![]() The controversial page follow-up to Understanding Comics advocates 12 different revolutions in the way comics are created, distributed and perceived with special emphasis on the potential of Online Comics. McCloud was incredibly prescient, and despite its age this book still has important things to say about what comics and technology can do for storytellers/5. Reinventing Comics is a fascinating look at the evolution of comics and digital media in the Internet age. Immersion and immediacy remain partial and oscillate together with the hypermediacy of the graphics plane.Scott McCloud's Reinventing Comics, the sequel to his groundbreaking work Understanding Comics, is a study of two revolutions: a failed one and a potential book was not only a chronicle of the potential breakthrough of comics (which he redefined as "sequential art") into a legitimate art form but a sterling example itself of the medium's astonishing untapped potential/5(64). ![]() The motion comic does not achieve the immediacy of live action film or cell animation. Hybrid media disrupt the separation of media defined in formal scholarship and media aesthetics. The implication of hybrid media is the warm aesthetic of the hybrid, a ‘medium in between’, neither hot nor cool. I have characterized motion comic design strategy, based on self-imposed creative constraint, as panel exploration. The motion comic redesign objective was to construct a compelling motion graphics feature narrative by remediating the comic panel assets. #Reinventing comics pdf download movieThe exegesis examines the unique context of Family Slaughter Comic (1989) as a movie tie-in whose design objective was to convey a low budget horror film. ![]() ![]() In turn, animation and cinema are also compromised – diminishing their characteristics of live-action recording and fully posed and rigged characters. With the motion comic, comics sacrifice the exclusivity of their spatial map and fuse with elements of temporal continuity acquired from animation and cinema. The intersection of the comics’ panel with digital film and the screen circumscribes a domain of hybridity and partial immersion. It was found that hybrid media have blurred the lines between established media, including comics, whereby ‘comics’ perception’ has become part of the cultural interface of screens. The theoretical investigation reveals that the motion comic emerges from fluidity produced by softwarization and hybridization of media, wherein the process of remediation operates as a key dynamic. The primary research question is: With specific reference to the motion comic, what are the implications of hybrid media formats for contemporary media scholarship and media design practice? This research project combines both a literature-based theoretical investigation into the hybrid media context of motion comics and an exegesis of the design context of the artifacts-Family Slaughter comic and screenplay-and the subsequent design strategy for their remediation as Family Slaughter Motion Comic. A motion comic is a hybrid format that combines affordances from comics, animation, film, graphic design, sound design and interactivity. "ĪBSTRACT This screen media practice-based research examines the design of the horror-themed motion comic, Family Slaughter. Between the top-down input of the databases and the dialogical digital storytelling environment, we will subsequently try to explore the archives’ affordances for interactivity. Considering the intermedial configurations generated by these cultural practices, we will follow the case of Shakespeare’s texts, their virtual extensions being traced on three levels of production: publicly-funded (universities and cultural heritage institutions projects), private initiatives (publishing houses) and user shaped products. ![]() In distinct digital environments, source materials are brought up, appropriated and remixed by Facebook, Twitter, Youtube and blog users, integrating the archival fragments in a network of media combinations. #Reinventing comics pdf download archiveHowever, the capabilities of a digital archive to generate meaning from its items are still reduced large amounts of literary source material are available for public use, but are looked at through the lens of an exhibit case, in spite of their intended interactivity and user participation. Digital archives textbooks and projects speak of a call for the rethinking of old material permitted by the new media. Digitization has gained increasing international interest within cultural heritage institutions and digital humanities activities and the necessity of preserving valuable archive material, as well as making it accessible for readers and researchers, is indisputable. "The present paper aims to track down the main digital systems into which archives of canonical texts have been remediated, with the purpose of differentiating between the mental representations drawn by different types of digital platform structures. ![]()
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