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Journal articles on the topic 'Scott McCloud'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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1

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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2

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 al
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3

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 val
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4

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 th
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5

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
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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 re
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7

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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8

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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9

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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10

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
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11

Canário, Tiago. "On the problem of defining manga: A study about the influence of Taoism and Zen Buddhism on manga aesthetics." ALTERNATIVE FRANCOPHONE 1, no. 10 (September 22, 2016): 81–99. http://dx.doi.org/10.29173/af28220.

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Since the expansion of Japanese comic books throughout western countries, the so-called “manga style” has get attention from audiences and theorists. But how can we identify such Japaneseness? Trying to fulfill readers` interests, books have been published under the how-to-draw-manga label, usually highlighting the visual composition of characters, from clothes to facial expressions to hairstyle. From the academic perspective, particularities of page layout have been also considered since Pierre Fresnault-Deruelle`s idea of tabularity. Such structuralist perspective is also echoed by contempor
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12

Barman, Scott A., Laryssa L. McCloud, John D. Catravas, and Ina C. Ehrhart. "Measurement of pulmonary blood flow by fractal analysis of flow heterogeneity in isolated canine lungs." Journal of Applied Physiology 81, no. 5 (November 1, 1996): 2039–45. http://dx.doi.org/10.1152/jappl.1996.81.5.2039.

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Barman, Scott A., Laryssa L. McCloud, John D. Catravas, and Ina C. Ehrhart. Measurement of pulmonary blood flow by fractal analysis of flow heterogeneity in isolated canine lungs. J. Appl. Physiol. 81(5): 2039–2045, 1996.—Regional heterogeneity of lung blood flow can be measured by analyzing the relative dispersion (RD) of mass (weight)-flow data. Numerous studies have shown that pulmonary blood flow is fractal in nature, a phenomenon that can be characterized by the fractal dimension and the RD for the smallest realizable volume element (piece size). Although information exists for the applic
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13

Waines, David. "Aminah Beverly McCloud, Scott W. Hibbard and Laith Saud (eds): An Introduction to Islam in the 21st Century. xvii, 328 pp. Chichester: Wiley-Blackwell, 2012. £22. ISBN 978 1 4051 9360 3." Bulletin of the School of Oriental and African Studies 77, no. 1 (February 2014): 233–34. http://dx.doi.org/10.1017/s0041977x13001158.

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14

Greenberg, Raz. "How Animation Won Over the Lightning Sketch: Re-Evaluating Humorous Phases of Funny Faces." Animation 13, no. 2 (July 2018): 162–74. http://dx.doi.org/10.1177/1746847718783641.

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The short film Humorous Phases of Funny Faces, released in 1906 and directed by J Stuart Blackton (1875–1941), is considered to be one of the earliest examples of cinematic animation. This article aims at examining the film’s influence from another perspective, beyond its pioneering use of film camera: the author argues that Blackton’s film has also laid the foundation for common design principles in subsequent animated productions, particularly in the design of animated characters. The analysis of Blackton’s film aimed at supporting this argument is based on Scott McCloud’s seminal book Under
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15

Astuti, Puji. "PENINGKATAN KEMAMPUAN MEMBACA PEMAHAMAN BAHASA INGGRIS MELALUI MEDIA KOMIK BERBAHASA INGGRIS PADA SISWA KELAS VIII MTS." Perspektif Ilmu Pendidikan 32, no. 1 (April 30, 2018): 1–6. http://dx.doi.org/10.21009/pip.321.1.

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Given the importance to the role of reading about the development of science then there should be efforts to improve students’ reading ability by using the presence of English comics as a medium is expected to make a positive contribution for students through its nature that makes readers are happy. The child’s interest in the story tells a significant emphasis about the need through the use of comic media for learning. This classroom action research aims to improve students’ reading comprehension at VIII C in MTs Subulussalam Kayuagung through English comic media. This research is a Cla
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16

van Rooij, Malou. "Carefully Constructed Yet Curiously Real: How Major American Animation Studios Generate Empathy Through a Shared Style of Character Design." Animation 14, no. 3 (November 2019): 191–206. http://dx.doi.org/10.1177/1746847719875071.

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Contemporary computer-animated films by the major American animation studios Pixar, Disney and DreamWorks are often described as evoking (extremely) emotional responses from their ever-growing audiences. Following Murray Smith’s assertion that characters are central to comprehending audiences’ engagement with narratives in Engaging Characters: Fiction, Emotion, and the Cinema (1995), this article points to a specific style of characterization as a possible reason for the overwhelming emotional response to and great success of these films, exemplified in contemporary examples including Inside O
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17

Patricia, Florens Debora. "Analisis Semiotika Komunikasi Visual Buku “Memahami Komik” Scott McCloud." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 2, no. 2 (July 14, 2018). http://dx.doi.org/10.25139/jsk.v2i2.702.

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This research aims to finding ascpets of theory in Understanding Comics: The Invisible Art by Scott McCloud, using the analitical of semiotic research of Roland Barthes, by focusing on issues: 1) Visual narrative in Understanding Comics, 2) Visual language in Understanding Comics, and 3) Visual implications of theory in Understanding Comics for examples; comics book, comics research and journal of comics in 2010s above. The Narrative methodology is used for qualitative-interpretative, with sign analysis and text analysis as an object of research.
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18

Agrimbau, Diego. "Articulación secuencial: la sintaxis gráfica." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 125 (March 25, 2021). http://dx.doi.org/10.18682/cdc.vi125.4559.

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Desde que los primeros analistas enfocaron sus microscopios semióticos hacia los cuadritos de historieta, la naturaleza del lenguaje (o sistema) secuencial logró escabullirse de sus mejores esfuerzos para asirlo. Muchos de los que mejor se acercaron al núcleo de la cuestión, no por casualidad, fueron los autores devenidos analistas de su propio medio de expresión. Durante décadas dos libros indispensables permanecían casi como únicos referentes: El Arte Secuencial de Will Eisner y Entendiendo el Cómic de Scott McCloud. Este último, sobre todo, pasó a ser el manual de uso cotidiano para la mayo
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19

Costa, Lucas Piter Alves, and Mônica Santos de Souza Melo. "TEMPO FICCIONAL E NARRATIVA N'O ALIENISTA: algumas considerações em perspectiva comparada." CASA: Cadernos de Semiótica Aplicada 8, no. 1 (September 9, 2010). http://dx.doi.org/10.21709/casa.v8i1.2933.

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Consciente da relação do tempo narrativo com os sujeitos da enunciação, este trabalho visa a examinar os mecanismos do tempo ficcional numa análise comparativa da obra machadiana O Alienista com a sua adaptação em quadrinhos, de Fábio Moon e Gabriel Bá. Esta abordagem do texto ficcional parte de um viés dos estudos da linguagem na tentativa de construir um raciocínio sobre os múltiplos sujeitos na narrativa, além de se embasar nas teorias de Scott McCloud (1995) sobre os aspectos de tempo na leitura de quadrinhos. Este artigo integra a pesquisa Encontro de Gerações: O Tempo Narrativo n'O Alien
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20

Gunawan, Gun Gun, Alvanov Z. Mansoor, and Naomi Haswanto. "KAJIAN GAYA VISUAL STORYTELLING TATANG SUHENRA." Desain Komunikasi Visual, Manajemen Desain dan Periklanan (Demandia), September 6, 2016. http://dx.doi.org/10.25124/demandia.v1i01.195.

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Tatang Suhenra adalah salah seorang komikus legendaris Indonesia yangterkenal dengan karya komiknya berupa komik silat, komik cerita Punakawan,dan komik religius. Komik-komik karya Tatang Suhenra menjadi benda koleksiyang bernilai tinggi karena dapat terus dikonsumsi saat komik Indonesia sulitbersaing pada periode 1980-an menjadi daya tarik utama yang menarik untukdikaji lebih dalam. Aspek visual story telling komik Tatang Suhenra dikajimenggunakan teori Scott McCloud. Adapun hasil penelitian ini mengerucut pada pemanfaatan konten dan konteks lokal secara kreatif dari target pembacanya sebagai
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21

Lima, Karina Do Nascimento Sousa. "A Cultura Surda a partir da Linguagem dos Quadrinhos." RELACult - Revista Latino-Americana de Estudos em Cultura e Sociedade 5, no. 4 (May 5, 2019). http://dx.doi.org/10.23899/relacult.v5i4.1323.

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A proposta deste texto é explorar o cruzamento de experiências visuais surdas e ouvintes a partir de produções de HQs e analisar os recursos utilizados por estes dois trabalhos a fim de produzir sentido. O trabalho terá como referencial de análise a obra de Will Eisner e Scott McCloud e tudo isso será permeado também a partir de uma sustentação acerca de uma cultura surda que é retratada nas histórias de quadrinistas surdos, buscando entender que tipo de discussão tais artistas propõem e qual a importância de se discutir isso hoje em dia. O trabalho permeia tanto a linguagem visual da produção
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22

Flis, Leonora. "Grafične pripovedi in pripovednost." Primerjalna književnost 43, no. 1 (May 22, 2020). http://dx.doi.org/10.3986/pkn.v43.i1.03.

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Grafične pripovedi se nahajajo na stičišču prikazovanja in pripovedovanja zgodbe, v vsakem primeru pa zgodbo pripovedujejo, torej predstavljajo narativen žanr. Grafično pripovedovanje omogoča zastavljanje temeljnih vprašanj, ki zadevajo na primer temporalni aspekt narativnosti (razumljene kot skupek formalnih in kontekstualnih lastnosti, ki določajo pripoved) in področje fokalizacije. Grafične pripovedi s pripovednim časom upravljajo nekoliko drugače od (zgolj) literarnih besedil, saj občutek časa ustvarjajo z razmerjem med vizualnim in verbalnim. Nadalje poleg (po navadi uokvirjenih) ilustrac
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23

Sambodo, Yohannes. "PENDEKATAN TEORI KOMIK PADA ADEGAN RELIEF KRESNAYANA CANDI WISNU." JOURNAL OF CONTEMPORARY INDONESIAN ART 5, no. 2 (February 10, 2020). http://dx.doi.org/10.24821/jocia.v5i2.3501.

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Reliefs and comic have a connection in context of research just because of the presence of panel. The Kresnayana Relief of Visnu Temple in Prambanan Yogyakarta is considerably an interesting object of reserach. The relief itself is a story of The God Visnu who reincarnates to be a human named Kresna. Because such relief has a story, the research is set forth about the identification of comic elements that contained in the reliefs using comic theories.Various comic elements could be learned as theories wrote by Scott McCloud. It is not likely all the elements could be found in it though, mainly
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24

Araujo, Denize Correa. "O papel do mouse, do game e da animação em Meu tio matou um cara: a geração digital e o culto ao presenteísmo." E-Compós 7 (June 26, 2008). http://dx.doi.org/10.30962/ec.v7i0.122.

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A proposta deste artigo é dupla: em sentido mais amplo, analisar a representação da nova geração, tendo como embasamento teórico os conceitos da trivialidade da essência (Jameson) e do presenteísmo (Maffesoli); como objetivo mais específico, analisar o papel do mouse, do game e da animação no longa de Jorge Furtado Meu tio matou um cara (2004). Serão enfatizados o uso do virtual na construção da “cena do crime”, o desempenho do mouse implícito do protagonista e a estrutura de videogame que perpassa o texto, criando imagens híbridas. Tanto na reconstrução do crime como na seqüência de fotos que
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25

Richardson, Sarah Catherine. "“Old Father, Old Artificer”: Queering Suspicion in Alison Bechdel’s Fun Home." M/C Journal 15, no. 1 (February 17, 2012). http://dx.doi.org/10.5204/mcj.396.

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Halfway through the 2006 memoir comic Fun Home, the reader encounters a photograph that the book’s author, Alison Bechdel, found in a box of family snapshots shortly after her father’s death. The picture—“literally the core of the book, the centrefold” (Bechdel qtd. in Chute “Interview” 1006)—of Alison’s teenaged babysitter, Roy, erotically reclining on a bed in only his underwear, is the most tangible and direct evidence of her father’s sexual affairs with teenage boys, more confronting than his own earlier confession. Through this image, and a rich archive of familial texts, Bechdel chronicl
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26

Maher, Laura-Jane. "You Got Spirit, Kid: Transmedial Life-Writing across Time and Space." M/C Journal 21, no. 1 (March 14, 2018). http://dx.doi.org/10.5204/mcj.1365.

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In November 2015 the progressive rock band, Coheed and Cambria, released their latest album and art-book, both titled The Color before the Sun (Color) (2015). This album deviates from their previous six releases by explicitly using a biographical frame for the art-book, the album, and their paratexts. This is a divergence from the band’s concept album approach, a transmedia storyworld, The Amory Wars (TAW) (2002-17), which fictionalised the life experiences of Claudio Sanchez, the band’s lead singer. When scholars discuss transmedia they often refer to fantastic and speculative fictions, such
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