Gotowe bibliografie tematyczne / DIE comic book

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Gotowa bibliografia na temat „DIE comic book”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "DIE comic book"

Woo, Benjamin. "Is there a comic book industry?" 9ª Arte (São Paulo) 9, nr 1 (21.12.2020): 122–44. http://dx.doi.org/10.11606/issn.2316-9877.v9i1p122-144.

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The “American comic book industry” is not American, its true product is not comic books, and it may not even be an industry. This article uses a geospatial map of comic book and graphic novel publishers active in the US market as well as sales estimates derived from both the direct market of specialty comic book retailers and trade book stores to question inherited “mental maps” of comic book publishing, such as the divide between “mainstream” and “alternative”/“independent” publishing. Adopting a relational approach, it suggests that a sociology of comics publishing – and of the cultural industries more generally – must be cautious of taking on board un-sociological concepts like “industry.”

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Sherwood, Rosie. "New Readings: The Comic as Artists’ Book". Art Libraries Journal 40, nr 1 (2015): 16–19. http://dx.doi.org/10.1017/s0307472200000067.

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Artists’ books consider every aspect of the book in the creation of meaning. How might reading the comic book through this context extend the possibilities of the art form? Can considering the whole book change the way creators and readers approach the comic? This article considers the space between book arts and comics, asking how they might fit together and considering the possible benefits of this expanded reading for the comic book as a form.

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Scanlon, Meaghan. "Canadian Comic Books at Library and Archives Canada". Papers of The Bibliographical Society of Canada 56, nr 1/2 (16.07.2019): 37–51. http://dx.doi.org/10.33137/pbsc.v56i1/2.30363.

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Library and Archives Canada (LAC) has what is likely the largest collection of Canadian comic books in a Canadian library. LAC’s collection has three distinct parts: comics acquired via legal deposit,the John Bell Collection of Canadian Comic Books, and the Bell Features Collection. These holdings, which span the history of the comics medium in Canada, represent a significant resource for researchers studying Canadian comics. This article looks at each of the three main parts of LAC’s comic book collection, giving anoverview of the contents of each part, and providing information on how researchers can discover and access these comics. The article also briefly explores other comics-related holdings at LAC. Its purposeis to provide a starting point for researchers seeking to make use of LAC’s comic book collections.

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Lichtblau, Krzysztof. "Polski komiks wojenny z czasów PRL-u". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (12.12.2017): 80–89. http://dx.doi.org/10.24917/3919.

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Polish comic books from the Polish People’s Republic period After years of fighting with comics book the authorities of the Polish People’s Repulic started using it for its own objectives. Propaganda was the basic target of the comic book narration and interference in history was the main element of it. In my publication I will present images of war created by authorities in the main comic books from the Polish People’s Republic period.Propaganda used by authorities helped to show friendship between Poland and Soviet Union. What is more, using comic books in a political game allowed to create a demonic image of the so-called enemies; Germany especially, but also everything what was connected to the west politics and culture was considered hostile.Comic books became a great tool in governments’ hands for propaganda objectives. Simpifications and contrasts which are used in comics were a great way of ideological speech.Key words: comic book; war; propaganda;

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Wolski, Michał. "Type in pictures. Comic book lettering in contemporary American comics. An overview". Kultura Popularna 60, nr 2 (31.01.2020): 162–86. http://dx.doi.org/10.5604/01.3001.0013.7342.

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This paper focuses on the issue of comic book lettering in mainstream American comics with an aim to introduce theoretical and methodological framework for further analysis of comic book typography. First, it addresses numerous aspects of relations between text and image in comics and presents the brief history of lettering in American comic book industry, as it grew apart from its European counterpart in the early years of development and became much more institutionalized, in no part because of the works of Will Eisner, Gaspar Saladino and especially Richard Starkins, who introduced an affordable means of using the digital typography in early 90s' comic books. In its main part the paper presents the classification of usage of lettering in comics' communicates, which distinguishes the diegetic (graphic, verbal and mental) and non-diegetic (meta- or paratextual and narrative) communicates. This analysis was based on the research sample of over 700 comic book issues, mostly from the Ultimate Marvel imprint (2000–2015) In the final paragraphs, the author critically examines functions of comic book typography and outlines three possible fields of further study.

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Peterle, Giada. "Comic book cartographies: a cartocentred reading of City of Glass, the graphic novel". cultural geographies 24, nr 1 (23.06.2016): 43–68. http://dx.doi.org/10.1177/1474474016643972.

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This article responds to the call for a deeper theoretical and methodological exchange between the disciplines involved in geohumanities research and proposes comic books as an environment for interdisciplinary, geo/cartographical and literary critical research practice. The analysis considers the emerging field of ‘comic book geographies’ and suggests a further opening to ‘comic book cartographies’. Hence, by referring to the ‘spatiocentred’ approaches emerging in literary theory and criticism, I propose a ‘geocritical’ and ‘cartocentred’ reading of comics to explore the ‘cartographies of the comic book’. I individuate the peculiar map-like features of comics’ spatial grammar to interpret the comic book as both a cartographer and a map. Moreover, taking into account the recent shift in cartographic theory towards an ‘emergent cartography’, I propose an ‘ontogenetic’ understanding of comics as maps. Through both their representational and non-representational map-like features, comics are intended ‘as always mappings’, providing the author/reader with a truly mapping experience. The analysis of the exemplary case study of City of Glass, the graphic novel transposition of Auster’s novel by Paul Karasik and David Mazzucchelli, counts as a first attempt to propose a ‘cartocentred’ reading of the cartographies inserted within and emerging from a comic book. This article suggests that a ‘cartocritical’ reading of comics could provide comic studies, cultural geography and literary theory with new insights, as well as cartographic theory with an unexplored laboratory to keep on ‘rethinking maps’ from an ‘emergent’ perspective.

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Yu, Chiejheaca Jehanna G., i Ernil D. Sumayao. "Development and Implementation of a Contextualized Comic Book to Improve Students’ Conceptions of Cell Division". Asia Pacific Journal of Educators and Education 37, nr 2 (30.12.2022): 301–23. http://dx.doi.org/10.21315/apjee2022.37.2.15.

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Cell division was identified as one of the least learned competencies in teaching biological science to junior high school students. Comics’ combination of pictures and words makes the process more engaging to students by changing their perspective on learning. Reading literacy and motivation are improved by contextualized comic books. The use of comic books as instructional material significantly influences academic attainment, particularly for low achieving youngsters. As a result, instructors’ teaching strategies and approaches reflect the growth and inclusion of comics in teaching-learning. The study aimed to develop and assess a contextualized comic book teach-ing cell division concepts to improve students’ conceptions. The research used a modified exam from the General Biology book based on Curriculum Guide Competency and Most Important Learning Competency (MELC). The accomplishment exam consisted of 20 items covering the following topics: Cell Division/ Cell Cycle. The contextualized comic book was rated accept-able and with moderate agreement by the evaluators. The findings showed that the developed contextualized comic book positively influenced the knowledge level of the student’s cell division concepts. Moreover, there was a significant difference between the student’s pre-test and post-test mean scores. Additionally, they positively perceived that the developed contextualized comic book had increased their interest and creativity and enhanced their knowledge and understanding of Cell Division. Because of their significance to the teaching process, instructional comics are suggested for inclusion in many courses, notably in science.

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Buoye, Alexander, Arne De Keyser, Zeyang Gong i Natalie Lao. "Intellectual property extensions in entertainment services: Marvel and DC comics". Journal of Services Marketing 34, nr 2 (13.02.2020): 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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Gipson, Grace D. "Now It’s My Time! Black Girls Finding Space and Place in Comic Books". Arts 12, nr 2 (28.03.2023): 66. http://dx.doi.org/10.3390/arts12020066.

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This essay examines how Black girl narratives are finding and making space and place in the arena of comic books and television. With the rise in Black girl (super)hero protagonists on the comic book pages and adapted television shows, it is essential to explore the significance of their rising inclusion, visibility, and popularity and understand how they contribute to the discourse surrounding the next generation of heroes. Guided by an Afrofuturist, Black feminist, and intersectional framework, I discuss the progressive possibilities of popular media culture in depicting Black girlhood and adolescence. In Marvel Comics’ “RiRi Williams/Ironheart”, DC Comics’ “Naomi McDuffie”, and Boom! Studios’ “Eve”, these possibilities are evident. Blending aspects of adventure, fantasy, sci-fi, and STEM, each character offers fictional insight into the lived experiences of Black girl youth from historical, aesthetic, and expressive perspectives. Moreover, as talented and adventurous characters, their storylines, whether on the comic book pages or the television screen, reveal a necessary change to the landscape of popular media culture.

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Scott, J. Barton. "Comic Book Karma". Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, nr 2 (12.11.2010): 177–98. http://dx.doi.org/10.1558/post.v4i2.177.

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Virgin Comics, a transnational corporation with offices in India and the U.S., has tried to put its chosen medium—the comic book— to novel use. In 2006, Virgin (now Liquid Comics) began marketing titles that remobilize Hindu mythology for the global entertainment market. Paying particular attention to the series Devi (2006-), this article situates Virgin’s comics within several discursive and institutional conjunctures. First, I trace how Virgin’s chief “visionaries” sought to “modernize” the Indian comic. By bringing the vocabularies of Nehruvian developmentalism to bear on this popular cultural form, Virgin signals that in post-liberalization India the aesthetic has outpaced the industrial as the byword of global modernity. Second, I consider Virgin’s attempt to render the comic book a fully fungible medium, which facilitates the development and exchange of intellectual property across entertainment platforms. Newly dematerialized, Virgin’s ethereally cosmopolitan comics are nonetheless haunted by the material specificities of the postcolonial nation-state.

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Rozprawy doktorskie na temat "DIE comic book"

Nishita, Lily. "Ark ruffians comic book /". Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/33.

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Thesis (B.F.A.)--California Polytechnic State University, 2009.
Project advisor: Mary LaPorte. Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.

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MARIOTTE, DAVID WALLACE. "PRINTED: A COMIC BOOK SCRIPT". Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/613267.

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Printed is a script for a short graphic novel about what would happen if a college student 3-D printed a superhero costume. The book mixes comedy and drama, tackling issues around sexual assault and mental illness while also cracking jokes. The world of Printed is somewhat grounded in reality and the personal experiences of the author. Chris Clines is a nerdy college student who plays Dungeons and Dragons and has always dreamed of being a hero. When the opportunity arrives, Chris jumps into action. As “The Printed Man,” he becomes the vigilante crime-fighter he always hoped to be. However, as the threats he faces become more serious – and as his relationships become more strained – Chris must question who he’s really trying to help: his friends or himself. Presented is the annotated script, which is written as one-half of a collaborative effort with an artist and is not a complete comic. Additionally, materials including reference pictures, author layouts, some rough sketches, a playlist and a creative statement are included.

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Mason, Paul James. "‘Page 1, Panel 1…” Creating an Australian Comic Book Series". Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367413.

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What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created. This means both in the American genre and its adaptation in Australia within the context of the local scene.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text

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Frist, Clayton Robert. "Adaptation in the German-Speaking Comic Book Genre: Perspectives on the Austrian Comic Book Author Nicolas Mahler". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1433260874.

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Gabilliet, Jean-Paul. "Le "comic book", objet culturel nord-américain". Bordeaux 3, 1994. http://www.theses.fr/1994BOR30023.

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Cette these porte sur les revues de bande dessinee en anglais diffusees aux etats-unis et au canada depuis les annees 30 (comic books ). Comme toute production culturelle, le comic book s inscrit dans un reseau de praiques sociales et de discours qui en font un revelateur de la societe qui le produit et permettent de rendre compte du statut subalterne qui est le sien. La premiere partie pose les jalons d une periodisation visant a fournir un cadre historique fiable et fonctionnel pour l analyse ulterieure. La deuxieme partie fait le point sur l evolution des modes de fabrication et de diffusion depuis les annees 30. La troisieme partie examine les contenus des comic books sous quatre angles : le fascicule comme objet autonome (publicites, courrier des lecteurs, etc) ; les grands genres (cb "pour enfants", super-heros) ; les cb comme vehicules d education et de propagande ; les cb "obscenes" (violence et pornographie). La quatrieme et derniere partie examine les conditions economiques, sociales et culturelles justifiant l apparente incapacite des cb a acceder a aucune forme de reconnaissance culturelle (indifference du grand public, recurrence de discours de censure ponctuels, non-credibilite du discours critique des amateurs, discours "negatifs" de l avant-garde artistique) malgre quelques signes avant-coureurs d une entree progressive (mais non irreversible) des comic books dans la production culturelle legitime
This dissertation bears on the periodical comis strip magazines distributed in the united states and canada since the 1930's, aka comic books. The key contention of this research is that the comic book, as any cultural artifact, is posited at the core of a network of discourses and social practices whose interpretive potential is twofold; on the one hand, they emphasize a number of revealing features proper to the social environment in which comic books are produced, on the other, they are instrumental in accounting for the comic book's inferiour cultural status. The first part is a historical survey whose purpose is to lay down a periodization framework suitable for further analysis of the medium. The second part addresses the evolution of the comics industry's central mechanisms, is creative process and commercial distribution, since the 1930s. In the third part, comic book contents are looked into from four angles: the booklet as self-contained artifact (ads, readers' mail, etc); foremost genres (comics "for kids", superheroes); comic books as a means of propaganda and education; "obscene" comic books (pornography and violence). Finally, the fourth part deals with the economic, socialn and cultural background of the comic book's apparent inability to accede to any form of cultural legitimacy (general public's indifference, recurring if limited censorship, etc) despite tentative signs of assimilation into the cultural mainstream

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Kuboi, Toshihiro. "Element Detection in Japanese Comic Book Panels". DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1289.

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Comic books are a unique and increasingly popular form of entertainment combining visual and textual elements of communication. This work pertains to making comic books more accessible. Specifically, this paper explains how we detect elements such as speech bubbles present in Japanese comic book panels. Some applications of the work presented in this paper are automatic detection of text and its transformation into audio or into other languages. Automatic detection of elements can also allow reasoning and analysis at a deeper semantic level than what’s possible today. Our approach uses an expert system and a machine learning system. The expert system process information from images and inspires feature sets which help train the machine learning system. The expert system detects speech bubbles based on heuristics. The machine learning system uses machine learning algorithms. Specifically, Naive Bayes, Maximum Entropy, and support vector machine are used to detect speech bubbles. The algorithms are trained in a fully-supervised way and a semi-supervised way. Both the expert system and the machine learning system achieved high accuracy. We are able to train the machine learning algorithms to detect speech bubbles just as accurately as the expert system. We also applied the same approach to eye detection of characters in the panels, and are able to detect majority of the eyes but with low precision. However, we are able to improve the performance of our eye detection system significantly by combining the SVM and either the Naive Bayes or the AdaBoost classifiers.

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Meade, Alayna Naomi, i Alayna Naomi Meade. "Revitalizing the Stagnating U.S. Comic Book Industry: A Historic Analysis and Creative Fusion of American and Japanese Comic Books". Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625096.

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The United States and Japan both have internationally recognized comic book industries. However, their levels of financial success and social relevance differ greatly. As the United States struggles to gain new readers, Japan has made comics a staple of life for all its residents. The following research essay elaborates on this phenomenon using historical context, and suggests how the United States can make its comic industry more prosperous by analyzing the global and domestic success of Japanese comics. In conjunction with this essay is a full comic book influenced by visual, storytelling, and historic aspects of comics from both countries. This creative portion is meant to serve as an example for how American comic book artists can learn from the Japanese comic industry in terms of capturing new readers without losing their American identity.

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Wilson, Amy Kate. "All's Well That Ends Well: A Comic Book". Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/146703.

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One of the most difficult aspects of studying Elizabethan and Jacobean drama is the fact that students tend to study a script that was meant to be acted. The dialogue of a play is only part of the entire experience. The plays of Shakespeare, like any other, are meant to be seen and acted. Body language, lighting, tone, costuming and many other factors can set the mood of a scene or sway the entire play's meaning. This comic book is one way that the play All's Well that Ends Well by William Shakespeare can be more accessible to a modern audience The medium of comics, or graphic novels on a larger scale, can be used to help make these plays visually appealing to an audience. Like an acted performance, certain interactions among characters can help interpret moments in the play that dialogue alone cannot. This project works to show that comics can be a serious means of presenting Shakespeare, and drama in general, to modern audiences.

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Ehritz, Andrew A. "FROM INDOCTRINATION TO HETEROGLOSSIA: THE CHANGING RHETORICAL FUNCTION OF THE COMIC BOOK SUPERHERO". Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1155044370.

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Lucas, Justin. "Beneath the cape and cowl: Batman and the revitalization of comic book films". Ohio University Honors Tutorial College / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1244074493.

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Książki na temat "DIE comic book"

Journals, Creative Comic Book. Blank Comic Book: Blank Comic Book Draw Your Own Comics Comic Book Writing. Independently Published, 2019.

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Journals, Creative Comic Book. Blank Comic Book Panels: Blank Comic Book Draw Your Own Comics Comic Book Writing. Independently Published, 2019.

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The Factory The Factory 51. Blank Comic Book: Blank Comic Book Draw Your Own Comics, Comic Book Template Pages, Blank Comic Panels. Independently Published, 2021.

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mekhtiche, amine. Blank Comic Book : Blank Comic Book: Draw Your Own Comics. Independently Published, 2021.

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Blank Comic Book: Blank Comic Book Draw Your Own Comics. Independently Published, 2021.

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Blank Comic Book : Create Your Own Comics, Comic Book Strip Templates for Drawing: Comic Book Drawing Book. Independently Published, 2021.

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Cartoon Sketch Pad: Empty Comic, Comic Book Template, Create Your Own Comic Book, Comix Books, Beyblade Comic Books. Independently Published, 2021.

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Printworks, Ukrainian. Blank Comic Book Draw Your Own Comics : Comic Sketch Book - Blank Comic Book for Kids - Comic Book Paper Blank - Comic Book Creator Kit for Kids - Comic Drawing Book: Make Your Own Comic. Independently Published, 2022.

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Comic Book : Blank Comic Book: Create Your Own Comic Book. Independently Published, 2021.

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Blank Comic Book : Create Your Own Comics, Comic Book Strip Templates for Drawing: Comic Book Maker. Independently Published, 2021.

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Części książek na temat "DIE comic book"

Parola, Giulia, i Margherita Paola Poto. "The Comic Book". W Building Bridges for Effective Environmental Participation: The Path of Law Co-Creation, 53–106. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-52791-3_5.

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Gaynor, Jerome. "Excerpt from Comic Book". W Urban Australia and Post-Punk, 101–4. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-32-9702-9_12.

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Boschi, Luca, i Michele Emmer. "A Venetian Comic Book". W Mathematics and Culture III, 159–66. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-540-34260-1_15.

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Baasch Andersen, Camilla. "Teaching comic book contracting". W Design in Legal Education, 121–31. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429021411-11.

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Weixler, Antonius. "Vom Comicstrip zum comic book". W Comics und Graphic Novels, 143–55. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05443-2_7.

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Marx, Christy. "What Is a Comic Book?" W Writing for Animation, Comics, and Games, 103–34. Wyd. 2. Boca Raton: CRC Press, 2021. http://dx.doi.org/10.1201/9781351215985-10.

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Beaty, Bart, i Benjamin Woo. "An Archie Comic?" W The Greatest Comic Book of All Time, 85–95. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-53162-9_8.

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"Comic Book". W Too Bad, 6. University of Alberta Press, 2010. http://dx.doi.org/10.1515/9780888647856-005.

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Rouleau, Brian. "Comic Book Cold War". W Empire's Nursery, 188–224. NYU Press, 2021. http://dx.doi.org/10.18574/nyu/9781479804474.003.0007.

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This chapter deals with comic books, the most popular form of children’s media the country had ever seen, up to that point. Many comic book plots were connected to broader conversations about American engagement with the wider world. In the pages of brightly colored comics, children were asked to fight America’s Cold War battles against a merciless communist enemy.

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"Comic Book Heroes". W "Previously on...", 157–77. Wilhelm Fink Verlag, 2010. http://dx.doi.org/10.30965/9783846748350_010.

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Streszczenia konferencji na temat "DIE comic book"

Zhuykova, E. "COMICS AND LITERATURE: THE HISTORY OF FRIENDSHIP". W VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3761.rus_lit_20-21/353-358.

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The reputation of comics in Russia was seriously spoiled in the 90s, when they were viewed as a purely entertaining and mass form. But in fact, in the modern world, the graphic novel is becoming a completely serious genre: great artists are creating comics, scripts for them are written by Ph.D's, and they often touch on complex topics. Moreover, comics have a long history of relationship with literature (for example, in the 30s of the 20th century, during the first wave of emigration, Russian literary comics were valued throughout the world). And in the last decade, this line of interaction has only intensified: many graphic adaptations of classic literary works, comic book biographies of writers and poets are appearing, and descriptions of comic books are increasingly appearing in modern literature. The article will be devoted to the history of various forms of interaction between literature and comics.

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Tammaro, Rosanna, Anna D’Alessio, Anna Iannuzzo i Alessia Notti. "TEACHING ENGLISH WITH A CHILLY FORMAT: THE GRAPHIC NOVEL!" W International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end111.

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"Recently, the term graphic novel is commonly used in the educational area, and it’s often associated with another term, which is ‘comic book ‘. In a typical perception, the graphic novel provides an interesting way to communicate language concepts with a number of characteristics that may help students learning in a more effective manner rather than traditional textbooks. Given that it has been introduced in school lessons, it has certainly represented an opportunity for teachers. However…what exactly is a graphic novel? It is a didactic tool. A graphic novel, as its name suggests, is a novel that tells a complete story via illustrations. A graphic novel will offer the type of resolution that one expects from a novel, even if it is part of a series. Effectively, this makes a graphic novel longer and more substantive than a comic book, which is a serialized excerpt from a larger narrative story. Humankind has long told stories via images, beginning, perhaps, with the cave paintings of ancient civilizations. It was in the twentieth century, that we witnessed the rise in the use of comic books, which experienced a golden age during the Great Depression and World War II with the ascendance of Marvel and DC Comics. The Cold War era saw comic books and novels emerge into what is now known as a graphic novel. The term “graphic novel” traces back to an essay written by Richard Kyle in the comic book fanzine Capa-Alpha (although to this day there is not one fixed definition of “graphic novel”). The term is thought to have become mainstream with the publication of Will Eisner's A Contract with God in 1978. The authors provide an overview of the graphic novel format and its use in school lessons. The work is aimed at describing the most important steps of this format, with its implications for teachers and students. and the theoretical base that highlights how and why it can be a useful tool to present content relevant for the current generation of students. The authors provide examples of how the graphic novel medium could be applied to English concepts and conclude with the future prospects of this studying/teaching tool."

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Gungor, Aylin. "Women’s Sex Representation in Comic Book". W The International Conference on Future of Women. The International Institute of Knowledge Management, 2020. http://dx.doi.org/10.17501/26028646.2020.3103.

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Banks, Charlie, William Gabriele, Marco D'Ambros, Erica Vigilante, Jesus R. Nieto, Martin Pražák i Sylvain Brugnot. "From comic book to movie screen". W SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3306307.3328209.

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Williams, Amanda M., i Thomas A. Alspaugh. "Articulating Software Requirements Comic Book Style". W 2008 Third International Workshop on Multimedia and Enjoyable Requirements Engineering - Beyond Mere Descriptions and with More Fun and Games. IEEE, 2008. http://dx.doi.org/10.1109/mere.2008.3.

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Boreczky, John, Andreas Girgensohn, Gene Golovchinsky i Shingo Uchihashi. "An interactive comic book presentation for exploring video". W the SIGCHI conference. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/332040.332428.

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Rivo-López, Elena, Jesús Fernando Lampón, Mónica Villanueva-Villar i Carla María Míguez-Álvarez. "ENHANCING WOMEN´S ENTREPRENEURSHIP THROUGH A COMIC BOOK". W 15th International Technology, Education and Development Conference. IATED, 2021. http://dx.doi.org/10.21125/inted.2021.0365.

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Le, Thanh-Nam, Muhammad Muzzamil Luqman, Jean-Christophe Burie i Jean-Marc Ogier. "Retrieval of comic book images using context relevance information". W MANPU '16: First International Workshop on coMics ANalysis, Processing and Understanding. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/3011549.3011561.

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Jabbar, Erwin Abd, i Anuar Hassan. "Malaysian Comic Book Art Style Classifying Visual Traits and Identity". W International Conference of Innovation in Media and Visual Design (IMDES 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201202.081.

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Romá-Mateo, Carlos, i Gloria Olaso-Gonzalez. "COMIC-BOOK CLUB OF GRAPHIC MEDICINE: USING COMICS TO BOOST EMPATHY IN THE TEACHING OF MEDICAL SCIENCES". W 14th International Conference on Education and New Learning Technologies. IATED, 2022. http://dx.doi.org/10.21125/edulearn.2022.0914.

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Raporty organizacyjne na temat "DIE comic book"

Olivier Nsengimana, Olivier Nsengimana. A conservation comic book: Involving Rwandan children in saving endangered Grey Crowned Cranes. Experiment, wrzesień 2014. http://dx.doi.org/10.18258/3557.

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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Redaktorzy Musheer O. Kamau, Sasha Baxter i Golda Kezia Lee Bruce. Inter-American Development Bank, kwiecień 2021. http://dx.doi.org/10.18235/0003188.

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Pivot is a movement of radical ideas for the Caribbean of the future. In 2020, the IDB and its partners (Caribbean Climate Smart-Accelerator (CCSA), Destination Experience (DE), and Singularity University) launched The Pivot Movement and asked the people of the Caribbean to think of big ideas to transform the region. A small group came together at The Pivot Event to design 9 moonshots for electric vehicles, digital transformation and tourism. Pivot: The Future Makers is a comic book produced by the Pivot partners and illustrated by Caribbean artists. In it, the 9 moonshots have been developed into fictional stories as a simple and powerful means of conveying possible, probable futures, to help us visualize the Caribbean in 2040.

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Hoogendoorn, Kathryn. Lab’s original mission inspires entire genre of comic books, characters. Office of Scientific and Technical Information (OSTI), październik 2021. http://dx.doi.org/10.2172/1828682.

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Cameroon: Peer education and youth-friendly media reduce risky sexual behavior. Population Council, 2003. http://dx.doi.org/10.31899/rh2003.1009.

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Cameroonian researchers at the Institute of Behavioral Studies and Research (IRESCO), with support from FRONTIERS, conducted an operations research project between 2000 and 2002 to assess strategies to encourage abstinence, increase contraceptive use, and reduce sexually transmitted infection (STI) rates among sexually active youth. The intervention combined peer-education strategies with media campaigns to promote healthy behavior among youth in the Mokolo neighborhood of Yaoundé. IRESCO trained 49 peer educators aged 19–25 in reproductive health (RH) communication strategies. The team coordinated educational talks, counseling sessions, conferences, and cultural and athletic events; produced comic books and brochures; and sold French and English editions of Among Youth magazine, featuring celebrity interviews and information on RH, unwanted pregnancy, and STI transmission. IRESCO evaluated the intervention’s impact through baseline and endline surveys of 2,500 youth in Mokolo and the control site, New Bell, in Douala. This brief concludes that urban youth in Cameroon are knowledgeable about HIV/AIDS and the risks of early pregnancy, but their behavior often fails to reflect their knowledge. Peer-education programs targeting youth through one-on-one counseling, theatrical performances, youth magazines, and sporting events increases abstinence and fidelity and improves consistent and correct condom use.

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