The Ear of the Eye, or, Do Drawings Make Sounds?

Carney, Sean

doi:10.1215/00138282-46.2.193

Cited by 3 publications

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“…The comic’s page often replicates traces of the artist’s hand; conversely, narrative text is usually typeset and may be reproduced in varied forms. This ‘constant visual reminder of the hand’ (Carney, 2008: 195) can contribute meaning, affording the reader a sense of intimacy and connection with creators of comics.…”

Section: Comics and Materials Formmentioning

confidence: 99%

Material form as a structural force in Nicki Greenberg’s The Great Gatsby and Hamlet

Scott

2017

Media International Australia

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Comics or ‘sequential art’ has historically been considered an art of time. Yet, many recent artists privilege comics’ spatial extensions over the dimension of time. This article explores the role played by space in structuring comics. It does so by analysing two comics by Australian artist Nicki Greenberg, The Great Gatsby (2007) and Hamlet (2010). These two adaptations, which marry conventions of comics with a photo album and a theatrical stage, exploit the tension between material forms outside the comic, the material forms that influence the comic’s creation, and the material form taken by the work itself. They are examples of innovative comics made possible when material form is viewed as a structural force. Through analysing Greenberg’s methods for adapting existing works ‘through’ other material forms, I argue that material form is a structural force that can be analysed alongside optional conceptual structures such as the panel and gutter.

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Section: Comics and Materials Formmentioning

confidence: 99%

Material form as a structural force in Nicki Greenberg’s The Great Gatsby and Hamlet

Scott

2017

Media International Australia

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Chapter 5. Creative visual metaphors of protracted and frozen time in autobiographical comics about depression

Refaie

2022

Human Cognitive Processing

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Distinguishing Mediality: The Problem of Identifying Forms and Features of Digital Comics

Wilde

2015

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Do digital comics constitute a different “medium” than print comics? Many researchers have discussed whether comics make up a medium at all. The problem seems to be, in contrast to films or video games, the absence of a defining technology. Whatever separates a given “medium” in a conventional sense from others, however, doesn’t actually lie in its technological, material or semiotic properties, but in its culturally qualifying aspects: recognizable medial forms, for instance, that distinguish a medial configuration sufficiently for given observers. This article understands the mediality of (digital) comics as partly produced by rhetorical effects, based on contested discussions and discourses surrounding the alleged differences and similarities between digital and print comics. It aims to show how we can not only observe digital comics as new objects of inquiry, but actually observe said distinctions in order to learn something about the changing cultural implications of “comicness” in general, as well as about the interplay between material and technological properties on the one hand and compositional aspects on the other.

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The Ear of the Eye, or, Do Drawings Make Sounds?

Cited by 3 publications

References 0 publications

Material form as a structural force in Nicki Greenberg’s The Great Gatsby and Hamlet

Material form as a structural force in Nicki Greenberg’s The Great Gatsby and Hamlet

Chapter 5. Creative visual metaphors of protracted and frozen time in autobiographical comics about depression

Distinguishing Mediality: The Problem of Identifying Forms and Features of Digital Comics

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