Conclusion

2017 ◽  
Author(s):  
Catherine J. Golden
Keyword(s):  
Charles Dickens ◽  
Graphic Novels ◽  
Comic Book ◽  
Anthony Trollope ◽  
Graphic Novel ◽  
Illustrated Books ◽  
Alice In Wonderland ◽  
The Aesthetic ◽  
Canonical Texts ◽  
Illustrated Book

The conclusion looks forward from the Victorian illustrated book to the “graphic classics,” a form of modern popular culture that is arguably the heir of the Victorian illustrated book. Canonical texts adapted into graphic novel format are inheritors of the aesthetic conventions of caricature and realism, reshaped in a hyper-modern form to appeal to twenty-first-century readers. The chapter explores parallels between the serial and the comic book. It surveys graphic novel adaptations of nineteenth-century novels by Jane Austen, Charlotte and Emily Brontë, Charles Dickens, and Anthony Trollope as well as Neo-Victorian graphic novels (e.g. League of Extraordinary Gentlemen) and original Victorian-themed graphic novels (e.g. Batman Noël). The conclusion focuses on two important Victorian illustrated books—Dickens’s Oliver Twist (1838) and Carroll’s Alice in Wonderland (1865)—to demonstrate how graphic novel adaptation is reviving a genre that a century before recognized pictures play a central role in plot and character development. This chapter foregrounds author-illustrator Will Eisner, the father of the graphic novel and author-illustrator of Fagin the Jew (2003), for his direct challenge to a religious and ethnic stereotype that Dickens and Cruikshank develop in Oliver Twist and Du Maurier carries into Trilby.

Serials to Graphic Novels

2017 ◽  
Author(s):  
Catherine J. Golden
Keyword(s):  
Nineteenth Century ◽  
Children's Literature ◽  
Material Culture ◽  
Graphic Novels ◽  
Children’S Literature ◽  
Graphic Novel ◽  
Victorian Novels ◽  
Book Illustration ◽  
History Of ◽  
Illustrated Book

The Victorian illustrated book is a genre that came into being, flourished, and evolved during the long nineteenth century and finds new expression in present-day graphic novel adaptations of nineteenth-century novels. This history of the Victorian illustrated book focuses on fluidity in styles of illustration across the arc of a genre diverse enough to include serial instalments, British and American periodicals, adult and children’s literature, and—most recently—graphic novels. The caricature school of illustration, popular in the 1830s and 1840s, was not a transient first period in the history of the illustrated book. In the 1870s, Academy-trained artists for the Household Edition of Dickens’s work refined characters created by George Cruikshank and Hablot Knight Browne for an audience that appreciated realism in illustration, but their illustrations carry the imprint of caricature. At the fin de siècle—which some critics consider a third period of the Victorian illustrated book and others call the genre’s decline—book illustration thrived in certain serial formats, artists’ books, children’s literature, and the U.S. market where we again witness a reengagement with the caricature tradition as well as a continuation of the realistic school. The Victorian illustrated book finds new expression in our time; the graphic novel adaptation of Victorian novels, referred to as the graphic classics, is a prescient modern form of material culture that is the heir of the Victorian illustrated book.

Dissecting Graphic Fiction: A Study of the Hybrid Form of the 21st Century

Think India ◽  
2019 ◽  
Vol 22 (3) ◽  
pp. 249-256
Author(s):  
Dr M. S. Xavier Pradheep Singh
Keyword(s):  
Graphic Novels ◽  
Comic Book ◽  
Good Deal ◽  
Graphic Novel ◽  
Hybrid Form ◽  
Art Form ◽  
Cave Paintings ◽  
History Of ◽  
Unique Approach ◽  
Meaningful Interaction

“Comic art does possess the potential for the most serious and sophisticated literary and artistic expression, and we can only hope that future artists will bring the art form to full fruition” (176), prophesied Lawrence Abbott in 1986. It became true when Graphic Fiction emerged as a hybrid genre and entered into the academia. It is a meaningful interaction of words, image panels, and typography. They have a long history dating back to cave paintings and Egyptian hieroglyphics. Though there are “more genetic similarities between the comic book and the graphic novel” (Sardesai 28), Graphic Novel has a unique approach to plot, narration, and theme. This new genre combines visual and verbal rhetoric and thus offers a hybrid form of reading. The use of blank spaces between image panels provides “imaginative interactivity” (Tabachnick 25), as the reader tends to fill in these blanks, imagining a good deal of action. Text boxes, speech bubbles, and thought bubbles streamline the narration and create a sense of interactivity in a reader. This paper records the history of Graphic Novel and makes an anatomy of it. It also enlists recent Graphic novels and major techniques employed in them.

Computing Literary Surplus Value: Alan Moore and the Density of the Comic Book as Graphic Novel

2021 ◽  
Vol 139 (1) ◽  
pp. 195-223
Author(s):  
Alexander Dunst ◽  
Rita Hartel
Keyword(s):  
Cultural Production ◽  
Graphic Novels ◽  
Comic Book ◽  
Graphic Novel ◽  
Text And Image ◽  
Specific Element ◽  
Surplus Value ◽  
Graphic Narratives ◽  
Textual Content ◽  
Alan Moore

Abstract The term graphic novel has increasingly functioned as a catalyst for understanding comic books as an emergent literary genre. This article focuses on one specific element within this historical process: the claim, made by artists such as Alan Moore, that graphic novels are characterized by greater formal complexity, or density, than serial comics. These claims are evaluated by combining computational text and image recognition of a corpus of 131 graphic narratives with sociological metadata on production and circulation. The results show that Moore’s own book-length comics, in particular Watchmen and V for Vendetta, rank among the densest graphic narratives in the sample in both their visual and textual content. Graphic memoirs, in contrast, only show an increase in textual complexity. With Pierre Bourdieu, the article understands complexity as a social and aesthetic strategy that aims at increasing the cultural capital of comics creators. At the same time, the article contextualizes computational results against the background of a changing marketplace for comics, in particular the decline of serial comics, the shift towards digital printing, and increased access to book distribution. This analysis shows that graphic narratives pursue both literary and popular aesthetic strategies, challenging Bourdieu’s account of a clear opposition between profit and prestige in cultural production.

The Adaptation and Remediation of Comic to Film: A Critical Analysis of the Remediation of a Comic Trope in Function and Form

2021 ◽  
Vol 5 (1) ◽  
pp. 171-189
Author(s):  
Simon Callus
Keyword(s):  
Literature Review ◽  
Critical Analysis ◽  
Graphic Novels ◽  
Graphic Novel ◽  
Visual Languages ◽  
Detailed Understanding ◽  
The World ◽  
The Aesthetic ◽  
Visual Element ◽  
Better Than

Because graphic novels and film both contain a strong visual element, they continue to have an effect on each other’s development. Aspects from comics have been succesfully remediated into film, and vice-versa. There are, however, clear distinctions between the two mediums. This paper explores the adaptations of comics to film, noting how some film adaptations merely adapt the narrative, while others apply some of the aesthetic qualaties and visual communication tropes of the graphic novel into the film. Examples like “Dick Tracey”, “300”, and even more so, “Scott Pilgrim versus the World” show how remediation of comics in film can work. The more recent “Spiderman: Into the Spiderverse”, is probably the film which remediates comics better than any other film, including brief moments where juxtaposed panels showing sequential actions are used. This being, according to many comic scholars, the main defining feature of the comic medium. It is the trope which I will be exploring in more detail in further studies, attempting to remediate it into film in a way which reflects its use in comics more accurately. This paper serves as a literature review, which provides detailed understanding of the comic and film visual languages, the differences and similarities between them, and will be the basis upon which further research is built.

The Book of Jonah in Graphic Novel Adaptations of the Bible

2020 ◽  
pp. 380-398
Author(s):  
Scott S. Elliott
Keyword(s):  
Comparative Analysis ◽  
Graphic Novels ◽  
Comic Book ◽  
Source Material ◽  
Graphic Novel ◽  
The Bible ◽  
Key Aspects

This chapter defines graphic Bibles in relation to comics and graphic novels, identifying key aspects that impact the reader’s experience of the biblical material. Graphic Bibles are adaptations of biblical material that reflect a form of visual narratology. Through a comparative analysis of how four graphic Bibles (Testament, The Manga Bible, The Action Bible, and The Lion Comic Book Hero Bible) treat the story of Jonah, the chapter illustrates certain trends among graphic adaptations of the Bible. In every instance, whether or to what extent something is gained or lost in these productions vis-à-vis the biblical source material depends largely on one’s underlying perceptions of what sort of text the Bible is in the first place.

STUDENTS’ ACCEPTANCE TO USING GRAPHIC NOVELS IN LEARNING LITERATURE (L2): A MALAYSIAN CASE STUDY

2020 ◽  
Vol 1 (2) ◽  
pp. 43
Author(s):  
Abu Yazid Abu Bakar ◽  
Dayang Nurfaezah Abang Ahmad ◽  
Melor Md Yunus
Keyword(s):  
Mixed Method ◽  
Teaching And Learning ◽  
Graphic Novels ◽  
Graphic Novel ◽  
Mixed Method Study ◽  
Motivation To Learn ◽  
Esl Teachers ◽  
English As Second Language ◽  
Quantitative And Qualitative Methods

Research has shown that using graphic novels in the classroom is one of useful approaches to promote the understanding of learners especially for lengthy and difficult literature texts. This study reports the extent of graphic novel in facilitating students’ understanding of literature and the students’ perceptions towards using graphic novel in learning literature (L2) as compared to other genre of texts. This is a mixed method study which employs quantitative and qualitative methods to obtain data. The findings indicate that most students found that graphic novel helped them to enrich their vocabularies and understand the text better. The findings also reveal that students were attracted to the illustrations in the literature text in which this helps to boost their motivation to learn literature in the classroom. The findings provide useful insights for English as Second Language (ESL) teachers in incorporating and expanding the literature learning through graphic novels in the future. The findings also imply the need of ESL teachers to use graphic novels effectively in facilitating their teaching and learning of literature in L2 classrooms particularly to suit the 21<sup>st</sup> century teaching and learning.

Candy and Drugs for Dinner

2019 ◽  
pp. 572-588
Author(s):  
Sean Guynes
Keyword(s):  
Comic Book ◽  
Gender Politics ◽  
Media Production ◽  
Comics Studies ◽  
Contemporary Media ◽  
The Aesthetic

This chapter links the seemingly disparate but deeply interconnected discourses and practices of contemporary media production, genre, aesthetics, and comics. It offers these arguments through a case study of the popular fantasy comic book Rat Queens and in the process demonstrates the critical utility to comics studies of reading genre, aesthetics, and industry together. The chapter reads Rat Queens through Sianne Ngai’s conception of the zany, cute, and interesting, showing how each of these categories is part of the aesthetic logic of the series, while also showing how each performs or critiques the series’ (superficial) investment in gender politics and the fantasy genre.

Telling refugees’ stories: Testimony and hospitality in graphic novel L’Odyssée d’Hakim by Fabien Toulmé

2021 ◽  
Vol 12 (1) ◽  
pp. 301-313
Author(s):  
Jennifer Boum Make
Keyword(s):  
Mediterranean Region ◽  
The Other ◽  
Graphic Novel ◽  
Bearing Witness ◽  
Visual Narratives ◽  
Ethical Implications ◽  
Testing Zone ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

Following the increase in migratory flows since 2015, in the Euro-Mediterranean region, bandes dessinées are mobilized to stir up compassion and prompt engagement with marginalized biographies. It begins with the premise that aesthetic approaches of bandes dessinées reveal a testing zone to juxtapose modalities of representation and expression of refugees and ways to interact with otherness. To interrogate the relationship between aesthetic devices and the formation of solidarity, this article considers the first volume of Fabien Toulmé’s trilogy, L’Odyssée d’Hakim: De la Syrie à la Turquie (2018). How does Toulmé’s use of aesthetic devices make space for the other, in acts of dialogue and exchange? What are the ethical implications for the exercise of bearing witness to migrant and refugee narratives, especially in the transcription and translation in words and drawing of their biographies? This article argues that visual narratives can provide for the creation of a hospitable testimonial space for migrants and refugees’ voices. The article outlines the aesthetic methodology deployed in graphic storytelling, reflects on what it means for the perception of refugees, and questions the use and ethical appeal of visual narratives as a form to curate hospitality.

scholarly journals A Survey of Graphic Novel Collection and Use in American Public Libraries

2014 ◽  
Vol 9 (3) ◽  
pp. 68 ◽  
Author(s):  
Edward Francis Schneider
Keyword(s):  
Video Games ◽  
New Media ◽  
Video Game ◽  
Adult Literacy ◽  
Public Libraries ◽  
Graphic Novels ◽  
Comic Book ◽  
Public Library ◽  
Similar Data ◽  
Marketing Tool

Abstract Objective – The objective of this study was to survey American public libraries about their collection and use of graphic novels and compare their use to similar data collected about video games. Methods – Public libraries were identified and contacted electronically for participation through an open US government database of public library systems. The libraries contacted were asked to participate voluntarily. Results – The results indicated that both graphic novels and video games have become a common part of library collections, and both media can have high levels of impact on circulation. Results indicated that while almost all libraries surveyed had some graphic novels in their collections, those serving larger populations were much more likely to use graphic novels in patron outreach. Similarly, video game collection was also more commonly found in libraries serving larger populations. Results also showed that young readers were the primary users of graphic novels. Conclusion – Responses provided a clear indicator that graphic novels are a near-ubiquitous part of public libraries today. The results on readership bolster the concept of graphic novels as a gateway to adult literacy. The results also highlight differences between larger and smaller libraries in terms of resource allocations towards new media. The patron demographics associated with comics show that library cooperation could be a potential marketing tool for comic book companies.

scholarly journals graphic novel as a popular genre of book publishing in the context of modern design

2021 ◽  
Vol 5 (S4) ◽  
Author(s):  
Viktoriia Oliinyk
Keyword(s):  
Graphic Novels ◽  
Book Publishing ◽  
Synthetic Methods ◽  
Graphic Novel ◽  
Subject Field ◽  
Visual Component ◽  
Discursive Analysis ◽  
Cultural Codes ◽  
Meta Level

The relevance of the research is due both to the lack of research that would comprehend a graphic novel as an independent phenomenon and subject of art history, the youth of the genre, and its relative non-proliferation in the Ukrainian literary space. The vast majority of Russian publications touch on the analysis of specific graphic novels in the context of modern literary studies, which focuses on the narrative and ideological components of individual works without taking into account the role of the visual component for the genre as a whole. Theoretical analysis and practical application of new synthetic methods and means of transmitting visual socio-cultural codes are of value not only in the context of design but also for other multimodal-oriented industries. The structural approach is the main approach to the study of this problem, which uses the methods of linguistics and semiotics, bringing them to the meta-level regarding design, as well as discursive analysis, in the subject field of which there is a question of the cultural and historical conditionality of a graphic novel as a genre and the nature of its perception. 

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