On the History and Hermeneutics of Comics

What is a comic? The simple answer states that a comic is a drawn story that is picture- rather than text-oriented and told serially. In other words, a comic is a type of illustration. Realism is not its goal; rather a narrative is developed through reduction according to specific stylistic means. I...

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Prif Awdur: Christian Wessely
Fformat: Online
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Cyhoeddwyd: Schüren Verlag 2021
Mynediad Ar-lein:47036
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author Christian Wessely
author_browse Christian Wessely
author_facet Christian Wessely
author_sort Christian Wessely
collection Directory of Open Access Books
description What is a comic? The simple answer states that a comic is a drawn story that is picture- rather than text-oriented and told serially. In other words, a comic is a type of illustration. Realism is not its goal; rather a narrative is developed through reduction according to specific stylistic means. I start this article with a definition of the term “comic”, and move on to highlight the complexity of the comic and to argue that insight into this complexity is necessary for its correct interpretation. Only then can we recognise that the comic is not only entertaining but also, in its own way, a vehicle for content that might be system confirming and propagandistic but can also be system critical. Doing so allows us to see the potential of the comic that is embedded in its particular affinity with nonlinear interactive audiovisual media.
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spelling doab-20.500.12854ir-634562022-02-11T15:09:20Z On the History and Hermeneutics of Comics Christian Wessely What is a comic? The simple answer states that a comic is a drawn story that is picture- rather than text-oriented and told serially. In other words, a comic is a type of illustration. Realism is not its goal; rather a narrative is developed through reduction according to specific stylistic means. I start this article with a definition of the term “comic”, and move on to highlight the complexity of the comic and to argue that insight into this complexity is necessary for its correct interpretation. Only then can we recognise that the comic is not only entertaining but also, in its own way, a vehicle for content that might be system confirming and propagandistic but can also be system critical. Doing so allows us to see the potential of the comic that is embedded in its particular affinity with nonlinear interactive audiovisual media. 2021-02-12T10:26:00Z 2021-02-12T10:26:00Z 2020-09-03 11:42:08 2017 chapter 47036 2414-0201 https://directory.doabooks.org/handle/20.500.12854/63456 eng Journal for Religion, Film and Media image/jpeg Attribution-NonCommercial-ShareAlike 4.0 International https://www.schueren-verlag.de/programm/titel/559-drawn-stories-moving-images-jrfm-1-2017.html https://jrfm.eu/index.php/ojs_jrfm/article/view/75 Schüren Verlag Drawn Stories, Moving Images. Comic Books and their Screen Adaptations 5b80c228-3393-4862-a8e9-6c35a63484f1 cc960d70-3fb0-4059-b5a8-cb973322114e 17-44 open access
spellingShingle Christian Wessely
On the History and Hermeneutics of Comics
title On the History and Hermeneutics of Comics
title_full On the History and Hermeneutics of Comics
title_fullStr On the History and Hermeneutics of Comics
title_full_unstemmed On the History and Hermeneutics of Comics
title_short On the History and Hermeneutics of Comics
title_sort on the history and hermeneutics of comics
url 47036
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