electronic media-video and multimedia reports as tools for development of students – prospective French language teachers intercultural communicative competency were researched. In the context of semiotic approach cultural signs of advertisements and comic pictures (comics) are analyzed. The feature films and video-clips are seen in the context of the anthropological approach. Articles of print media and video and multimedia reports are treated in the context of the anthropological and sociological approaches. The availability of authentic media-resources for lecturer in the Internet was emphasized. It allows its active use as modern tools for teaching students French language and culture at language practice lecture room studies.
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Takeshi, Kawamura, and Sara Jansen. "The Lost Babylon." TDR/The Drama Review 44, no. 1 (March 2000): 114–35. http://dx.doi.org/10.1162/10542040051058942.
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Kawamura Takeshi's play, set in a “for real” amusement park, explores the impulses to violence present in manga (comics), films, video games, and on the internet. According to Kawamura, this is “a new Japan where citizens will have to learn to defend themselves.” Act II is published in its entirety.
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Siuda, Piotr, and Marek Troszynski. "Natives and tourists of prosumer capitalism: On the varied pro-prosumer activities of producers exemplified in the Polish pop culture industry." International Journal of Cultural Studies 20, no. 5 (August 25, 2016): 545–63. http://dx.doi.org/10.1177/1367877916666117.
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This article pertains to the concept of prosumer capitalism, a term which refers to practices among companies of using consumers’ unpaid work (prosumption refers to the mixing of consumption and production). In the literature, this type of capitalism has been treated generally; how pro-prosumer activities differ among producers has been overlooked. This article illustrates these differences by showing the ways in which Polish pop culture producers approach prosumption. The research was conducted through in-depth interviews with representatives from different Polish popular culture companies and the results show that prosumption orientation is determined by what is being produced – films, games, comics, books, television programmes, or music. Producers of video games and comics are most prosumption-oriented – in other words, they may be called ‘natives’ of prosumption – in contrast to ‘tourists’, such as producers of films, television programmes, and books. This article shows that developing the concept of prosumer capitalism requires that consideration as to the prosumer orientations of producers should be specified on a case-by-case basis.
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Pintor Iranzo, Ivan. "The gestures of Hermes: Federico Fellini as an interpreter and circulating agent of images." Journal of Italian Cinema & Media Studies 9, no. 1 (January 1, 2021): 83–100. http://dx.doi.org/10.1386/jicms_00052_1.
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Based on its relationship to comic books, this article proposes an iconographic study of the public figure of Federico Fellini in terms of the Hermes archetype. With the aim of explaining how Fellini’s image has been interpreted from different visual perspectives, I consider two basic questions: what relationship does Fellini have to the images of himself and of Italian culture? And why have images in Fellini’s films and his own public image been the object of constant reinterpretations in film, advertising and on social networks? Focusing on the rereading of Fellini’s image in the comics of Milo Manara, this article explores a phenomenon that distinguishes Fellini’s filmmaking: his role as a circulator of images of classical and popular culture out of the past and into the future. The figure of Hermes, the god of mediation, constitutes the archetype through which we can understand this central role of Fellini.
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Brijnath, Bianca, Josefine Antoniades, Jon Adams, Collette Browning, Dianne Goeman, Katie Ellis, and Mike Kent. "MOVING PICTURES: RAISING AWARENESS OF DEMENTIA IN CALD COMMUNITIES THROUGH MULTIMEDIA." Innovation in Aging 3, Supplement_1 (November 2019): S452. http://dx.doi.org/10.1093/geroni/igz038.1693.
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Abstract Limited awareness of dementia in people from culturally and linguistically diverse (CALD) backgrounds often results in delayed diagnosis, poorer prognosis, and a higher burden of care on families and health systems. Given the rapidly ageing and multicultural populations in migrant-receiving countries such as Australia and the United States, this disparity needs to be addressed urgently. This project aimed to inform and educate people from five linguistically diverse backgrounds – Hindi, Tamil, Mandarin, Cantonese, and Arabic – about dementia. A mixed methods, multimedia design comprising video-interviews with 76 participants including carers from the five language groups and key service providers was employed. Data were gathered nationally across Australia in 2018 and thematically analysed. Data were used to co-produce 15 short films, comics, and a mobile-optimised website from which data analytics were measured. The films and comics focused on dementia detection and timely diagnosis, how to navigate the aged care system, and the importance of self-care. Analytics data is currently being collected online and via community forums. In conclusion, co-production methods in tandem with digital multimedia are fundamental to developing culturally salient interventions to address dementia disparities in CALD populations in Australia and internationally.
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Bhat, Suraya. "Comic-Based Visual Narratives in Shaping Mass Culture Values." Scientific Research and Development. Modern Communication Studies 9, no. 1 (February 4, 2020): 9–16. http://dx.doi.org/10.12737/2587-9103-2019-9-16.
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The article is devoted to visual narratives based on comics which form the values of mass culture. Comics are primarily a narrative medium. The subject of the study is the role of the formation of the values of mass culture. Particular attention is paid to the concept of visual narrative through comics and, in particular, its function in shaping the values of the subject of mass culture, because in modern culture, which is opposed to it through print and electronic media, the sense of reality is increasingly structured by narrative (narrative). The main research methods are sociocultural and historical approaches. They allow, based on the analysis of a vast amount of materials devoted to visual narratives and comics, including both foreign and domestic sources, to distinguish and interpret the main structure of the narrative: beginning, middle and ending. It is concluded that visual narratives affect society in key areas. Films tell stories about themselves and the world in which a person lives. Television appeals to society and offers reality in illusory forms. Printed products turn everyday life into history. Advertisements tell about the fantasies and desires of a modern person. The result of the study is the conclusion that visual narratives play a leading role in the formation of the values of mass culture, turning information and events into structures that are already significant for society. The novelty of the study is determined by the new facets of ideas about the phenomenon of visual narrative in the context of cultural knowledge.
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Akbar, Taufiq, Dendi Pratama, Sarwanto Sarwanto, and Sunardi Sunardi. "Visual Adaptation: From Comics to Superhero Creation of Wayang." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (May 5, 2021): 11–21. http://dx.doi.org/10.33153/dewaruci.v16i1.3163.
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This article discusses the fusion and blending of the concept of wayang as a traditional culture with comics and films as products of contemporary culture that gave birth to new wayang creations with sources adapted from “Avenger” superhero characters. The making of wayang avenger is to maintain the art of craftsmanship in wayang kulit, namely considering the existence of attributes in traditional wayang with the necessary adjustments to the Avenger superhero outfit. Revealing the results of research on the Avenger Creation Wayang is very important because it can explain the process of changing the shape, appearance and addition of wayang attributes as a manifestation of adaptation to traditional wayang puppets, namely wayang kulit purwa. This article attempts to provide descriptive and interpretive explanations of the visual adaptation process by the creator in the formation of wayang avenger. The approach in this study uses Erwin Panofsky’s iconographic approach with the support of art structure theory and vehicle transfer. The result is the presence of Wayang Kreasi Avenger as a form of fusion between traditional culture and contemporary culture. This development shows the love of the community for the potential of influencing traditional cultural heritage and the interaction with the potential of contemporary culture which is very strong, giving rise to the idea of adaptation as a reflection of the environment and its social structure.
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IRELAND, BRIAN. "Errand into the Wilderness: The Cursed Earth as Apocalyptic Road Narrative." Journal of American Studies 43, no. 3 (October 30, 2009): 497–534. http://dx.doi.org/10.1017/s0021875809990715.
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Mobility is a significant feature of American history and culture. This is reflected in the literature and cinema of the road genre, in influential novels such as Jack Kerouac's On the Road and John Steinbeck's Grapes of Wrath, and in films like Bonnie and Clyde (1967) and Easy Rider (1969). However, when non-Americans create road stories they tend to employ symbols and narratives that are often considered intrinsically American. These storytellers appear to have absorbed or internalized aspects of American national identity, and this is reflected in their work. This is demonstrated in The Cursed Earth, an apocalyptic road story in twenty-five parts, which was published in the British weekly comic 2000AD from May to October 1978. Written by British writer Pat Mills, with contributions from John Wagner and Chris Lowder, The Cursed Earth features the character Judge Dredd, perhaps the most popular and most recognizable icon of British comics of the last thirty years. Through close textual analysis of the Cursed Earth story, this article reveals how thematic elements of the road genre are linked to significant themes in American history and culture.
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Smith, Dina, Casey Stannar, and Jenna Tedrick Kuttruff. "Closet cosplay: Everyday expressions of science fiction and fantasy fandom among women." Fashion, Style & Popular Culture 7, no. 1 (January 1, 2020): 29–50. http://dx.doi.org/10.1386/fspc_00004_1.
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Abstract Some American science fiction and fantasy (SF&F) female fans participate in Cosplay or costume play, the global practice of dressing in costume and performing fictional characters from popular culture. Cosplay is typically only socially sanctioned at conventions and other fan events, leaving fans searching for new ways to express their fandom in everyday life. Closet cosplay is one solution in which everyday clothing and accessories can be worn to express fandom. The motivations for wearing everyday fan fashion have been only briefly mentioned by other authors or studied within limited social contexts. Therefore, the purpose of this research was to explore SF&F female fans' participation in closet cosplay as it is worn in everyday contexts. An exploratory qualitative study was conducted using a social interactionist perspective, and Sarah Thornton's concept of subcultural capital and Pierre Bourdieu's theory of cultural capital. Semi-structured, online interviews were conducted with sixteen participants who wore closet cosplay related to SF&F films and/or television series, which included Star Wars, Marvel Comics, DC Comics, Disney films, Harry Potter and anime fandoms like Sailor Moon (1995‐2000). The interview data were analysed using NVivo qualitative analysis software and the constant comparison method. Two themes emerged from the data: the definition of closet cosplay and motivations for wearing closet cosplay. Through examining these themes, it was evident that female SF&F fans used closet cosplay to express a salient fan identity, which enabled them to simultaneously gain subcultural capital and feminized cultural capital.
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Kinder, Elizabeth. "Finding balance: Nostalgia in Star Wars transmedia." Australasian Journal of Popular Culture 9, no. 2 (September 1, 2020): 195–213. http://dx.doi.org/10.1386/ajpc_00027_1.
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Nostalgia is a necessary element of Star Wars: The Clone Wars (2008–20) and the ‘new’ Star Wars comics (Marvel, 2015–19), recent serial narratives in the ever-expanding transmedia Star Wars universe. The anticipation (and consequential reception) of these works is, in part, driven by nostalgia: the original Star Wars film, A New Hope, was released in 1977 and as the series has expanded in the decades since, in film and other media, nostalgia has become ingrained within the fandom as audiences are invited to repeatedly return to ‘a long time ago, in a galaxy far, far away’. As a result of decades of content, there is a sense of ‘ownership’ amongst the fandom and, at times, a resistance to new content that attempts to ‘weaponize’ nostalgia as a marketing tool, such as in the ‘Sequel Trilogy’ (2015, 2017, 2019). The Clone Wars, first mentioned in A New Hope, is set between two Star Wars (Prequel) films that feature key events in the overall saga, while the Star Wars comics take place between A New Hope and The Empire Strikes Back (1980). The Clone Wars and the Star Wars comics succeed where the sequels (and prequels) arguably do not because they use nostalgia to serialize and capitalize on transmedia, allowing the audience to revisit characters and narrative events that have already been established for decades. Both works allow for character and narrative development between two fixed (cinematic) points in the story canon, with the spaces in between and around those points that frame their place in the Star Wars universe allowing for rich exploration.
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Revert, Jordi. "La intermedialidad entre cine y cómic en la era digital: el caso Zack Snyder / Intermediality between Comics and Films in the Digital Age: the Zack Snyder Case." Revista Internacional de Ciencias Sociales 5, no. 1 (March 30, 2016): 153–60. http://dx.doi.org/10.37467/gka-revsocial.v5.374.
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ABSTRACTThe technological advances and the development of the digital image have allowed the latest cinema to approach comic as it never did before. With the new digital tools, filmmakers who didn’t found before the right way to emulate on screen the language of comics, have found new expressing possibilities for the cinematographic image. Thanks to the digital technology, the film frames find meeting points with the comic frames through the acceleration, deceleration and the freezing of the image, among other resources. Qualitative research and content analysis will be used in this essay to study the different ways in which cinema, with the complicity of the latest technological advances, comes closer to the comic frames, trying to reach its capacity of synthesis and overcoming the grammatical differences that exist between one media and the other. For such purpose, there will be studied the acceleration and deceleration of the image in the films “300” (2006) and “Watchmen” (2009), both directed by Zack Snyder and both based upon best-sellers graphic novels signed by two major comic authors: Frank Miller and Alan MooreRESUMENLos últimos avances tecnológicos y el desarrollo de la imagen digital han permitido al cine de los últimos tiempos aproximarse al cómic como nunca antes lo había hecho. Con las nuevas herramientas digitales, los directores han hallado nuevas posibilidades expresivas para la imagen en movimiento. Gracias a la tecnología digital, la intermedialidad entre ambos medios se ha redefinido y los planos alcanzan puntos de encuentro con las viñetas a través de la ralentización, aceleración o congelación de la imagen, entre otros recursos. A través de una aproximación cualitativa y de análisis de contenido, en el presente trabajo se analizan diversas vías por las que el cine, con la complicidad de los últimos avances tecnológicos, ha intentado reproducir la unidad de significado que supone la viñeta y salvar las diferencias gramaticales que existen entre uno y otro medio. En particular, incide este estudio sobre el uso de la aceleración y deceleración de la imagen, y para ello toma como muestras para el análisis las películas “300” (2006) y “Watchmen” (2009), ambas dirigidas por Zack Snyder y ambas basadas en dos novelas gráficas de éxito y firmadas por dos autores de referencia en el mundo del cómic, Frank Miller y Alan Moore.
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Scatton-Tessier, Michelle. "Côté punk: Marc Caro." Punk & Post Punk 8, no. 3 (October 1, 2019): 343–62. http://dx.doi.org/10.1386/punk_00003_1.
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Coming to comics and cinema culture in 1970s Paris, Marc Caro and Jean-Pierre Jeunet brought their do-it-yourself (DIY) ethic to the screen with L’évasion (Jeunet, 1978), Le manège (Jeunet, 1980) and Le bunker de la dernière rafale (Caro and Jeunet,1981) – awarded shorts that would set the tone for Delicatessen (Caro and Jeunet, 1992) and La cité des enfants perdus (Caro and Jeunet, 1995). Acknowledged outsiders, the duo embraced a certain bricolage of early cinema, an interest in the carnival and apocalyptic science fiction applied to narrative and mise en scène. In this article, I argue for a reading of their cinema through the lens of DIY and punk. This is evident mostly in the works of Caro, who suggests that côté punk takes root in a passion for George Méliès coupled with adventurous explorations in sound and spectacle, a heightened intertextuality and a reclaimed retro-aesthetic, as foregrounded in Caro and Jeunet’s DIY ethic and Le bunker’s long-running double billing at the midnight movies with David Lynch’s Eraserhead (1977). From this, I study imagery and influence in Caro’s comics, graphic novels, films and music over the years. The duo’s recent exhibits in Paris and Lyon and publications offering retrospectives of their cinema make this scholarly inquiry all the more timely.
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Thoss, Jeff. "Versifying Batman: Superheroes in contemporary poetry." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 268–86. http://dx.doi.org/10.1515/fns-2019-0016.
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AbstractSince the late 1980 s, poets from the US and, to a lesser extent, the UK have increasingly featured superheroes in their work, mostly appropriating iconic figures along the lines of Batman or Superman and exploring some aspect of their personality (e. g., Batman’s relationship to Robin, Superman’s loneliness) in dramatic monologues. The prevailing if not sole account of this phenomenon argues that these characters provide a shared mythology to a generation of writers to whom biblical and classical references are no longer readily available. It also ties the superheroes’ provenance exclusively to the medium of comics. This latter point, in particular, is open to debate, insofar as since the late 1980 s, superheroes are, more than ever, part of media franchises that treat comic books as but one among many outlets. The present article hence views the superheroes in poetry not so much as an appropriation of comic book but of transmedia characters. Simon Armitage’s seminal poem “Kid” (1992), for instance – a diatribe by Robin directed at Batman’s dismissal of him – resonates as much with the 1960 s TV series or Tim Burton’s Batman films (1989, 1992) as with the dark knight’s reinvention at the hands of comic book writers such as Frank Miller or Alan Moore. At the same time, the article aims to locate the place of the seemingly insular genre of poetry within a “convergence culture” that disseminates superheroes in the media ecology. Evidently, the “superhero poems” are not licensed creations that partake in officially sanctioned transmedia networks. Neither, however, are they a product of fandom and participatory culture. Instead, I would suggest that poetry here tentatively engages with the media culture that has factored into its marginalization during the past decades.
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NAGY, Stephen Robert. "Japanese Martial Arts as Popular Culture: Teaching Opportunity and Challenge." Asian Studies 3, no. 1 (July 24, 2015): 83–102. http://dx.doi.org/10.4312/as.2015.3.1.83-102.
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Japanese martial arts, here after Japanese budō, are popular cultural icons that are found in films, comics, video games and books. Teaching Japanese budō at university offers a novel way to teach about East Asian and in particular Japanese culture, history, and philosophy while including ideas about the globalization and the localization of culture. Question though remains as to how and what should we teach about the popular culture of Japanese budō at the university level? This paper found that a comprehensive approach to teaching about budō was effective. By using many kinds of materials and the incorporation of opportunities to experience budō and to try budō, students were better able to grasp the historical, cultural and religious characteristics of budō.
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García Aranda, Oscar. "Representations of Europe in Japanese anime: An overview of case studies and theoretical frameworks." Mutual Images Journal, no. 8 (June 20, 2020): 47–84. http://dx.doi.org/10.32926/2020.8.ara.europ.
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Europe, as a cluster of cultural elements related to nations, cities, and historical periods, has experienced different representations and recreations in Japanese animated series and films (anime) in the form of European (or European-like) settings. The following article discusses the creation, aesthetic appeal, and uses of these contents. First, tracing a theoretical retrospective that displays the different concepts and conceptions used to understand these contents, to then focus our study in reviewing the European settings of some of the main anime productions that contain this kind of contents: the 1970s shōjo manga and anime series (comics and tv anime series addressed to girls), the Nippon Animation-originated so-called “Meisaku” group of series, and more “singular” cases, such as Miyazaki Hayao’s films. The review carried out shows the use of different sources and intense fieldwork by Japanese creators to recreate particular visions of European (or European-like) settings and the narrative and communicative strategies or even commercial implications of these settings according to the genre, demographics, and media specificity of each project.
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Turvey, Malcolm. "Comedic Modernism." October 160 (June 2017): 5–29. http://dx.doi.org/10.1162/octo_a_00289.
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Modern artists have long been fascinated with the pantomime, circus, and other comic entertainments, and since the late 19th century, many modernists have made use of the figure of the clown in advancing their avant-garde agendas. Turvey calls this strain within modernism “comedic modernism,” by which he does not mean humorous modernism, but rather the employment of the slapstick comedian as a subject and/or model in modernist theory and practice. Turvey accounts for the pervasive appeal of the clown to modernists by examining the European avant-garde's appropriation of film comics in the interwar period. He argues that comedian comedy's major conventions accorded with and sometimes shaped modernist innovations in this period, and that there was no single reason modern artists were drawn to the figure of the slapstick film comedian. Moreover, he suggests, most of the forms of assimilation of the clown by modernists were already established by the time they turned toward American popular cinema in the 1910s. Turvey identifies several features of slapstick comedy that modernists fastened on to: the de-psychologization and objectification of the comedian; the figure of the alienated, “sad clown”; incongruity in gags and narrative structures; the satire of the bourgeoisie and the carnivalesque leveling of social distinctions; the release of primitive, instinctual behavior; and the privileging of often rebellious objects. He then shows how Rene Clair synthesized some of these variants in Entr'acte (1924), the celebrated avant-garde short he made with Dadaist Francis Picabia, as well as some of his other more popular modernist films of the 1920s.
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Bernal-Merino, Miguel Á. "Creativity and playability in the localisation of video games." Journal of Internationalization and Localization 5, no. 1 (August 10, 2018): 74–93. http://dx.doi.org/10.1075/jial.00011.ber.
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Abstract Creativity is one of the most highly debated topics in translation not only because of how it relates to authorship but also because of the unavoidable cultural ramifications and the business implications for all the parties involved. Identifying the parameters within which creative translation operates in entertainment media requires a complex process that comprises a large amount of variables beyond the linguistic ones. Semiotics is suggested as a robust analytical tool to study the layering of meaning-making in entertainment products, in other words, their polysemioticity. Multimedia interactive entertainment software (MIES), a. k. a. video games, adds levels of complexity never seen before in translation due to their functional requirements. In order to identify the features that separate other entertainment products from MIES, this article analyses also the translation of novels, comics and films. The concept of playability is utilised as a way of isolating the pragmatic challenges of video game localisation.
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Garrison, Stephanie, and Claire Wallace. "Media Tourism and Its Role in Sustaining Scotland’s Tourism Industry." Sustainability 13, no. 11 (June 2, 2021): 6305. http://dx.doi.org/10.3390/su13116305.
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Popular media, including films, television, comics, videogames, and books, are an increasingly important aspect of contemporary tourism. This is especially the case in Scotland, where popular culture led to the development of Scotland’s tourism industry. In this article, we will describe the phenomenon of media-related tourism in Scotland with respect to three selected case studies within Scotland: First, Glenfinnan Viaduct, made famous by the Harry Potter film series; Second, Doune Castle, used as a set for Monty Python, Game of Thrones and more recently, Outlander; Third, Abbotsford, home of Sir Walter Scott, a classical novelist now celebrating his 250th Birthday Anniversary. In examining these case studies, the article will consider how sustainable media tourism is. This approached is from the lens of media tourism and its impact on rural communities, concerns over local infrastructure, wider understandings of media tourism as a growing sub-sector, and the sustainability of the wider Scottish tourism industry in relation to the coronavirus pandemic.
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Saptanto, Deswandito Dwi, and Maya Kurnia Dewi. "Gundala and Gatotkaca in the concept of modern Indonesian superheroes: Comparative analysis of the Indonesian and American superheroes." EduLite: Journal of English Education, Literature and Culture 5, no. 1 (February 29, 2020): 136. http://dx.doi.org/10.30659/e.5.1.136-147.
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The superhero universe has always been an attraction in the world of film industry. The birth of superhuman ideas has made people increasingly interested in taking the storyline. This research is a literature study on the existence of a new world in Indonesian cinema that takes the theme of Indonesia's superhero universe competes against the universe of American superheroes. The purpose of this study is to compare Indonesian and American superhero films in order to understand the complete concept of depicting Indonesian superheroes in the process of switching from comics to films comparing with the same concepts in American superheroes. This study employed a descriptive qualitative method by comparing films from the Indonesian superhero universe namely Bumilangit Cinematic Universe and Jagad Satria Dewa Cinematic Universe compared to the American superhero universe namely Marvel Cinematic Universe and DC Cinematic Universe. The results obtained that there were some similarities in the process of character formation in each of the heroes that were created, this could be described with similarity in multiple personalities before and after becoming superheroes, costumes worn, storylines and special effects produced in the film. There were fundamental differences that were seen in the background of Indonesian culture that was different from the concept of American culture. Indonesian superheroes also highlighted Pencak Silat as the original identity and characteristics of Indonesia. This research concluded that a story with a superhero concept had the same story pattern such as a person with a superhero alter ego and deep with heroic storyline even though they were presented by different countries.
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Thon, Jan-Noël. "Transmedial Narratology Revisited: On the Intersubjective Construction of Storyworlds and the Problem of Representational Correspondence in Films, Comics, and Video Games." Narrative 25, no. 3 (2017): 286–320. http://dx.doi.org/10.1353/nar.2017.0016.
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COHN, NEIL. "Being explicit about the implicit: inference generating techniques in visual narrative." Language and Cognition 11, no. 1 (March 2019): 66–97. http://dx.doi.org/10.1017/langcog.2019.6.
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abstractInference has long been acknowledged as a key aspect of comprehending narratives of all kinds, be they verbal discourse or visual narratives like comics and films. While both theoretical and empirical evidence points towards such inference generation in sequential images, most of these approaches remain at a fairly broad level. Few approaches have detailed the specific cues and constructions used to signal such inferences in the first place. This paper thereby outlines several specific entrenched constructions that motivate a reader to generate inference. These techniques include connections motivated by the morphology of visual affixes like speech balloons and thought bubbles, the omission of certain narrative categories, and the substitution of narrative categories for certain classes of panels. These mechanisms all invoke specific combinatorial structures (morphology, narrative) that mismatch with the elicited semantics, and can be generalized by a set of shared descriptive features. By detailing specific constructions, this paper aims to push the study of inference in visual narratives to be explicit about when and why meaning is ‘filled in’ by a reader, while drawing connections to inference generation in other modalities.
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Lecomte, Guillaume. "Adapting the Rhetoric of Authentication of Riad Sattouf’s La Vie secrète des jeunes." European Comic Art 10, no. 1 (March 1, 2017): 41–57. http://dx.doi.org/10.3167/eca.2017.100105.
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The comic book series La Vie secrète des jeunes is a sardonic account of French young people’s behaviours witnessed from the voyeuristic viewpoint of its author-illustrator, Riad Sattouf. Despite its caricatural and non-photorealistic visual style, the work conveys a strong sense of authenticity, mixing truth claims borrowed from established non-fiction traditions (journalism, autobiography and documentary). It is also a rare example of a non-fiction comic turned into live action. This article considers the comic and its TV adaptation, and discusses film’s ability to adapt an account of truth rooted in comics ontology. The article first provides a theoretical structure that details the intricacy of repeating the truth from comic to film. Second, it highlights the way in which the comic develops its authenticity by constantly reaffirming Sattouf’s presence and subjectivity. The article aims to show that the adaptation anonymises this viewpoint in order to re-construct the authenticity of its reality.
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Salzbrunn, Monika. "Researching and practicing ARTIVISM through field-crossing: an innovative method for collaborative research." Open Research Europe 1 (September 13, 2021): 106. http://dx.doi.org/10.12688/openreseurope.13634.1.
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While collaborative research has mainly focused on the relationship between researchers and research partners in the field, several recent works have contributed to reflecting on the relationships between researchers of various backgrounds and roles, and the challenges and benefits of teamwork. While conducting the ERC-funded ARTIVISM project, I have continued to rethink the ways research can be conducted collectively, especially when starting from a multi-sensory approach and by applying apprenticeship and audio-visual techniques. I developed the method of field-crossing, which allows the researcher to regularly contrast perspectives and perceptions, and which helps researchers regain emotional and intellectual independence after an intensive, year-long period of fieldwork as and among artivists. The article shows how field-crossing allows its practitioners to reflect in an innovative way on their positioning in a field, open new perspectives, integrate surprises and disruptive and unexpected developments, and cope with inner and collective conflicts. Finally, collective feedback sessions about text and image publications (comics, films) with the artivists are not only part of our ethical approach but also serve as elicitation sessions which reflect the complexity of field relations and individual and collective perspectives among and between field-crossers and artivists.
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Merlock, Ray. "Encyclopedia of Weird Westerns, Supernatural and Science Fiction Elements in Novels, Pulps, Comics, Films, Television and Games PaulGreen. Jefferson, N.C.: McFarland & Company, Inc., 2009." Journal of American Culture 35, no. 2 (May 21, 2012): 194. http://dx.doi.org/10.1111/j.1542-734x.2012.00807_4.x.
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SAKAMOTO, RYUUKI, YASUYUKI SUMI, and KIYOSHI KOGURE. "HYPERLINKED COMIC STRIPS FOR SHARING PERSONAL CONTEXTS." International Journal of Information Technology & Decision Making 06, no. 03 (September 2007): 443–58. http://dx.doi.org/10.1142/s0219622007002563.
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Comic strips can be used as a style of visualization on a human–computer interface because they can represent a wide variety of affairs with contexts or time series. This paper describes two systems for sharing personal context as comic strips: ComicDiary and Comic-FOAF-Viewer. Both the systems depict personal experiences or profiles including personal relationships in their comic strips and hyperlinks among related comics based on other characters in the story. ComicDiary allegorizes individual episodes that happen during touring exhibitions by creating a comic from a user's touring records accumulated from personal guidance systems and environmental facts, e.g., social events. For example, a ComicDiary might show a user's personal diary during a Japanese academic conference. The comic describes where the conference was held, the most interesting presentations, what happened, and so on. Exhibitions are places visited by people of all generations. Comic representation of a personal diary with amiable expressions fits such places. The comic strip is automatically generated, composed of 12 frames, and shown as a diary. Users can view their diaries at information kiosks located at exhibition sites. Friend of a Friend (FOAF), which is an XML/RDF application for expressing personal information and relationships, has attracted attention from Web developers because its files can describe human-centered networks such as Social Network Service (SNS). Current FOAF visualization tools utilize graphs or tables; however, it is difficult to represent a variety of relations. Comic-FOAF-Viewer aims to represent the multifarious relations and personal information that FOAF has to offer for surfing interfaces in FOAF networks.
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Manney, PJ. "Yucky gets yummy: how speculative fiction creates society." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 16, no. 2 (October 9, 2019): 243–54. http://dx.doi.org/10.5209/tekn.64857.
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Human biology creates empathy through storytelling and emulation. Throughout history, humans have honed their capacity to understand optimum storytelling and relate to others in new ways. The bioethical concepts of Leon Kass’s Wisdom of Repugnance and Arthur Caplan’s Yuck Factor attempt to describe, and in Kass’s case even support, society’s abhorrence of that which is strange, against God or nature, or simply the “other.” However, speculative fiction has been assessing the “other” for as long as we’ve told speculative stories. The last thousand years of social liberalization and technological progress in Western civilization can be linked to these stories through feedback loops of storytelling, technological inspiration and acceptance, and social change by growing the audience’s empathy for these speculative characters. Selecting highlights of speculative fiction as far back as the Bible and as recently as the latest movie blockbusters, society has grappled back and forth on whether monsters, superhumans, aliens, and the “other” are considered villainous, frightening and yucky, or heroic, aspirational and yummy. The larger historical arc of speculative fiction, technological acceptance and history demonstrates the clear shift from yucky to yummy. Works include The Bible, Talmud, stories of alchemists and the Brazen Head, Paradise Lost, Frankenstein, Dr. Jekyll and Mr. Hyde, The Wonderful Wizard of Oz, gothic horror films of Germany and the U.S., Superman and the Golden Age of comics, and recent blockbusters, among others.
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Sheikh, Adnan Rashid, Faisal Rashid Sheikh, Shaukat Khan, and Athar Rashid. "Discursive Construction of New Female Identity in Latest Hollywood Blockbuster Movies." International Journal of English Linguistics 10, no. 1 (December 28, 2019): 265. http://dx.doi.org/10.5539/ijel.v10n1p265.
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This study analyses the emergence of female portrayal in latest Hollywood superhero movies, after the #MeToo global movement about awareness of sexual harassment. This research adopts a qualitative approach in analysing the constructs of doing and undoing gender in blockbuster movies by Marvel and DC comics. This study seeks to explore the shift towards discursive and screen empowerment of female lead and supporting characters. Such movies serve as a barometer of the cultural and social milieu and hence project how women can display range of capabilities, independence and emotional strength on screen, so to pave the way for viewers. The premise of this paper is rooted in events following 9/11 and how blockbuster films helped in social uplifting by showing solutions till date. All such attempts of social restorations were led by all-male teams of superheroes, the events in recent couple of years are looking quite different. The discussion is rooted in transition from Zimmerman’s idea of ‘doing gender’ (1997), for social conformity, to Deutsch’s proposal of ‘undoing gender’ (2007), where females adopt a powerful position and voice. This approach resonates with latest, or fourth wave, of feminism. The emergence of able-minded stronger women is taking over and shaping new Man, a flexible, emotional and imperfect male. The paper also glimpses into other genres and studios’ movies of the recent times to find signs of change.
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Muehlstein, Verena. "WHAT CAN YOU DO? THIS IS DRESDEN. Vot ken you mach? Art, Films, Concerts, Lectures, Talks, Comics on Jewish Identities in Europe Today. Kunsthaus Dresden, 1 December 2013 – 5 May 2014." Jewish Quarterly 61, no. 2 (April 3, 2014): 55–57. http://dx.doi.org/10.1080/0449010x.2014.941630.
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Gerrard, Steven. "The Great British Music Hall: Its Importance to British Culture and ‘The Trivial’." Culture Unbound 5, no. 4 (December 12, 2013): 487–514. http://dx.doi.org/10.3384/cu.2000.1525.135487.
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By 1960, Britain’s once-thriving Music Hall industry was virtually dead. Theatres with their faded notions of Empire gave way to Cinema and the threat of Television. Where thousands once linked arms singing popular songs, watch acrobatics, see feats of strength, and listen to risqué jokes, now the echoes of those acts lay as whispers amongst the stalls’ threadbare seats.
The Halls flourished in the 19th Century, but had their origins in the taverns of the 16th and 17th Centuries. Minstrels plied their trade egged on by drunken crowds. As time passed, the notoriety of the Music Hall acts and camaraderie produced grew. Entrepreneurial businessman tapped into this commerciality and had purpose-built status symbol theatres to provide a ‘home’ for acts and punters. With names like The Apollo giving gravitas approaching Olympian ideals, so the owners basked in wealth and glory.
The Music Hall became the mass populist entertainment for the population. Every town had one, where everyone could be entertained by variety acts showing off the performers’ skills. The acts varied from singers, joke-tellers, comics, acrobats, to dancers. They all aimed to entertain. They enabled audiences to share a symbiotic relationship with one another; became recruitment officers for the Army; inspired War Poets; showed short films; and they and the halls reflected both the ideals and foibles of their era.
By using Raymond Williams’ structures of feeling as its cornerstone, the article will give a brief history of the halls, whilst providing analysis into how they grew into mass populist entertainment that represented British culture. Case studies of famous artistes are given, plus an insight into how Music Hall segued into radio, film and television.
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Rahman, Fadly. "SEJARAH DI ANTARA KELAMPAUAN, KEKINIAN, DAN KEAKANAN." Metahumaniora 10, no. 2 (September 30, 2020): 137. http://dx.doi.org/10.24198/metahumaniora.v10i2.27019.
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AbstrakPada masa sekarang, sejarah kerap diadaptasi untuk berbagai kepentingan. Tujuannya tidak lain, dengan merekonstruksi masa lalu melalui beragam media (seperti film, novel, dan komik) diharapkan dapat menumbuhkan pemahaman, bahwa: masa lalu selalu aktual. Dalam proses mengadaptasikan sejarah, kepakaran seorang sejarawan sejatinya amat diperlukan. Namun demikian, berbagai pengakuan terhadap sejarawan sebagai sebuah profesi nyatanya telah mengalami pergeseran. Perkembangan pengetahuan yang berjalan-iring dengan pesatnya perkembangan teknologi informasi disadari atau tidak justru berpeluang mereduksi makna asasi dari peran sejarawan itu sendiri. Artikel ini mencoba merumuskan kembali strategi dan metode akademik melalui pewacanaan sejarah publik dan sejarah interdisipliner sebagai upaya menyiapkan para sejarawan bukan hanya profesionalitasnya, melainkan vokasionalitasnya agar mereka memiliki keahlian terapan yang dibutuhkan dalam berbagai kebutuhan praktis saat ini.Kata kunci: sejarawan; profesi; vokasi; sejarah publik; sejarah interdisipliner AbstractAt present, history is often adapted for various purposes. The aim is none other than that by reconstructing the past through various media (such as films, novels and comics) which are expected to foster understanding, that: the past is always actual. In the process of adapting history, certainly the expertise of a true historian is necessary. However, various acknowledgment of historians as a profession has, in fact, experienced a shift. The development of knowledge that goes hand in hand with the rapid development of information technology is realized or not likely to reduce the fundamental meaning of the role of historians themselves. This article tries to reformulate academic strategies and methods through public history and interdisciplinary history discourse as an effort to prepare historians not only for their professionalism, but also for their vocationality so that they have the applied expertise needed in various practical needs today. Keywords: historian; profession; vocational; public history; interdisciplinary history
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Ritz, Claudia Danielle de Andrade. "Mulher Maravilha e o poder do amor." TEOLITERARIA - Revista de Literaturas e Teologias 9, no. 18 (September 3, 2019): 235–64. http://dx.doi.org/10.23925/2236-9937.2019v9n18p235-264.
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Este artigo versa sobre o HQ1 Edição de Verão e o filme Mulher Maravilha estreado em 2017 pela DC Comics. A história se iniciou com gibis, até que alcançasse as telas. Nosso objetivo nesse artigo será discutir e apresentar a origem de Diana e das amazonas, conforme HQ1 e algumas cenas do filme da DC Comics 2017, numa perspectiva Teoliterária, unindo Teologia e Literatura a partir das Histórias em Quadrinhos (HQ). Trabalharemos nesse artigo sobre a Mulher Maravilha a partir de três eixos: Uma heroína que promove a justiça; Marte/Ares com sua obsessão pela guerra e o amor ao poder, e, a Mulher Maravilha que escolhe o poder do amor. Utilizaremos como metodologia referencial teórico.
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Chute, Hillary. "Comics as Literature? Reading Graphic Narrative." PMLA/Publications of the Modern Language Association of America 123, no. 2 (March 2008): 452–65. http://dx.doi.org/10.1632/pmla.2008.123.2.452.
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Comics—A form once considered pure junk—Is sparking interest in literary studies. I'm as amazed as anybody else by the comics boom—despite the fact that I wrote an English department dissertation that makes the passionate case that we should not ignore this innovative narrative form. Yet if there's promoting of comics, there's also confusion about categories and terms. Those of us in literary studies may think the moves obvious: making claims in the name of popular culture or in the rich tradition of word-and-image inquiry (bringing us back to the illuminated manuscripts of the Middle Ages). But comics presents problems we're still figuring out (the term doesn't settle comfortably into our grammar; nomenclature remains tricky and open to debate). The field hasn't yet grasped its object or properly posed its project. To explore today's comics we need to go beyond preestablished rubrics: we have to reexamine the categories of fiction, narrative, and historicity. Scholarship on comics—and specifically on what I will call graphic narrative—is gaining traction in the humanities. Comics might be defined as a hybrid word-and-image form in which two narrative tracks, one verbal and one visual, register temporality spatially. Comics moves forward in time through the space of the page, through its progressive counterpoint of presence and absence: packed panels (also called frames) alternating with gutters (empty space). Highly textured in its narrative scaffolding, comics doesn't blend the visual and the verbal—or use one simply to illustrate the other—but is rather prone to present the two nonsynchronously; a reader of comics not only fills in the gaps between panels but also works with the often disjunctive back-and-forth of reading and looking for meaning. Throughout this essay, I treat comics as a medium—not as a lowbrow genre, which is how it is usually understood. However, I will end by focusing attention on the strongest genre in the field: nonfiction comics.
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Sunarto, Bambang. "Adangiyah." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (May 5, 2021): iii—iv. http://dx.doi.org/10.33153/dewaruci.v16i1.3601.
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This edition is the first issue of Dewa Ruci’s Journal, in which all articles are in English. We deliberately changed the language of publication to English to facilitate information delivery to a wider audience. We realize that English is the official language for many countries rather than other languages in this world. The number of people who have literacy awareness and need scientific information about visual and performing arts regarding the archipelago’s cultural arts is also quite large.The decision to change the language of publication to English does not mean that we do not have nationalism or are not in love with the Indonesian language. This change is necessary to foster the intensity of scientific interaction among writers who are not limited to Indonesia’s territory alone. We desire that the scientific ideas outlined in Dewa Ruci’s Journal are read by intellectual circles of the arts internationally. We also want to express our scientific greetings to art experts from countries in New Zealand, the USA, Australia, Europe, especially Britain, and other English-speaking countries such as the Philippines, India, Pakistan, Zimbabwe, the Caribbean, Hong Kong, South Africa, and Canada. Of course, a change in English will also benefit intellectuals from countries that have acquired English as a second language, such as Malaysia, Brunei, Israel, Malaysia, and Sri Lanka. In essence, Dewa Ruci’s Journal editor wants to invite writers to greet the scientific community at large.We are grateful that six writers can greet the international community through their articles. The first is Tunjung Atmadi and Ika Yuni Purnama, who wrote an article entitled “Material Ergonomics on Application of Wooden Floors in the Interior of the Workspace Office.” This article discusses office interiors that are devoted to workspaces. The purpose of this study is to share knowledge about how to take advantage of space-forming elements in the interior design of a workspace by utilizing wooden floors like parquet. The focus is on choosing the use of wood by paying attention to the elements in its application. This research result has a significant meaning in the aesthetics, comfort, and safety of wooden floors in the workspace’s interior and its advantages and disadvantages.The second writer who had the opportunity to greet the Dewa Ruci Journal audience was intellectuals with diverse expertise, namely Taufiq Akbar, Dendi Pratama, Sarwanto, and Sunardi. Together they wrote an article entitled “Visual Adaptation: From Comics to Superhero Creation of Wayang.” This article discusses the fusion and mixing of wayang as a traditional culture with comics and films as contemporary culture products. This melting and mixing have given birth to new wayang creations with sources adapted from the superhero character “Avenger,” which they now call the Avenger Wayang Kreasi. According to them, Wayang Kreasi Avenger’s making maintains technical knowledge of the art of wayang kulit. It introduces young people who are not familiar with wayang kulit about the technique of carving sungging by displaying the attributes in the purwa skin for Wayang Kreasi Avenger. This creativity is an attempt to stimulate and show people’s love for the potential influence of traditional cultural heritage and its interaction with the potential of contemporary culture.The next authors are Sriyadi and RM Pramutomo, with an article entitled “Presentation Style of Bedhaya Bedhah Madiun Dance in Pura Mangkunegaran.” This article reveals a repertoire of Yogyakarta-style dance in Mangkunegaran, Surakarta, namely the Bedhaya Bedhah Madiun. The presence of this dance in Mangkunegaran occurred during the reign of Mangkunegara VII. However, the basic character of the Mangkunegaran style dance has a significant difference from the Yogyakarta style. This paper aims to examine the Bedhaya Bedhah Madiun dance’s presentation style in Mangkunegaran to determine the formation of its presentation technique. The shape of the Bedhaya Bedhah Madiun dance style in Mangkunegaran did not occur in an event but was a process. The presentation style’s formation is due to a problem in the inheritance system that has undergone significant changes. These problems arise from social, political, cultural, and economic conditions. The responses to these problems have shaped the Bedhaya Bedhah Madiun dance's distinctive features in Mangkunegaran, although not all of them have been positive.Hasbi wrote an article entitled “Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting.” This article reveals Hasbi’s creative process design in creating three-dimensional works of art, named Sappo. He got his inspiration from the ancient manuscripts written in Lontara, namely the manuscripts written in the traditional script of the Bugis-Makassar people on palm leaves, which they still keep until now. Sappo for the Bugis community is a fence that limits (surrounds, isolates) the land and houses. Sappo’s function is to protect herself, her family, and her people. Sulapa Eppa means four sides, is a mystical manifestation, the classical belief of the Bugis-Makassar people, which symbolizes the composition of the universe, wind-fire-water-earth. Walasuji is a kind of bamboo fence in rhombus rituals. Eppa Walasuji’s Sulapa is Hasbi’s concept in creating Sappo in the form of three-dimensional paintings. The idea is a symbolic expression borrowing the Lontara tradition's idiom to create a symbolic effect called Sappo.Mahdi Bahar and his friends wrote an article entitled “Transformation of Krinok to Bungo Krinok Music: The Innovation Certainty and Digital-Virtual Contribution for Cultural Advancement.” Together, they have made innovations to preserve Krinok music, one of Jambi’s traditional music themes, into new music that they call Bungo Krinok. He said that innovation is a necessity for the development of folk music. In innovating, they take advantage of digital technology. They realize this music’s existence as a cultural wealth that has great potential for developing and advancing art. The musical system, melodic contours, musical grammar, and distinctive interval patterns have formed krinok music’s character. This innovation has given birth to new music as a transformation from Jambi folk music called “Bungo Krinok” music.Finally, Luqman Wahyudi and Sri Hesti Heriwati. They both wrote an article entitled “Social Criticism About the 2019 Election Campaign on the Comic Strip Gump n Hell.” They explained that in 2019 there was an interesting phenomenon regarding the use of comic strips as a means of social criticism, especially in the Indonesian Presidential Election Campaign. The title of the comic is Gump n Hell by Errik Irwan Wibowo. The comic strip was published and viral on social media, describing the political events that took place. In this study, they took three samples of the comic strip Gump n Hell related to the moment of the 2019 election to analyze their meaning. From the results of this study, there is an implicit meaning in the comic strip of pop culture icons' use to represent political figures in the form of parodies.That is the essence of the issue of Volume 16 Number 1 (April Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of visual and performing art science in international networks, both in the science of art creation and in scientific research of art in general. We hope that the development of visual and performing art science can reveal the various meanings behind various facts and phenomena of art life. Therefore, the growth of international networks is an indispensable need.Thank you.
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Whissel, Kristen. "Tales of Upward Mobility." Film Quarterly 59, no. 4 (2006): 23–34. http://dx.doi.org/10.1525/fq.2006.59.4.23.
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ABSTRACT This article investigates a new cinematic spatial dialectics enabled by digital special effects. Focusing on blockbuster films from a range of genres (martial arts, disaster, comic-book, and science-fiction films), it approaches digitally enhanced ““verticality”” as a mode of cinematic representation designed to exploit the visual pleasures of power and powerlessness.
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Iosifyan, Marina. "Crossmodal Associations between Cinema with Elements of Comic and Tragic and Texture Touch." Art and Perception 8, no. 2 (June 8, 2020): 175–87. http://dx.doi.org/10.1163/22134913-bja10004.
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Crossmodal associations are systematic links between a stimulus from one modality (e.g., color) and a stimulus from another modality (e.g., sound). The present study investigated crossmodal associations between cinema (a complex visual and auditory stimulus) and texture touch. Participants watched fragments of movies with comic and tragic elements. They also touched different textures (e.g., silk, fur, marble) and chose the textures that were most/least consistent with the films. We found systematic links between the films and the textures associated with them. Films with elements of tragedy were associated with granite, marble and glass, while films with elements of comedy were associated with glass pebbles, plasticine and a slime toy. Similar emotional and semantic evaluations of textures and films can partly explain these crossmodal associations. Significant correlations were found between the direct emotional evaluation of films and indirect evaluation through the cinema-haptic perception index for the following scales: dirty, disgusting, pleasant and happy.