The Language of Comics: Word and ImageRobin Varnum, Christina T. Gibbons Univ. Press of Mississippi, 2001 - 222 páginas |
Dentro del libro
Resultados 1-5 de 58
Página ix
... seems now to be shifting in favor of the image . Whether on television , in the movies , on the pages of newspapers and magazines , on computer screens , in advertising , or in the comics , images clamor for public attention . Images seem ...
... seems now to be shifting in favor of the image . Whether on television , in the movies , on the pages of newspapers and magazines , on computer screens , in advertising , or in the comics , images clamor for public attention . Images seem ...
Página xii
... seem more transparent than words , but often their transparency is illusory . They convey ideas and values , and reading them requires sophis- tication and skill . As any student of advertising knows , pictures can produce powerful ...
... seem more transparent than words , but often their transparency is illusory . They convey ideas and values , and reading them requires sophis- tication and skill . As any student of advertising knows , pictures can produce powerful ...
Página xvi
... seems nearly impossible to include both wordless comics and single - panel cartoons within any single definition of comics . Taylor , dealing as he does with an animated cartoon , complicates the matter of defining comics still further ...
... seems nearly impossible to include both wordless comics and single - panel cartoons within any single definition of comics . Taylor , dealing as he does with an animated cartoon , complicates the matter of defining comics still further ...
Página 3
... a walking after ( more precisely , under ) the picture anxiously scattering stop - gaps of narrative infor- mation . At a certain point , rather suddenly it seems , verbal commentary was judged dispensable ; it was as if the text was 3.
... a walking after ( more precisely , under ) the picture anxiously scattering stop - gaps of narrative infor- mation . At a certain point , rather suddenly it seems , verbal commentary was judged dispensable ; it was as if the text was 3.
Página 13
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Contenido
3 | |
Pictorial Principles in the Work of Milt Gross Hendrik Dorgathen Eric Drooker and Peter Kuper | 19 |
Coyotes and Visual Ethos | 40 |
The Yellow Kid and the Comic Page | 60 |
The Emergence of the Modern Magazine Gag Cartoon Reveals the Vital Blend | 75 |
The Disjunction of Word and Image in the Comics of Andrzej Mleczko Ben Katchor R Crumb and Art Spiegelman | 97 |
How a Comics Panel Can Speak Shakespeare | 123 |
A New Theory of Graphic Enunciation | 145 |
Visual Sound Effects in Asterix | 156 |
Text Image and Visual Narrative Strategies | 174 |
Notes | 199 |
Works Cited | 205 |
Contributors | 213 |
Index | 215 |
Otras ediciones - Ver todas
The Language of Comics: Word and Image: Word and Image Robin Varnum,Christina T. Gibbons Vista previa limitada - 2001 |
Términos y frases comunes
Acme Novelty Library action animals appears Arno Art Spiegelman artist Asterix and Cleopatra bande dessinée Beronä caption cartoonists character Chat Noir Chris Ware color comic art comic books comic strip complex Coyote Coyote's create Crumb culture depicted disjunctive Dorgathen drawing Drooker Eisner elements Elkins emotional Eric Drooker ethos example Figure film gag cartoon genre graphiateur graphiation graphic Gross Hamlet Hergé hero humor magazines icons idea illustrated images and words Kannenberg Katchor Kunzle language lexias look Marion Masereel McCloud meaning medium Milt Gross Mleczko narration narrative newspaper objects Outcault panel Peter Kuper pictorial Pierrot Quimby reader reading Road Runner Road Runner Show Ross semiotics sense silent single-speaker soliloquy sound Space Dog speaking speech balloons Spiegelman Steinlen story style Sunday symbols textual tion toons verbal visual Ware's Wile Wile E Willette woodcut word and image word-image wordless comics words and pictures Yellow Kid York Yorker