Sunday, November 29, 2015

"Welcome to Writing the Unthinkable": Introduction to Materiality and Lynda Barry

Hello everyone.
I have embd below my podcast on Lynda Barry.
I'm engaging with two of Lynda Barry's texts: "One Hundred Demons" as well as "What it Is", and taking elements from Hillary Chute's "Graphic Women" to serve as an introduction to her layered compositions that engage with topics of materiality and trauma.

For anyone interested in seeing the author engage with these and other topics, I have a few more links below. I highly recommend them-- she's quite fun:


Tuesday, November 17, 2015

Thursday, November 12, 2015

When the Levees Broke Parts 1 & 2

Hello Classmates,

Professor Glaser mentioned When the Levees Broke, a documentary about Hurricane Katrina earlier in the year, but since it's not on Netflix anymore, I wanted to share the copies I found on YouTube.

I imagine this will be a great background piece to watching before our reading of A.D. After the Deluge. 
The copy I found is split into two parts below. 








Best!
AC

Sunday, November 8, 2015

A bit on comics layout (just in time, right?)



Hi classmates.

This is just a vaguely supplemental tidbit, if you're interested!

My instructor for a Japanese pop culture course posted this announcement:
"I found an article about explaining the difference of structure by professional and non-professional.
The left side (professional or basic) shows the location and different angles so that readers will be able to understand the circumstance. The second frame (line 2, right) emphasizes on the face of one the girls, and we know who is the main person in this story.
On the other hand, the right side (non-professional or face-based manga) does not provide such information besides the conversation, so readers will need to imagine the situation (just like a novel).
The left side (professional or basic) shows the location and different angles so that readers will be able to understand the circumstance. The second frame (line 2, right) emphasizes on the face of one the girls, and we know who is the main person in this story.
On the other hand, the right side (non-professional or face-based manga) does not provide such information besides the conversation, so readers will need to imagine the situation (just like a novel)."

I can't translate the explanation in the picture word for word (sorry folks!) but I guess I simply wanted to post this image so we could kind of get an idea of difference and nuance in the visual narrative.
Like some techniques in the panel on the left that show that we should play particular attention to the girl we get the shot of, to create drama/suspense, and the long angle that establishes setting.
I found it curious that the second version of the narrative is called more "novel-like" by making the reader do a lot of the work-- where to put weight, what to focus on... the reader also has to place the speakers in time and space because of the blank background. 

This is the speech translation though. Note that it's the same exact speech bubbles in both examples:

Girl A: "It seems like there’s always someone watching me.
I’m feeling uneasy.”

Girl B: “It’s your imagination!”

Girl A: “Oh… really.”

Girl B: “It’s surely just because you’re tired.”

Girl A: “I hope so, but…”

*SFX next to alien* Stare….

There may be connotations of which is more "skilled" in the sense of this comparison, but the question to think why and when we might utilize the second form and by extension where we've seen examples of the first and second form in our course readings. (The Property I feel like, was very much like the second example.)

Side note: If anyone knows the exact definition of what a "顔マンガ/Kao Manga/Face Manga" is, please let us know, right? That's what the second panels are an example of.
In the meantime, have a great weekend!
AC