1. According to Horricks (2004), how have perceptions of comics as a media changed?
2. What does Baetons (2001) mean by ‘monstration’, ‘graphiation’ and the ‘graphiateur’’?
3. What does Khordoc think the Asterix series does better than Hergé’s Tintin?
4. Compare the relationship between images and words differ in Hergé (1933) and Spiegelman’s (2004) works.
5. Discuss your reaction to both The Blue Lotus and the Spiegelman extracts. What is your opinion of them? Can you take 'pleasure in the text' (to quote Roland Barthes)?
Hi everyone, some of you have missed the class last week. As Paul was saying in the class that he wants to see more contributions from our group and I think he means from everybody. Each group should cover all of the questions in the discussion threads. I have never seen Tintin in an animated version before but I believe that the animated version of “The Blue Lotus” targeted at the young children. If graphic novel has not been animated, the children’s world may be less imagination. Imaginations make children become created but sometimes too much imagination may become dangerous. As Horricks(2004) pointed out that “If we ban the comics we are reducing the chances of war and preventing the further perversion of the world’s children”.
After reading Horricks(2004) I actually feel the same way as him as he said "one of the things that attracted me to Tintin was the impression that each panel opened a tiny window onto another world as vast and as real as our own"(p.10). And believe it or not I am Narnia's fan. As Horricks(2004) said the comics and books become our favorite because of author's sub-creating the other world for us to see and want to go along imagination journey which the audience would like to explore.
Yes, Jan. The Horricks(2004) also gave me the impression like what you referred to the text before, which is “Tintin was the impression that each panel opened a tiny window onto another world as vast and as real as our own”(p.10)
And after reading the Revealing Traces (2004), I am gonna answer the question 2 that is “What does Baetons (2001) mean by ‘monstration’, ‘graphiation’ and the ‘graphiateur’’?” Just like the Baetons said “In order to make the distinction between these various types of enunciations and enunciators easier, Marion proposes to call “graphiation” the graphic and narrative enunciation of the comics, and “graphiateur” the agent responsible for it.”(Critical Reader p.53), at first, Baetons wanted to make the distinction easier between many types of enunciations and enunciators, so the word “graphiation” was defined in the text. Also according to Baetons (2001), we can find in the text of page 148, which is “He then proposes to call the narrative instance of a film the ‘image-narrator’ or ‘great image-maker’ (“le grand imagier”), and to analyze the specific narrative situation of movies as the hierarchical combination of several types of narration of, as he calls it, ‘monstration’.”
3. What does Khordoc think the Asterix series does better than Hergé’s Tintin?
According to Khordok(2001), Asterix series’ first volume was published in France in 1961, and meanwhile the speech balloons were already in use, then Uderzo created a rather elaborate “soundtrack” for Asterix series. And this series was read by adults and children in over 30 languages, was an archetypal example and was considered a classic comics series. However, Khordoc thought that though Hergé made use of onomatopoeia, iconic symbols and other devices to create the effect of sound, Hergé had not displayed, the full range of sounds which could be represented graphically. And he also said “In other words, this series is not as ‘audible’, or as noisy, as others.”(p.158) Khordoc believed that the effective method of creating “sound” effects in a textual medium was important and which could attract more attention to adults and children.
3. Hi guys. Khordoc mentions that Herge is not as audible and noisy as other comics as Herge does not graphically present a full range of sounds. While the Tintin series relied heavily on narrative text, the Asterisks comics uses various representation of sounds to create humour.The texts in Asterisks does not only 'relay a linguistic message', but are also 'coded in order to describe how they should be vocalized.'
2. What does Baetons (2001) mean by ‘monstration’, ‘graphiation’ and the ‘graphiateur’’?
hey guys, just going back to question 2. Monstration refers to what is told through language and what is shown by images. Graphiation means the graphic enunciation done by the graphiateur. and graphiateur refers to the cartoon's subject position.
Hello Jan and Jocelyn, It was interesting comment on question 1. I agree with both of you. My comment on this is that commics have made a world, which "your mind can enter" (Tolkien, 2002, cited in Horricks, 2004).
Yes – Jocelyn, Jason. You have answered question 3 very well but I just want to make these terms short. ‘Monstration’ is the type of narration, ‘Graphiation’ is the graphic and narrative enunciation of the comics, and ‘Graphiateur’ is the agent who responsible for that comics or graphic enunciator (Beatons 2001). And also Beatons(2001) said “Marion begins his inquiry by reopening the discussion of an enunciative problem that most other theories of comics storytelling carefully ignore or underestimate, which is the problem of graphic style as the individual expression of an artist (or technically speaking, of a graphic enunciator).”(p.147)
Hi guys: Nice point of view of question 1, 2 and 3. And I want to talk about question 4. Compare the relationship between images and words differ in Hergé (1933) and Spiegelman’s (2004) works. After READ Spiegelman’s (2004) works and Hergé’s (1933) works, I have a strong feeling that Hergé’s (1933) works are both belong to children and adult but Spiegelman’s (2004) works are more adult. Hergé’s (1933) works have vivid images with words, it is easy to be understand and interesting for the reader to read. Readers can understand the story easily even without the words by looking at the images. Images are good enough to be the carrier to transmit the information to the readers. But in Spiegelman’s (2004) works, there are many words but very few images, readers have to read the words in order to understand or find out the writers purpose. So, images in Spiegelman’s (2004) works are just a kind of assistant for readers to understand the words.
Hi Shirley, I really agree with you. Images in Hergé's work are full of amusement: they were drawn by full-colour, and the language in there is easy to understand. Compared to this, Spiegelman's work is serious: the pictures are black-and-white, and the language use is not as easy as Hergé's to read. Although both the stories are solemn, Spiegelman's work is for adults only, as Shirley mentioned.
Yes, Shirley and Hisako. I agree with you：） And about the question 4, I want to say some words as well. As you guys mentioned before, Spiegelman’s (2004) works include many words and few images, as a child who is little or no interest in it, I believe. That’s because only colorful images and interesting words can attract more attention to both children and adults. If I am a child, I prefer to read Tintin rather than The Sky Is Falling. So, I think the colorful images and interesting words to a comic are very important, and which can make it more and more popular.
Nice discussions here, I'm gonna focus on the question 1
According to Horricks (2004), how have perceptions of comics as a media changed?
No one can deny that comics can either be broadcasted by going through film, game, fiction television programs and other medias.
Horricks said that in the 1950's, there was an anti - comic campaign held in New Zealand inspired by the United States and Britian. Bill Pearson wrote "The comics erode the most fundamental habits of humane, civilized living and they erode them in the most vulnerable element of our society, our children...if we ban comics we are reducing the chances of war and preventing the further perversion of the world's children". Which means that the anti-comic representatives at the time veiwed comics as a negative genre. Due to the fact that children being vulnerable and not knowing the difference between good and bad, parents or their guardians will have to fight on their behlaf causing riots which may even lead to wars. And so, by preventing riots and wars, the genre of comics should not be tolerated.
After this, comics or graphic novels are veiwed in newspapers and magazines.There have also been other positive things happening to the comic / graphic novels and thier authors also.Like awards and teaching the genre in other countries like here in New Zealand. Comics / graphic novels are viewed as positive genres today. The negativity of comics then has been forgotten about, but only towards the comics. It has now moved on to other genres like music.
Monstration can be simply and briefly considered as The act of demonstrating or proof.: The graphiateur is the person who develops the graphiation.
You got nice comment there, I have agreement with you that Spiegelman’s (2004) works include many words and few images. There is no doubt that mostly the kids would be attracted attention by the comic full with colourful images because the images can directly show the story rather than the written words story and some kids don't know more words and boring of read.
15 comments:
1. According to Horricks (2004), how have
perceptions of comics as a media changed?
2. What does Baetons (2001) mean by
‘monstration’, ‘graphiation’ and the ‘graphiateur’’?
3. What does Khordoc think the Asterix
series does better than Hergé’s Tintin?
4. Compare the relationship between images and
words differ in Hergé (1933) and Spiegelman’s (2004) works.
5. Discuss your reaction to both The Blue Lotus and the Spiegelman extracts. What is your opinion of them? Can you take 'pleasure in the text' (to quote Roland Barthes)?
Hi everyone, some of you have missed the class last week. As Paul was saying in the class that he wants to see more contributions from our group and I think he means from everybody. Each group should cover all of the questions in the discussion threads. I have never seen Tintin in an animated version before but I believe that the animated version of “The Blue Lotus” targeted at the young children. If graphic novel has not been animated, the children’s world may be less imagination. Imaginations make children become created but sometimes too much imagination may become dangerous. As Horricks(2004) pointed out that “If we ban the comics we are reducing the chances of war and preventing the further perversion of the world’s children”.
After reading Horricks(2004) I actually feel the same way as him as he said "one of the things that attracted me to Tintin was the impression that each panel opened a tiny window onto another world as vast and as real as our own"(p.10). And believe it or not I am Narnia's fan. As Horricks(2004) said the comics and books become our favorite because of author's sub-creating the other world for us to see and want to go along imagination journey which the audience would like to explore.
Yes, Jan. The Horricks(2004) also gave me the impression like what you referred to the text before, which is “Tintin was the impression that each panel opened a tiny window onto another world as vast and as real as our own”(p.10)
And after reading the Revealing Traces (2004), I am gonna answer the question 2 that is “What does Baetons (2001) mean by ‘monstration’, ‘graphiation’ and the ‘graphiateur’’?”
Just like the Baetons said “In order to make the distinction between these various types of enunciations and enunciators easier, Marion proposes to call “graphiation” the graphic and narrative enunciation of the comics, and “graphiateur” the agent responsible for it.”(Critical Reader p.53), at first, Baetons wanted to make the distinction easier between many types of enunciations and enunciators, so the word “graphiation” was defined in the text. Also according to Baetons (2001), we can find in the text of page 148, which is “He then proposes to call the narrative instance of a film the ‘image-narrator’ or ‘great image-maker’ (“le grand imagier”), and to analyze the specific narrative situation of movies as the hierarchical combination of several types of narration of, as he calls it, ‘monstration’.”
3. What does Khordoc think the Asterix series does better than Hergé’s Tintin?
According to Khordok(2001), Asterix series’ first volume was published in France in 1961, and meanwhile the speech balloons were already in use, then Uderzo created a rather elaborate “soundtrack” for Asterix series. And this series was read by adults and children in over 30 languages, was an archetypal example and was considered a classic comics series. However, Khordoc thought that though Hergé made use of onomatopoeia, iconic symbols and other devices to create the effect of sound, Hergé had not displayed, the full range of sounds which could be represented graphically. And he also said “In other words, this series is not as ‘audible’, or as noisy, as others.”(p.158) Khordoc believed that the effective method of creating “sound” effects in a textual medium was important and which could attract more attention to adults and children.
3. Hi guys. Khordoc mentions that Herge is not as audible and noisy as other comics as Herge does not graphically present a full range of sounds. While the Tintin series relied heavily on narrative text, the Asterisks comics uses various representation of sounds to create humour.The texts in Asterisks does not only 'relay a linguistic message', but are also 'coded in order to describe how they should be vocalized.'
2. What does Baetons (2001) mean by
‘monstration’, ‘graphiation’ and the ‘graphiateur’’?
hey guys, just going back to question 2. Monstration refers to what is told through language and what is shown by images. Graphiation means the graphic enunciation done by the graphiateur. and graphiateur refers to the cartoon's subject position.
Hello Jan and Jocelyn,
It was interesting comment on question 1. I agree with both of you. My comment on this is that commics have made a world, which "your mind can enter" (Tolkien, 2002, cited in Horricks, 2004).
Yes – Jocelyn, Jason. You have answered question 3 very well but I just want to make these terms short. ‘Monstration’ is the type of narration, ‘Graphiation’ is the graphic and narrative enunciation of the comics, and ‘Graphiateur’ is the agent who responsible for that comics or graphic enunciator (Beatons 2001). And also Beatons(2001) said “Marion begins his inquiry by reopening the discussion of an enunciative problem that most other theories of comics storytelling carefully ignore or underestimate, which is the problem of graphic style as the individual expression of an artist (or technically speaking, of a graphic enunciator).”(p.147)
Hi guys:
Nice point of view of question 1, 2 and 3. And I want to talk about question 4. Compare the relationship between images and words differ in Hergé (1933) and Spiegelman’s (2004) works. After READ Spiegelman’s (2004) works and Hergé’s (1933) works, I have a strong feeling that Hergé’s (1933) works are both belong to children and adult but Spiegelman’s (2004) works are more adult. Hergé’s (1933) works have vivid images with words, it is easy to be understand and interesting for the reader to read. Readers can understand the story easily even without the words by looking at the images. Images are good enough to be the carrier to transmit the information to the readers. But in Spiegelman’s (2004) works, there are many words but very few images, readers have to read the words in order to understand or find out the writers purpose. So, images in Spiegelman’s (2004) works are just a kind of assistant for readers to understand the words.
Hi Shirley,
I really agree with you. Images in Hergé's work are full of amusement: they were drawn by full-colour, and the language in there is easy to understand. Compared to this, Spiegelman's work is serious: the pictures are black-and-white, and the language use is not as easy as Hergé's to read. Although both the stories are solemn, Spiegelman's work is for adults only, as Shirley mentioned.
Yes, Shirley and Hisako. I agree with you：） And about the question 4, I want to say some words as well.
As you guys mentioned before, Spiegelman’s (2004) works include many words and few images, as a child who is little or no interest in it, I believe. That’s because only colorful images and interesting words can attract more attention to both children and adults. If I am a child, I prefer to read Tintin rather than The Sky Is Falling.
So, I think the colorful images and interesting words to a comic are very important, and which can make it more and more popular.
Hi guys
Nice discussions here, I'm gonna focus on the question 1
According to Horricks (2004), how have
perceptions of comics as a media changed?
No one can deny that comics can either be broadcasted by going through film, game, fiction television programs and other medias.
Horricks
said that in the 1950's, there was an anti - comic campaign held in New Zealand inspired by the United States and Britian. Bill Pearson wrote "The comics erode the most fundamental habits of humane, civilized living and they erode them in the most vulnerable element of our society, our children...if we ban comics we are reducing the chances of war and preventing the further perversion of the world's children". Which means that the anti-comic representatives at the time veiwed comics as a negative genre. Due to the fact that children being vulnerable and not knowing the difference between good and bad, parents or their guardians will have to fight on their behlaf causing riots which may even lead to wars. And so, by preventing riots and wars, the genre of comics should not be tolerated.
After this, comics or graphic novels are veiwed in newspapers and magazines.There have also been other positive things happening to the comic / graphic novels and thier authors also.Like awards and teaching the genre in other countries like here in New Zealand. Comics / graphic novels are viewed as positive genres today. The negativity of comics then has been forgotten about, but only towards the comics. It has now moved on to other genres like music.
Monstration can be simply and briefly considered as The act of demonstrating or proof.: The graphiateur is the person who develops the graphiation.
Re: Jocelyn
You got nice comment there, I have agreement with you that Spiegelman’s (2004) works include many words and few images. There is no doubt that mostly the kids would be attracted attention by the comic full with colourful images because the images can directly show the story rather than the written words story and some kids don't know more words and boring of read.
Post a Comment