Comics Are in Right Now

2016 ◽  
Author(s):  
Drew Morton
Keyword(s):  
Comic Books ◽  
Comic Book ◽  
Film Noir ◽  
High Contrast ◽  
Horizontal Integration ◽  
Digital Cinema ◽  
Compositional Technique ◽  
Ontological Shift

This book examines the intricacies of the American film's stylistic remediation of comics. Stylistic remediation refers to the stylistic practice by films (both adaptations of comics and original properties), in which they have increasingly relied on the formal characteristics of comic books (such as panels, speed lines, the dissection of motion, flat compositions). For their part, comics have drawn upon formal devices derived from film (such as the film noir compositional technique of high-contrast lighting and Photoshop assisted motion blurring to produce a more cinematic look). The book explores how stylistic remediation complicates the idea of media specificity, the role of horizontal integration and conglomeration in the process of stylistic remediation, the industrial motivation behind remediation in films and comics, and whether the remediation of comic book stylistics into films is fundamentally a by-product of technologies and an indication of a larger ontological shift from cinema to digital cinema.

Comics Are in Right Now?

2016 ◽  
Author(s):  
Drew Morton
Keyword(s):  
Research And Development ◽  
Comic Book ◽  
Horizontal Integration ◽  
Digital Cinema ◽  
The Past ◽  
The Matrix ◽  
Computer Generated Imagery ◽  
Time Warner

This conclusion reconsiders the role of horizontal integration and multimedia conglomerates in the process of stylistic remediation and the industrial motivation behind stylistic remediation, both in films and comics. It shows that horizontal integration and conglomeration have become more influential over the past three decades, as seen in the case of Time Warner. It also discusses the ways in which stylistic remediation can serve as a research and development function by allowing multinational conglomerates to experiment with computer-generated imagery (CGI) and form that can be spread across multiple properties (like “bullet time” in The Matrix). Finally, it examines whether the remediation of comic book stylistics into films is fundamentally a by-product of technologies and an indication of a Manovichian shift from cinema to digital cinema.

“He Cared More about the Appeasement of Fanboys …”: Spatiotemporal Remediation in 300 (2006) and Watchmen (2009) and Textual Remediation in American Splendor (2003)

2016 ◽  
Author(s):  
Drew Morton
Keyword(s):  
Cultural Capital ◽  
Comic Books ◽  
Comic Book ◽  
Horizontal Integration ◽  
Space And Time ◽  
Media Conglomerates ◽  
The Relationship

This chapter examines spatiotemporal remediation in 300 (2006) and Watchmen (2009) and textual remediation in American Splendor (2003). More specifically, it explores the comic book panel and the film frame in terms of spatiotemporal construction and representation as well as the relationship between image and text in the comic. The chapter first provides an overview of the taxonomy of stylistic remediation before discussing how space and time are remediated in 300 and Watchmen. It then analyzes textual remediation in Shari Springer Berman and Robert Pulcini's American Splendor, based on Harvey Pekar's comics (1976–2008). It also reconsiders the role of horizontal integration and conglomeration in the process of stylistic remediation, suggesting that media conglomerates can capitalize upon the added visibility and cultural capital of comic books and their adaptations both directly and indirectly (through licensing rights).

scholarly journals Image of Russia in French-Language Comics

2021 ◽  
Vol 19 (4) ◽  
pp. 167-180
Author(s):  
M. Debrenne
Keyword(s):  
Science Fiction ◽  
Comic Books ◽  
Comic Book ◽  
Russian Language ◽  
French Language ◽  
Red Color ◽  
Insufficient Knowledge ◽  
The Russian Language ◽  
Pointed Star

This article initiates research on the representation of Russia in French comic books. From 1849 to the present about 400 volumes have been published. In this paper, the notion “comics about Russia” include: a) a book of comics in which the action takes place either in the tsarist Russia, the USSR or contemporary Russia, b) a book in which a character or a place of the above period are involved. After an overview of the types of books and genres of comics about Russia (documentary, historical, adventure, science fiction, comical, as well as literary adaptations), an analysis of the visual aspect of comic books, mainly the covers, is given. Such recurring elements as snow, red color, five-pointed star, trains, blood, weapons, beautiful girls, ugly old ladies, and old cars are considered. We discuss the reasons for the practical absence of such stereotypes as black caviar, bears and some others. Then we analyze the role of the Russian language in the realization of the image of Russia, on the example of borrowed words, toponyms, anthroponyms, and utterances. Сyrillic, transliterated text and insertion of certain letters from Cyrillic into Latin are examined, as well as the presence or absence of translation and its correctness. The author underlines cases in which nonexistent toponyms, names and surnames, remotely resembling Russian words, are used. The question is whether such errors are accidental or indicate the authors' evident lack of interest in the adequate depiction of the reality. At the end of the paper the author proposes a frame for the analysis of any comic book about Russia. Apart from the mentioned above, this frame takes into account such aspects as characteristics of the "Russian" personages and their actions. Hopefully, the frame will make it possible to observe the evolution of the image of Russia, the link between stereotypes and the type of comic book as well as to compare the same image in French mass-media, literature, and movies. In the future we would like to find out whether the use of these stereotypes comes from the authors' insufficient knowledge of the Russian reality, or from their intention to create and reinforce the existing stereotypical image of this country.

scholarly journals What do teachers think about the educational role of comic books?: A qualitative analysis

2020 ◽  
Vol 11 (2) ◽  
pp. 387-404
Author(s):  
Paul A. Aleixo ◽  
Daniel Matkin ◽  
Laura Kilby
Keyword(s):  
Quantitative Research ◽  
Research Evidence ◽  
Comic Books ◽  
Secondary School Teachers ◽  
Comic Book ◽  
Educational Practice ◽  
Full Potential ◽  
Educational Role ◽  
Missed Opportunity

An exploratory, qualitative, study into the views of teachers on the use of comic books in education was carried out. Three secondary school teachers with varying experiences of comic books were interviewed using an open-ended format. Results of a thematic analysis indicated three clear areas of thinking around comic books: firstly, comic books are considered to be a medium of children’s entertainment, and not associated with educational practice; secondly, when the medium is employed in education, it should primarily be used with students that require extra support and thirdly, comic books represent a ‘missed opportunity in education’ and have not achieved their full potential due to a lack of comic book resources for use in the classroom. All three concepts are discussed in light of research evidence supporting the use of comics in educational contexts and concerns are highlighted that suggest these themes might represent a barrier to the future use of comics in these areas. Further qualitative and quantitative research to expand these initial findings is also suggested.

scholarly journals Comics in museums. Paradoxes of the presence and absence of comics in museum exhibition practices

2020 ◽  
Vol 60 (2) ◽  
pp. 148-161
Author(s):  
Rafał Syska
Keyword(s):  
Comic Books ◽  
Comic Book ◽  
The Other ◽  
Everyday Practices ◽  
The Status ◽  
Presence And Absence ◽  
Museum Exhibition

The article analyzes the phenomenon of exhibitions dedicated to comic books, which are displayed in museum and gallery spaces. It presents the theory of contemporary narrative exhibitions. Using some tools of the latest research on the art of exhibition, the author analyzes the status of a comic book in a museum landscape. He reflects on the diversity of the comic book’s presence in everyday practices, the other nature of comic's experience by a visitor, and a link between comic books and other media, especially film. He describes the role of the viewer, who becomes the object in relations with a comic book transformed into a subject as a museum artifact.

Panel to the Screen

2016 ◽  
Author(s):  
Drew Morton
Keyword(s):  
Comic Books ◽  
Formal Analysis ◽  
Comic Book ◽  
Film Noir ◽  
Audience Reception ◽  
Cultural Relevancy ◽  
Box Office ◽  
Art Form ◽  
Visual Style ◽  
Source Materials

Over the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics. Yet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities. This book examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a “low” art form suited for children translating into “high” art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. The book provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception.

KOMIK DI LINGKARAN INDUSTRI MUSIK

DeKaVe ◽  
2013 ◽  
Vol 1 (2) ◽  
Author(s):  
Terra Bajraghosa
Keyword(s):  
Comic Books ◽  
Music Industry ◽  
Comic Book ◽  
Narrative Approach ◽  
Visual Narrative ◽  
Common Practices ◽  
Visual Style ◽  
Song Lyrics ◽  
The Common

Comic ges. Based on comprehention as a narrative media, comics in Indonesia are oftenly compared to bas-reliefs on Borobudur temple and Wayang Beber.. From many kind of stories Indonesian comic books recently offered, with the developed visual wrapping, some comics steal attentions by its unique themes. These comic books are created because of the inspiration and relation to music industry. These comic books couldn't be seen from the visual style alone, as they were created in many visual genres, but they could be seen from their relations to music industry, whether the mainstream or indie ones. These comic books are published together with the music CDs, telling fictional stories from factual bands or musicians, telling a band's factual stories, or created by one of the band members. To understand modes of creation of these music industry-related-comic books, visual narrative approach will be applied. Through visual narrative approach, the band members' or musician's necessity for telling stories via comics, beside the common practices via music and song lyrics, will be observed.Keywords : Comic book, music industry, visual narrative

Gender Differences in Clothing Worn in Current Popular Comic Books

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Kyle Landon Jossy
Keyword(s):  
Gender Differences ◽  
Content Analysis ◽  
Comic Books ◽  
Book Industry ◽  
Comic Book ◽  
Lower Body ◽  
Female Characters ◽  
Male And Female ◽  
Males And Females

This study looked at how males and females were portrayed, based on the amount of skin shown in the clothing worn.  A Content analysis was performed on a sample of 20 randomly selected popular comics from the last 3 years.  Both male and female characters were rated on how much skin they showed in three clothing categories; neck line, sleeve length, and lower body.  Results showed that in all 3 categories, women consistently wore more revealing clothing.  The findings demonstraetd that the comic book industry is comparable to other forms of media, in the sexualization of female characters, by having them wear more revealing clothing.

The Oxford Handbook of Comic Book Studies

2019 ◽  
Keyword(s):  
United States ◽  
Comic Books ◽  
Academic Discipline ◽  
World System ◽  
Comic Book ◽  
The United States ◽  
Global Perspective ◽  
Visual Narrative ◽  
The Subject ◽  
Book Studies

Comic book studies has developed as a solid academic discipline, becoming an increasingly vibrant and field in the United States and globally. A growing number of dissertations, monographs, and edited books publish every year on the subject, while world comics represent the fastest-growing sector of publishing. The Oxford Handbook of Comic Book Studies examines the history and evolution of the visual narrative genre from a global perspective, bringing together readable, jargon-free essays written by established and emerging scholars from diverse geographic, institutional, gender, and national backgrounds. In particular, the Handbook explores how the term “global comics” has been defined, as well the major movements and trends that drive the field. Each essay will help readers understand comic books as a storytelling form grown within specific communities, and will also show how these forms exist within what can be considered a world system of comics.

scholarly journals Adaptive Integration in the Visual Cortex by Depressing Recurrent Cortical Circuits

2008 ◽  
Vol 20 (7) ◽  
pp. 1847-1872 ◽  
Author(s):  
Mark C. W. van Rossum ◽  
Matthijs A. A. van der Meer ◽  
Dengke Xiao ◽  
Mike W. Oram
Keyword(s):  
Visual Cortex ◽  
Physiological Data ◽  
High Contrast ◽  
Cortical Circuits ◽  
Response Latencies ◽  
Low Contrast ◽  
Visual Areas ◽  
Higher Visual Areas ◽  
Recurrent Connections

Neurons in the visual cortex receive a large amount of input from recurrent connections, yet the functional role of these connections remains unclear. Here we explore networks with strong recurrence in a computational model and show that short-term depression of the synapses in the recurrent loops implements an adaptive filter. This allows the visual system to respond reliably to deteriorated stimuli yet quickly to high-quality stimuli. For low-contrast stimuli, the model predicts long response latencies, whereas latencies are short for high-contrast stimuli. This is consistent with physiological data showing that in higher visual areas, latencies can increase more than 100 ms at low contrast compared to high contrast. Moreover, when presented with briefly flashed stimuli, the model predicts stereotypical responses that outlast the stimulus, again consistent with physiological findings. The adaptive properties of the model suggest that the abundant recurrent connections found in visual cortex serve to adapt the network's time constant in accordance with the stimulus and normalizes neuronal signals such that processing is as fast as possible while maintaining reliability.

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