HAGUE, Ian. Comics and the senses: a multisensory approach to comics and graphic novels. New York: Routledge, 2014. 214p.

Gomes, Ivan Lima

doi:10.26512/hh.v4i7.10936

Cited by 2 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Rajewsky (2005), that is, when one medium is cited within another medium. This is not to say that comics do not have actual sonic affordances (see Hague, 2014). Sound, Campt points out, is also evoked by the lack of it.…”

Section: What Is the Sound That Precedes Ignacio's Picture?mentioning

confidence: 99%

“…To be clear, I am using the sonic dimension as an intermedial reference within comics, as theorised by Irina O. Rajewsky (2005), that is, when one medium is cited within another medium. This is not to say that comics do not have actual sonic affordances (see Hague, 2014). Sound, Campt points out, is also evoked by the lack of it.…”

Section: What Is the Sound That Precedes Ignacio's Picture?mentioning

confidence: 99%

“…In the context of these observations, comics, with their collage‐like combination of frames and spatial layouts, seem to be an attractive medium to stage both a compositional and decolonial form of memory. The multimodal quality of comics, how ‘they communicate information and meaning in many ways at once’ (Hague, 2014: 22), is especially relevant in graphic memoirs, in which various accounts of history, memory and subjectivity are worked through and juxtaposed. Further, as Whitlock (2020: 232) points out, ‘embodiment – the presence of a somatic body, its senses, consciousness, and memories, its very anatomy – is the heart of autographics’.…”

Section: Sounds Of Collective Memorymentioning

confidence: 99%

See 2 more Smart Citations

Footnotes to Guamán Poma: Transtemporal Encounters in Nacha Vollenweider's Notas al pie

Villavisencio

2021

Bull Latin American Res

View full text Add to dashboard Cite

The graphic memoir Notas al pie (2017) written by Argentinian Nacha Vollenweider includes an illustration which reinterprets an image from the Nueva corónica y buen gobierno, a colonial document written by Quechua nobleman Felipe Guamán Poma de Ayala around 1615, when Peru was under Spanish rule. This article argues that if Guamán Poma's image portrays a critique of Western colonial power, Vollenweider's reappropriation follows its aftermath, and targets the structures of coloniality that underpin the formation of both individual and collective identity.

show abstract

Section: What Is the Sound That Precedes Ignacio's Picture?mentioning

confidence: 99%

Section: What Is the Sound That Precedes Ignacio's Picture?mentioning

confidence: 99%

Section: Sounds Of Collective Memorymentioning

confidence: 99%

See 1 more Smart Citation

Footnotes to Guamán Poma: Transtemporal Encounters in Nacha Vollenweider's Notas al pie

Villavisencio

2021

Bull Latin American Res

View full text Add to dashboard Cite

show abstract

“…In order to adequately reassemble the editorial staff and their creative deployment of actions and objects, I utilised and further developed graphic transcription. According to Ian Hague (2014), reading comics is a multisensorial experience. Thus, utilising graphic transcription as the primary tool for representing data influences the ways in which readers perceive and sense the data.…”

Section: Chapter 7 Discussionmentioning

confidence: 99%

“…Goodwin and Cekaite, 2018). To address the analytical interests of this dissertation and its focus on the discursive trajectories of materiality, I employ a hybrid between Gail Jefferson's (2004) classic conversation analytic transcript system and the comic style animations of graphic novels (Eisner 1990;Hague 2014;Laurier 2013;McCloud 1994).…”

Section: Graphic Transcriptionmentioning

confidence: 99%

One more time with feeling: Resemiotising boundary affects for doing 'emotional talk show' interaction for another next first time

Back¹

View full text Add to dashboard Cite

The semiotic ecology of the live talk show interview. 2. The five interview settings of the live studio. 3. Non-live video footage from the eighties. Chapter 34. Work-relevant objects. 5. A brief introduction to case 1. 6. A brief introduction to case 2. 7. The most prominent participants in case 1. 8. The most prominent participants in case 2. 9. The two-day workflow of the editorial staff. 10. The temporal horizon of experience. 11. Transforming an object. 12. Digitally conformed reality. 13. Figure 12 as seen from above. 14. Preliminary plan for video recording the editorial workflow. 15. Cameras. 16. The Panasonic camera. 17. Audio recorders. 18. Experiencing spatial sound. 19. Master composite file of several video feeds. 20. The 360-degree camera FOV unfolded into "quad"-format. 21. Transcription hybrid 1/2. 22. Transcription hybrid 2/2. 23. Anonymising with Comic Life filters. 24. Handwritten note. Chapter 4 25. Environmentally coupled gesture. 26. 360-degree camera view. 27. GoPro camera view. 28. The whiteboard summary. 29. G1A does the 'shrimp skip' in the eighties. 30. GoPro-camera view. 31. Whiteboard summary. 32. H1B walks by the meeting area. 33. Whiteboard summary 2. 34. J1A's handwritten notes. ONE MORE TIME WITH FEELING 12 35. The research interview questions. 36. The closing question. 37. G1A's answer as summarised by J1A. 38. Eurovision manuscript at 15:16 pm on day one. 39. Eurovision manuscript at 15:41 pm. 40. KNG with dead link. 41. J1A talks to J6A. 42. The two whiteboard summaries. Chapter 5 43. Morning meeting day #2. 44. An interesting question. 45. Whiteboard summary. 46. J1A's tasks added by EDA. 47. The morning meeting setup. 48. J1B's resemiotisation of the morning meeting discussion. 49. EDB, J1B and H2B talk by the coffee machine. 50. H1A, H2A and EDA review the programme schedule. 51. H1A looks at the programme schedule. 52. H1A reproduces with transformation H2A's previous turn. 53. The video editing room screens. 54. The closing question and G1A's answer 55. J1A changes the closing question. 56. PRA and VEA in the video editing room. 57. Editorial meeting with H2A, SMA, H1A, PRA, PCO, PA and EDA. 58. Final review unfolded. Chapter 6 59. The media interview turn-type pre-allocation. 60. The control room. 61. G1A and G2A orient towards the hosts. 62. Introducing the guests. 63. Chains of resemiotisation: The audio-visual resources 64. H1B introduces the sexual harassment interview. 65. Original cue card. 66. A red star on H2B's cue card.67. Chains of resemiotisation: The inappropriate touch. 68. The closing question on H1A's que card. 69. Chains of resemiotisation: The closing question. 70. Different time-scales encircling the cue card. 71. Affective stances with the staff members.1 See Hepburn and Bolden (2017) on how to present non-English data to an English-speaking audience.

show abstract

HAGUE, Ian. Comics and the senses: a multisensory approach to comics and graphic novels. New York: Routledge, 2014. 214p.

Abstract: HAGUE, Ian. Comics and the senses: a multisensory approach to comics and graphic novels. New York: Routledge, 2014. 214p.

Cited by 2 publications

References 0 publications

Footnotes to Guamán Poma: Transtemporal Encounters in Nacha Vollenweider's Notas al pie

Footnotes to Guamán Poma: Transtemporal Encounters in Nacha Vollenweider's Notas al pie

One more time with feeling: Resemiotising boundary affects for doing 'emotional talk show' interaction for another next first time

Contact Info

Product

Resources

About