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#1 New York Times bestselling author and Eisner-nominated cartoonist Tom Hart has written a poignant and instructive guide for all aspiring graphic memoirists detailing the tenets of artistry and story-telling inherent in the medium. Hart examines what makes a graphic memoir great, and shows you how to do it. With two dozen professional examples and a deep-dive into his own story, Hart encourages readers to hone their signature style in the best way to represent their journeys on the page. With clear examples and visual aids, The Art of the Graphic Memoir is emotive, creative, and accessible. Whether you're a comics fan, comic book creator, memoirist, biographer or autobiographer, there’s something inside for everyone.
#1 New York Times bestselling author and Eisner-nominated cartoonist Tom Hart has written a poignant and instructive guide for all aspiring graphic memoirists detailing the tenets of artistry and story-telling inherent in the medium. Hart examines what makes a graphic memoir great, and shows you how to do it. With two dozen professional examples and a deep-dive into his own story, Hart encourages readers to hone their signature style in the best way to represent their journeys on the page. With clear examples and visual aids, The Art of the Graphic Memoir is emotive, creative, and accessible. Whether you're a comics fan, comic book creator, memoirist, biographer or autobiographer, there’s something inside for everyone.
Shortlisted for the UK Literacy Association's Academic Book Award 2021 There is an increasing trend in teachers using graphic novels to get their students excited about reading and writing, using both original stories and adaptations of classic works by authors such as Homer, Shakespeare, and the Brontes. However, there is surprisingly little research available about which pedagogies and classroom practices are proven to be effective. This book draws on cutting-edge research, surveys and classroom observations to provide a set of effective methods for teaching with graphic novels in the secondary English language arts classroom. These methods can be applied to a broad base of uses ranging from understanding literary criticism, critical reading, multimodal composition, to learning literary devices like foreshadowing and irony. The book begins by looking at what English language arts teachers hope to achieve in the classroom. It then considers the affordances and constraints of using graphic novels to achieve these specific goals, using some of the most successful graphic novels as examples, including Maus; Persepolis; The Nameless City; and American Born Chinese and series such as Manga Shakespeare. Finally, it helps the teacher navigate through the planning process to figure out how to best use graphic novels in their own classroom. Drawing on their extensive teaching experience, the authors offer examples from real classrooms, suggested lesson plans, and a list of teachable graphic novels organized by purpose of teaching.
Distinguishing the graphic novel from other types of comic books has presented problems due to the fuzziness of category boundaries. Against the backdrop of prototype theory, the author establishes the graphic novel as a genre whose core feature is complexity, which again is defined by seven gradable subcategories: 1) multilayered plot and narration, 2) multireferential use of color, 3) complex text-image relation, 4) meaning-enhancing panel design and layout, 5) structural performativity, 6) references to texts/media, and 7) self-referential and metafictional devices. Regarding the subcategory of narration, the existence of a narrator as known from classical narratology can no longer be assumed. In addition, conventional focalization cannot account for two crucial parameters of the comics image: what is shown (point of view, including mise en scène) and what is seen (character perception). On the basis of François Jost’s concepts of ocularization and focalization, this book presents an analytical framework for graphic novels beyond conventional narratology and finally discusses aspects of subjectivity, a focal paradigm in the latest research. It is intended for advanced students of literature, scholars, and comics experts.
Collecting chapters from authors all over the world, this volume examines and expounds the rich tapestry of meanings, expressions, and cultural insights found in the medium of comics.
Mirroring the hybridity of the graphic novel, this essay collection examines sequential art from an interdisciplinary point of view, including topics like narratology, intertextuality, interculturality, and identity construction.
Providing an overview of the dynamic field of comics and graphic novels for students and researchers, this Essential Guide contextualises the major research trends, debates and ideas that have emerged in Comics Studies over the past decades. Interdisciplinary and international in its scope, the critical approaches on offer spread across a wide range of strands, from the formal and the ideological to the historical, literary and cultural. Its concise chapters provide accessible introductions to comics methodologies, comics histories and cultures across the world, high-profile creators and titles, insights from audience and fan studies, and important themes and genres, such as autobiography and superheroes. It also surveys the alternative and small press alongside general reference works and textbooks on comics. Each chapter is complemented by list of key reference works.
Graphic novels have found a place on library shelves but many librarians struggle to move this expanding body of intellectual, aesthetic, and entertaining literature into the mainstream of library materials.
Interest in comic books, graphic novels, and manga has never been greater, and fans of these works continue to grow around the world. From American superheroes like Superman and Spiderman to Japanese manga like Dragon Ball, there is a rich world of graphic storytelling that appeals to a wide range of readers—from young children just beginning to read to adults of every age who are captivated by dynamic illustrations and complex characters. Once dismissed as “just” for children, comic books are now appreciated for their vibrant art and sophisticated storylines. In Comics, Graphic Novels, and Manga: The Ultimate Teen Guide, Randall Bonser explores the history, evolution, diversification, and impact of graphic storytelling. This book looks at the origins of illustrated stories and how they evolved over the decades. A celebration and exploration of the rapidly growing world of comics, this book discusses such topics as the history of graphic storytelling, from cave drawings to zombie comics the impact of American superhero comics on popular culture diversity in comics the tools comic book and graphic novel creators use to communicate easy starting points for readers new to comics Featuring reviews of more than 90 graphic novels and popular manga series, this book provides recommendations of what teens should consider reading next. The author also provides a short course on how teens can create and distribute their own comics. For those who either want to start reading comics but aren’t sure where to start, or as a gateway for the comics enthusiast to explore a different graphic novel genre, Comics, Graphic Novels, and Manga: The Ultimate Teen Guide provides a fun and fascinating introduction to these worlds.
Graphic narratives are one of the world's great art forms, but graphic novels and comics from Europe and the United States dominate scholarly conversations about them. Building upon the little extant scholarship on graphic narratives from the Global South, this collection moves beyond a narrow Western approach to this quickly expanding field. By focusing on texts from the Middle East, Africa, Latin America, and Asia, these essays expand the study of graphic narratives to a global scale. Graphic Novels and Comics as World Literature is also interested in how these texts engage with, fit in with, or complicate notions of World Literature. The larger theoretical framework of World Literature is joined with the postcolonial, decolonial, Global South, and similar approaches that argue explicitly or implicitly for the viability of non-Western graphic narratives on their own terms. Ultimately, this collection explores the ways that the unique formal qualities of graphic narratives from the Global South intersect with issues facing the study of international literatures, such as translation, commodification, circulation, Orientalism, and many others.