Graphic novel 2
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This document discusses graphic narratives and graphic novels. It defines graphic novels as narrative works that tell a story using sequential art in either an experimental or traditional comic format. It notes how graphic novels allow readers to make inferences about word meanings and content based on the images. The document also discusses how graphic novels require readers to use their imagination and creativity to envision what happens in the gaps, or "gutters", between panels.
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Script analysis
The script introduces the protagonist to the audience through a voiceover on a train. The voiceover provides insight into the protagonist's thoughts and feelings. The shots cut between the inside and outside of the train to show the perspective of the character and the surrounding setting. The narrative structure follows Roland Barthes' semantic code theory through the characterization of the protagonist in the voiceover. It also draws on Vladimir Propp's theory of identifying characters like "the villain", though the focus remains on the protagonist "Rachel". The genre is drama, with elements of mystery, as the voiceover implies a past trauma in the protagonist's relationship. The target audience is ages 15 and up due to the age restrictions and themes that younger viewers may not
Dusk (1)
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Graphic novel & children's books research
A graphic novel tells a story using primarily illustrations presented in a comic strip format bound into a book. Famous graphic novels include Watchmen, Spiderman, and Batman. They rely on illustrations in various styles to convey the narrative, using minimal text for descriptions and dialogue. Graphic novels aim to tell stories visually within a comic strip grid format. Children's books are aimed at those aged 12 and under, using simple illustrations and text to tell stories, myths, and folktales. Different types are used for different age groups, such as picture books for ages 0-5 and early reader books for ages 5-7.
Graphic narrative production
Graphic novels tell stories through progressive illustrations with little text. Unlike comic books which typically end in cliffhangers, graphic novels cover a complete story from beginning to end. The artwork in graphic novels can be creative and experimental or follow a traditional comic book layout. A graphic novel contains a large number of illustrations and very little text to help tell the story and set the scene and tone. The illustrations are created using various methods like drawing, painting, photography, collage, digital art, and even sculpture. Text is also important in graphic novels to move the story along, but the amount varies depending on what is needed to convey.
poster analysis 1
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Smoke and bone book trailer
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Narrative theory
1. Narrative is defined as a chain of events in a cause-effect relationship that occurs over time, with a beginning, middle, and end.
2. Theorists have identified common narrative structures and elements across different texts, including character archetypes and codes that help audiences understand and interpret narratives.
3. Narrative analysis involves considering how various narrative elements like mise-en-scene, editing, and sound work together to construct meaning for audiences.
Point of view in audiovisual texts
VI Jornadas de Educación y Traducción en E.N.S.L.V. Spangenberg (Mayo 2017)- Presentación en conjunto de las profesoras Valdés, Vertullo y Rodríguez.
Para ver los comentarios sobre la presentación, copie y pegue el siguiente link en el buscador:
https://drive.google.com/file/d/0B_5qbnsuqaPQU1hvVldxcmtYUU0/view?usp=sharing
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Script analysis
The script introduces the protagonist to the audience through a voiceover on a train. The voiceover provides insight into the protagonist's thoughts and feelings. The shots cut between the inside and outside of the train to show the perspective of the character and the surrounding setting. The narrative structure follows Roland Barthes' semantic code theory through the characterization of the protagonist in the voiceover. It also draws on Vladimir Propp's theory of identifying characters like "the villain", though the focus remains on the protagonist "Rachel". The genre is drama, with elements of mystery, as the voiceover implies a past trauma in the protagonist's relationship. The target audience is ages 15 and up due to the age restrictions and themes that younger viewers may not
Dusk (1)
The document provides background information on the author Saki and analyzes his short story "Dusk." It notes that the story explores themes of appearance, perception, guilt, deception, and self-importance. It summarizes that the protagonist Gortsby judges others based on their appearances but cannot accurately perceive the young man he encounters, who ends up deceiving him. The abrupt ending further surprises both the reader and Gortsby by revealing the old man owned the soap, not the young man as claimed.
Graphic novel & children's books research
A graphic novel tells a story using primarily illustrations presented in a comic strip format bound into a book. Famous graphic novels include Watchmen, Spiderman, and Batman. They rely on illustrations in various styles to convey the narrative, using minimal text for descriptions and dialogue. Graphic novels aim to tell stories visually within a comic strip grid format. Children's books are aimed at those aged 12 and under, using simple illustrations and text to tell stories, myths, and folktales. Different types are used for different age groups, such as picture books for ages 0-5 and early reader books for ages 5-7.
Graphic narrative production
Graphic novels tell stories through progressive illustrations with little text. Unlike comic books which typically end in cliffhangers, graphic novels cover a complete story from beginning to end. The artwork in graphic novels can be creative and experimental or follow a traditional comic book layout. A graphic novel contains a large number of illustrations and very little text to help tell the story and set the scene and tone. The illustrations are created using various methods like drawing, painting, photography, collage, digital art, and even sculpture. Text is also important in graphic novels to move the story along, but the amount varies depending on what is needed to convey.
poster analysis 1
The film poster promotes the 2013 slasher film "Texas Chainsaw 3D", which is a sequel to the 1974 film "The Texas Chainsaw Massacre". The poster features a medium shot of the antagonist Leatherface from a low angle, making him look dominant and intimidating while holding a rusty chainsaw. The title takes up most of the frame in red letters, suggesting blood and violence, and the tagline hints that the true story from 1974 will be further revealed. Institutional details are kept small and at the bottom so as not to distract from the main visual and text elements that draw in viewers and convey the scary nature of the film without giving away the entire plot.
Smoke and bone book trailer
The document summarizes a book trailer for a fantasy romance and action story set in the modern world inhabited by humans, angels, and demons. The protagonist is 17-year-old Karou, an art student in Prague who collects teeth for the demon Brimstone in exchange for wishes. Unknown to Karou, she is being watched by angels including Akiva, who has sworn to end her as the enemy of the chimaera demons. The book is being adapted into a movie but the film is not yet complete, though a book trailer on YouTube provides an audiovisual preview.
Narrative theory
1. Narrative is defined as a chain of events in a cause-effect relationship that occurs over time, with a beginning, middle, and end.
2. Theorists have identified common narrative structures and elements across different texts, including character archetypes and codes that help audiences understand and interpret narratives.
3. Narrative analysis involves considering how various narrative elements like mise-en-scene, editing, and sound work together to construct meaning for audiences.
Point of view in audiovisual texts
VI Jornadas de Educación y Traducción en E.N.S.L.V. Spangenberg (Mayo 2017)- Presentación en conjunto de las profesoras Valdés, Vertullo y Rodríguez.
Para ver los comentarios sobre la presentación, copie y pegue el siguiente link en el buscador:
https://drive.google.com/file/d/0B_5qbnsuqaPQU1hvVldxcmtYUU0/view?usp=sharing
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This document discusses various perspectives on defining the medium of comics. It explores whether comics can be considered a genre, text with pictures, or the 9th art form. The document examines works by Scott McCloud, who argues comics is a medium defined by the closure between panels that allows readers to participate in creating the narrative. The document also discusses other scholars and creators who weigh in on whether formal properties or the invitation to the reader is more essential in defining comics. In the end, the document suggests comics resist strict definition.
ENG412 notes
The document discusses concepts from Scott McCloud's book Understanding Comics including amplification through simplification and universality in comics. It also discusses how realistic backgrounds paired with cartoon characters can create a "masking effect" that allows readers to safely enter imaginative worlds. Transitions between panels are also discussed as key aspects of comics, including moment-to-moment, action-to-action, subject-to-subject, and others. New media is changing how transitions work in comics with possibilities like sequences within sequences and post-book formats.
Tutorial on Creative Metaphor Processing
Metaphor is both a rhetorical device and a cognitive lever. It allows us to make the familiar seem strange and the strange feel familiar. It allows us to use our knowledge of a well-understood domain to structure and fill-out a domain in which we are less knowledgeable, or for which we lack the established terminology. In short, metaphor gives new life to our words, and new power to our concepts.
The tutorial focuses on the computational processing of metaphor: how might a computer understand a metaphor, and how might a computer generate meaningful and novel metaphors of its own?
Gn how toread
This document provides an overview of key concepts for understanding graphic novels. It discusses how graphic novels tell stories through both words and images. The actors that tell the story are described as Mr. (images) and Mrs. (words). They sometimes work together and other times independently, but the complete story relies on both. Several experts are quoted discussing the synergistic relationship between words and images and how graphic novels require readers to look and read simultaneously. Essential terms like panels, gutters, balloons, and inferences are defined and their roles in progressing and understanding the narrative are explained.
Classics to Comics Part 2
This document discusses using comics and graphic novels in the classroom. It provides background on comics through history and defines them as a format rather than a genre. Theories are presented on the educational benefits of comics, including engagement, efficiency, and effectiveness of learning from text and images. Reasons for using comics in the classroom are given, such as fun and variety in reading material. Responses are provided for concerns that comics are not classics or do not teach literary skills, citing research about developing reading comprehension. The goal is not to replace classics but to consider educational goals and how best to instruct and assess students.
Evaluation task 3
The document summarizes the student's graphic narrative project. It discusses the rotoscoping technique used to create illustrations. It also discusses using anchorage, signification, and representations of different groups in the narrative. The student analyzes how their project compares to existing graphic novels in these areas. Feedback focused on adding more words and text to slides to improve the narrative's effectiveness.
Command Lines - Jeremy Douglass
This dissertation analyzes the genre of interactive fiction (IF), which involves typing commands to interact with a simulated text world. The study examines aesthetic and technical developments in IF from 1977 to the present. It focuses on recent independent works that have explored computational narration but received little attention. The dissertation will provide close analyses of selected contemporary IF authors to help define this "problem child" genre and address the question "What is IF?". IF involves a cycle of text generation, as the interactor types commands and the program responds by narrating outcomes in the simulated world.
Foreshadowing.docx
Foreshadowing is a literary device that provides subtle hints or clues about future events in a story. It creates suspense and surprise for the reader. There are two main types: direct foreshadowing openly suggests future plot points, while indirect foreshadowing leaves subtle clues that are only understood later. Effective foreshadowing keeps readers engaged by making them wonder what will happen next.
Evaluation
This document provides an analysis of the narrative structure and components of the author's story for children. It begins by stating the story has an open narrative without a conclusion. It then analyzes the story's linear structure with a single storyline, compared to examples like Game of Thrones with multiple storylines. Components like an opening, conflict, climax, and resolution are discussed. Examples are given of closed versus open narratives, realist versus anti-realist, and linear versus non-linear structures. In conclusion, it states the author's story includes an opening, conflict, climax, and open-ended resolution.
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Graphic novel 2
- 2. What is the First thing you think of when you hear Graphic Narrative?
- 8. When reading a traditional text, it can sometimes be difficult to make predictions about meanings of the words or what is supposedly being said “between the lines”.
- 10. It’s like that old saying, “A picture is worth a thousand words.”
- 13. From this picture and the appearance of the man, a reader might be able to infer that dauntless and sagacious means standing strong and fearless as well as being intelligent. Of course these aren’t the exact definitions, but for the purposes of reading, it would be close enough.
- 15. There is definitely a lot being said here through little nuances or the characters’ body language.
- 16. Imagination and Creativity in Graphic Novels It is common for many people to believe that Graphic Novels do not allow the reader to use their imagination and creativity as they read.
- 17. They believe that the graphics do not allow you to imagine the scene, but rather presents it there before you.
- 18. They have a valid argument, but… There is more happening in graphic novels than meets the eye.
- 19. Closure In Scott McCloud’s book, “Understanding Comics,” McCloud discusses what is called “closure.” Simply put, “closure” is when the mind pieces together cues or evidence given to create a complete image or story.
- 20. Let me show you what I mean. Closure can have many forms. For many this image or cue can create closure simply because they recognize this as a symbol for Michael Jordan.
- 21. Closure can also be more complicated But I’ll let this scan from Scott McCloud’s book explain this part.
- 22. So what does closure have to do with comics? Closure for comics is quite similar. According to the definition in the dictionary closure in comics is, “ the process by which the mind fills in missing details between the panels of a comic ” http://en.wikipedia.org/wiki/Closure
- 23. This space between the panels is called the gutter by some, but lets see what Scott McCloud has to say about the gutter.
- 25. This is where imagination comes into the reading of a Graphic Novel. It is in this gap between panels that the reader’s imagination is allowed to create what is not seen. It’s this gap that allows the reader to use creativity and imagination , giving the graphics motion and action apart from what is drawn. It is the comic equivalent of separating words and sentences with spaces.