Relevant bibliographies by topics / Scott McCloud

Academic literature on the topic 'Scott McCloud'

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Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Scott McCloud"

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MORTON, DREW. "An interview with Scott McCloud." Studies in Comics 2, no. 2 (January 5, 2012): 257–61. http://dx.doi.org/10.1386/stic.2.2.257_7.

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Vilches, Gerardo. "El cómic: ¿un arte secuencial?" Neuróptica, no. 1 (March 24, 2020): 203–17. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.201914328.

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Resumen: En 1993, Scott McCloud publicó su primer ensayo teórico sobre cómic y en forma de cómic: Entender el cómic: el arte invisible, cuyo éxito inmediato lo convirtió en una de las principales referencias en los estudios sobre cómic. En su obra, McCloud definía el cómic como un arte estrictamente secuencial, y planteaba una clasificación de las transiciones entre viñetas que partía de su concepto de clausura. Tras identificar ciertas limitaciones de sus teorías, se plantea una crítica de estos puntos mediante el análisis de obras y la revisión de bibliografía especializada, y se proponen alternativas de análisis más apropiadas para el cómic contemporáneo. Abstract: In 1993, Scott McCloud published his first essay about comic in comic format: Understanding Comics: The Invisible Art, whose early success turned it to one of the main references in comic studies. In his work, McCloud defined comic as a strictly sequential art, and raised a classification of panels transitions that came from his concept of closure. After identifying certain limitations of his theories, a critique to these points through the analysis of some comics and the use of specialized bibliography is presented, and some more suitable alternatives for contemporary comics are proposed.
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Stamenković, Dušan, Miloš Tasić, and Charles Forceville. "Facial expressions in comics: an empirical consideration of McCloud’s proposal." Visual Communication 17, no. 4 (July 9, 2018): 407–32. http://dx.doi.org/10.1177/1470357218784075.

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In Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels (2006), Scott McCloud proposes that the use of specific drawing techniques will enable viewers to reliably deduce different degrees of intensity of the six basic emotions from facial expressions in comics. Furthermore, he suggests that an accomplished comics artist can combine the components of facial expressions conveying the basic emotions to produce complex expressions, many of which are supposedly distinct and recognizable enough to be named. This article presents an empirical investigation and assessment of the validity of these claims, based on the results obtained from three questionnaires. Each of the questionnaires deals with one of the aspects of McCloud’s proposal: face expression intensity, labelling and compositionality. The data show that the tasks at hand were much more difficult than would have been expected on the basis of McCloud’s proposal, with the intensity matching task being the most successful of the three.
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Zagita, Nadia Istiani, and Rudi Sukandar. "Pandangan Masyarakat Indonesia Terhadap Budaya Korea Selatan: Studi Kasus Manhwa Noblesse pada Aplikasi Line Webtoon." COMMENTATE: Journal of Communication Management 1, no. 1 (July 7, 2021): 78. http://dx.doi.org/10.37535/103002120216.

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Line Webtoon is one of the media used by South Korea in spreading Hallyu Wave. It has driven the views or opinions of the South Korean culture through manhwa (Korean Comic) called "Noblesse" in the application Line Webtoon using Comic Theory from Scott McCloud. The analysis of case studies on the Noblesse manhwa showed that opinions were presented and exhanged related to the characters, the messages being conveyed, and reader's expectations about in the manhwa. The readers' enthusiasm for this manhwa has made Noblesse one of the most favored manhwas. The implications of this research led to the intercultural communication associated with the comic elements in this manhwa.
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Sambodo, Yohanes. "PENDEKATAN TEORI KOMIK PADA ADEGAN RELIEF KRESNAYANA CANDI WISNU." Ars: Jurnal Seni Rupa dan Desain 21, no. 3 (September 1, 2018): 194–200. http://dx.doi.org/10.24821/ars.v21i3.2856.

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Penelitian ini mengetengahkan pengidentifikasian unsur-unsur komik yang terdapat pada relief tersebut menggunakan teori komik. Berbagai unsur dalam komik dapat dipelajari dari teori yang ditulis oleh Scott McCloud. Memang tidak semua unsur komik terdapat pada relief itu, khususnya disebabkan oleh medianya. Beberapa unsur yang terpenting di antaranya adalah panel, pertokohan dan transisi antarpanel. Unsur komik lainnya juga dapat digunakan untuk membedah relief Kresnayana, kecuali yang termasuk kata-kata. Sebagai hasilnya, relief Kresnayana dan komik menunjukkan adanya beberapa kesamaan maupun ketidaksamaan dalam unsur-unsurnya. Semua panelnya ternyata merupakan gabungan pecahan-pecahan batu. Kemudian, parit (gutter) dalam relief ini juga unik, yaitu berupa dua pilar yang mengapit panel. Transisi antarpanel dalam relief Kresnayana berpatokan pada cara pradaksina.
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Pradiptha, Anindya Putri. "The Role of The Villain as A Determinant of The Existence of The Main Character." E-Structural 1, no. 01 (July 6, 2018): 24–38. http://dx.doi.org/10.33633/es.v1i01.1823.

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Abstract. Comic is one of the popular literary works that combining pictures and languages. It can be a work if it consist of story that using language as the medium. The aims of this study is to explain the formula of the comic by using theories of comic, escapism, and the narration’s structure of an adventure comics, The Life and Times Of Scrooge McDuck created by Don Rosa. To get relevant data, this study is employ one method, namely; library study. In this paper, the writer used theories of comic by Scott McCloud, escapism by Cawelty, and the narration’s structure of Vladimir Propp. The result indicates that in this comic, there is the reality of the idea that the existence of the main character is manifested by the presence of the villains. Comic is a complete books that can teaching the reader which is not only understand the stories, but also the world view inside, it is the good ideology of the existence from the bad side.Keywords: comic, escapism, narration, existence, and the villains.Abstrak. Komik adalah salah satu karya sastra populer yang menggabungkan gambar dan bahasa. Hal ini dapat bekerja jika itu terdiri dari cerita yang menggunakan bahasa sebagai media. Tujuan dari penelitian ini adalah untuk menjelaskan formula komik dengan menggunakan teori komik, melepaskan diri, dan narasi struktur komik petualangan, hidup dan Gober Bebek dibuat oleh Don Rosa. Untuk mendapatkan data yang relevan, studi ini menggunakan satu teknik, yaitu;\ studi perpustakaan. Dalam tulisan ini, penulis menggunakan teori Komik oleh Scott McCloud, eskapisme oleh Cawelty, dan struktur narasi Vladimir Propp. Hasilnya menunjukkan bahwa di komik ini, ada realitas gagasan bahwa keberadaan karakter utama diwujudkan oleh kehadiran penjahat. Komik sebuah bacaan yang berisi, mendidik, dan berbobot, karena melalui komik pembaca tidak hanya memahami ceritanya saja, tetapi realitas ide di baliknya, yakni ideologi baik dari keberadaan si pelaku kejahatan.Kata kunci: komik, eskapisme, narasi, keberadaan, dan para penjahat.
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Farooqi, Irfanullah. "McCloud, Aminah Beverly, Scott W. Hibbard, and Laith Saud (eds.): An Introduction to Islam in the 21st Century." Anthropos 109, no. 1 (2014): 309–10. http://dx.doi.org/10.5771/0257-9774-2014-1-309.

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Parray, Tauseef Ahmad. "An Introduction to Islam in the 21st Century , Aminah Beverly McCloud , Scott W. Hibbard and Laith Saud ( Eds. )." Islam and Civilisational Renewal 5, no. 2 (April 2014): 285–87. http://dx.doi.org/10.12816/0009845.

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Coody, Elizabeth Rae. "The Sculptor. Graphic novel. By Scott McCloud. New York: First Second, 2015. Pp. 496; black and blue color throughout. Hardcover, $29.99." Religious Studies Review 43, no. 1 (March 2017): 54. http://dx.doi.org/10.1111/rsr.12813.

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Sanyal, Debarghya. "The sound of silence: Blank spaces, fading narratives and fragile frames in comics." Studies in Comics 10, no. 2 (November 1, 2019): 215–33. http://dx.doi.org/10.1386/stic_00003_1.

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Abstract How does one translate silence onto a silent medium? Printed comic books and graphic novels are generally a non-auditory art form. This has caused them to be traditionally perceived as ‘silent’. This also means that comics artists have come up with some of the most innovative ways of translating sound to a primarily visual medium ‐ bold letters, onomatopoeic words, fading images, etc. Nonetheless, these innovations have often in fact failed to address silence. As an art form where both the blank space and the printed word acquire their own unique visual signification, is comics rather a stubbornly un-silent medium? If so, then how does one depict silence in an un-silent medium? My article addresses these questions by first examining the works of Scott McCloud, Thierry Groensteen and Barbara Postema and their study of sound in comics. I then build on these theoretical frameworks to problematize the conventional correlation of visual signifiers with sound and silence, primarily examining the use of blank space or the lack of words as a default signifier of silence. Ultimately, I will argue that comic books provide a unique transmedial approach to re-analyse our conventional ideas for visual representations of sound.
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Dissertations / Theses on the topic "Scott McCloud"

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Stribling, Samuel Charles Stuart. "Dr. Manhattan's Pathos: Synchronic and Diachronic Experience in Comic Books and Architecture." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242836335.

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Thesis (Master of Architecture)--University of Cincinnati, 2009.
Advisors: George Thomas Bible, Gerald Larson. Title from electronic thesis title page (viewed July 28, 2009). Includes abstract. Keywords: Diachronic; Synchronic; Exeter Library; Watchmen; Scott McCloud; Aronoff; Comic Books. Includes bibliographical references.
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Slack-Smith, Amanda Jennifer, and not supplied. "The practical application of McCloud's horizontal 'Infinite canvas' through the design, composition and creation of an online comic." RMIT University. Computer Science and Information Technology, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070205.162540.

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This research examines the application of Scott McCloud's theory of the Infinite canvas, specifically the horizontal example outlined in Reinventing Comics (McCloud, 2000). It focuses on the useability and effectiveness of the Infinite canvas theory when applied as a practical example of a comic outcome for the Internet. This practical application of McCloud's horizontal Infinite canvas model has been achieved by creating a digital comic entitled Sad Reflections; a continuous horizontal narrative that is 20cm in height and 828cm in length and was designed to be viewed in a digital environment. This comic incorporates traditional comic techniques of gutters, time frames, line, with combining words and pictures, as outlined by McCloud (1993) in his first theoretical text Understanding Comics. These techniques are used to ensure that the project fulfilled the technical criteria used by the comic book industry to create comics. The project also incorporates McCloud's personally devised Infinite canvas techniques of trails, distance pacing, narrative subdivision, sustained rhythm and gradualism as outlined on his website. These new techniques are applied to assess their effectiveness in the creation of the horizontal Infinite canvas and ability to be integrated with traditional comic techniques. The focus of this project is to examine the strengths and weaknesses of McCloud's Infinite canvas theory when applied to the practical comic outcome of the Sad Reflections. Three key questions are used to guide this research. These questions are: 1. Does the application of traditional comic techniques affect the effectiveness of the Infinite canvas when implemented to a horizontal format? 2. Are the new Infinite canvas techniques as outlined by McCloud able to be applied to a horizontal format and what impact do these techniques have on the process? 3. Is the application of a horizontal Infinite canvas of benefit to future developers of web comics? Based on the outcomes of the above questions, this paper nominates strategies, considerations and suitable production processes for future developers of web comics.
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Kane, Brian M. "ADAPTING THE GRAPHIC NOVEL FORMAT FOR UNDERGRADUATE LEVEL TEXTBOOKS." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1368726512.

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Johnson, Hanna. "Narrative Perspective in a Wordless Graphic Novel: Shaun Tan's The Arrival." Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-164813.

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In a narrative the narrator tells the story, and the focalizer is a character through whose eyes the story is seen. The narrator is thus the one who speaks, whilst the focalizer is silent. The identification of these two narratological features is made with the help of verbal cues such as personal pronouns for instance. Determining the narrator and the focalizer can sometimes be challenging due to ambiguous cues in the analyzed text, as well as narratological aspects which at times can be difficult to distinguish from each other. Determining the narrator and the focalizer in graphic narratives (comics) with no narrative voice, or which completely lack words, must be done with the help of pictorial cues instead. In this thesis, Shaun Tan’s wordless graphic narrative The Arrival is used in order to show how the narrator and the focalizer can be determined by combining pictorial cues with the reader’s general knowledge of storytelling as well as his or her experiences from real life scenarios. To analyze narratological features in The Arrival, I employ terminology from comics studies, literary and film narratology. My analysis shows that determining the narrator and the focalizer in narratives lacking explicit narrative voice is possible by using only pictorial cues.
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Burton, Benjamin Robert. "The Revolution Will Not Be Politicized: Political Expression in the Manga Adaptations of Kanikōsen." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/4157.

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Kobayashi Takiji's (1903-1933) Kanikōsen (The Crab Cannery Ship, 1929), the outstanding work from the proletarian literary movement, experienced an influx of new adaptations into various mediums during the years that preceded and followed the "Kanikōsen boom" of 2008. This thesis focuses on two manga adaptations that provide readers with starkly different takes on the original story. Using theories by Scott McCloud and Azuma Hiroki, I first attempt to draw parallels between the form of manga and that of the novel. Then, I examine the manner in which the most explicitly political content of the novel is adapted into the manga versions. Through this examination of form and content, it becomes apparent that, despite their differences, both adaptations reinforce a vague, individualist-humanist ideology that undermines the notions of class consciousness and class struggle that are central to the narrative of Kanikōsen. This diminishing of the explicitly "Red" aspects of the original reflects the Japanese public's general aversion to politics that has persisted since the early 1970's until this day.
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Lemus, Kayla Tamara. "Le Roman Graphique Comme Lieu Propice Pour Repenser L'identité D'un Point De Vue Postcolonial." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/816.

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This thesis examines the potential of the graphic novel as a site for rethinking identity from a postcolonial perspective. I begin with an in-depth analysis of comic theory and breakdown the elements that distinguish the graphic novel from other literary genres. In addition, I highlight the importance of narration in the graphic novel, thus setting a framework for how to analyze the interplay between text and image as it relates to the narrative and vice versa. I use this framework to investigate how notions of masculinity, memory, and historical references are employed in the Brazilian graphic novel, Dois Irmãos, and the French graphic novel, l’Arabe du Futur, thus highlighting postcolonial concepts of identity formation illuminated in the narratives of young Arab boys narratives of their fathers.
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Thomas, Evan Benjamin. "Toward Early Modern Comics." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502561240762248.

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Chuang, Xin Sulynn. "“My face! give it back!” : interrogating mask metaphors and identification in Scott McCloud's Understanding Comics." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/35009.

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This thesis argues that one way to resolve some of the discrepancies in the theory of identification proposed by Scott McCloud in Understanding Comics, such as his mask metaphor, is to approach his theory via theatrical conceits. By thinking of identification in the terms of an actor playing a masked character, in which to read a comic and identify with a cartoon character means to put on a mask and imaginatively play the character, McCloud’s contention of cartoons matching our basic mind-pictures becomes readily resolved by virtue of the fact that the mask is serving as a dramatic signifier of the reader’s inner reality. That is, by imaginatively bringing to life the iconic cartoon form, the reader mimetically becomes the character, hence making it entirely plausible for anyone to enter the world of the cartoon and see themselves in the faces of the characters. The mask thus becomes a logo that transforms the reader’s body into logos, granting access to the realm of the symbolic by covering up a reader’s personal identity such that he or she becomes a cipher, at liberty to see whatever he or she wants in the cartoon image. However, regarding the comics panel as a kind of dramatic stage in which the identifying reader is intimately involved as both actor and initiator of theatrical communication, raises other problems. It not only problematises the distinction between reality and artifice in an imaginative performance context, but also ignores the fact that masks are frequently used for purposes of preventing rather than promoting audience identification. McCloud’s theory, in attempting to circumvent the issues surrounding the fraught relationship between self and other that are inherent in any discussion of identification by applying the mask as a structuring term, raises new issues of its own.
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Books on the topic "Scott McCloud"

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McCloud, Scott. Scott McCloud's Zot! Northampton, Mass: Kitchen Sink Press, 1997.

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Johnson, Dianne. Darion McCloud as Dave the Potter. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199390205.003.0015.

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Johnson investigates the recent award-winning children’s book by Hill and Collier about Dave the Potter, in particular, the illustrated representation within it of the figure of Dave the Potter. A noted children’s author herself, Johnson interviews the model for the depicted character of David Drake, Darion McCloud. The interview is used as the springboard into making observations about Bryan Collier’s collages—such as the embedded visual reference in a major spread of the book to Tom Feelings’s Soul Looks Back in Wonder, also a winner of the Coretta Scott King Award. Along with the racial significance of the brown hues used by Collier, this piece analyzes Collier’s illustration of a tree as a symbol of what McCloud refers to as the world community.
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Scott McCloud's Zot! Book 3: Issues 16, 21-27. Kitchen Sink Press, 1998.

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Book chapters on the topic "Scott McCloud"

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GUTIERREZ, PETER. "Peter Gutierrez on Scott McCloud." In Exploring the Roots of Digital and Media Literacy through Personal Narrative, 208–21. Temple University Press, 2016. http://dx.doi.org/10.2307/j.ctvrf898z.19.

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"Was ist ein Cartoon? Psychosemiotische Überlegungen im Anschluss an Scott McCloud." In Comics, 29–52. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839411193-002.

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Ahmed, Maaheen. "Instrumentalizing Openness." In Openness of Comics. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805935.003.0001.

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This first part of the monograph introduces Umberto Eco's concept of the opera apertaand links it to the workings of comics as explained through the comics theories of Scott McCloud, Thierry Groensteen, and Pierre Fresnault-Deruelle. The potential for openness in comics is seen as being literalized by the disjointedness and gaps, which are essential to the very form of comics. Specific aspects harbouring the potential for openness are located in various formal and content-related features. The former include the manipulation of word-image relationships, page layouts, and visual styles whereas the latter focus on themes, characters, and references to other media and figuration. This part concludes with an overview of the comics analysed in Part Two.
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Soper, Kerry D. "Blandly Drawn, Myopic Pinheads." In Gary Larson and The Far Side, 109–42. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817280.003.0004.

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In this chapter the author explores the art of The Far Side. To begin, he looks at Larson’s cartooning style with fresh eyes, unbiased by traditional frames that would readily dismiss his approach as simplistic or deficient. Using a more foundational set of objective questions as a starting point—Does it work? Is it funny? —he considers how his self-taught aesthetic effectively became a strength within those focused goals. As a support in this exercise, the author borrows ideas from Scott McCloud that highlight the underappreciated strength of highly distilled cartoon imagery. The author also describes influences on, and precedents to, Larson’s crude and intentionally unprofessional aesthetics: alternative magazine cartoonists like B. Kliban, minimalistic animation styles that emerged in the 1960s, and figures within the underground comix movement. The chapter concludes with an application of ideas borrowed from semiotics to understand the shifting connotations of a number of Larson’s key aesthetic devices and symbols: affectless linework, a variety of eyeglasses, beehive hairdos, flat-eyed brows, pinheaded craniums and schlumpy physiques.
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Flowers, Johnathan. "Misunderstanding Comics." In With Great Power Comes Great Pedagogy, 207–25. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826046.003.0013.

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In this chapter, Jonathan Flowers offers an important critique of some of the foundational tenets of comics studies and questions the epistemological grounding on which our pedagogies stand. By exploring how Scott McCloud’s work has shaped our field, Flowers deftly illustrates that this field is constantly moving and evokes a call for new voices and pedagogies. He does this through interlinking power and visibility with politics and race within the field of comics studies.
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