This link has been bookmarked by 1 people . It was first bookmarked on 23 Nov 2007, by Nele Noppe.
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23 Nov 07
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subjectivity can be encoded in a panel as a whole, shifting the viewpoint of the panel to a member of the fictive narrative. -
Japanese children use aerial and close up (“exaggerated”) viewpoints en masse and were not found in the American children’s representations at all. -
Though the numbers are minor, American books seem to modify their panels with framing types more than Japanese books do. -
Aerial High-angled Lateral Low-angled Ground-up American 1 (SD = 1.2) 9.7 (SD = 8.5) 82.1 (SD = 8.5) 6.1 (SD = 3.7) 0.25 (SD = 0.4) Japanese 1.2 (SD = 0.9) 14.9 (SD = 5.1) 73.4 (SD = 8.6) 8.9 (SD = 3.9) 1.3 (SD = 1.5) -
a greater variation across authors for LRM categories than Japanese books do. I hypothesize that this variation can be attributed to a willingness of American authors to experiment more with the visual language as an “artistic” medium, as opposed to the Japanese usage of more of a communicative system akin to language (Cohn 2004) -
An “Art” treatment emphasizes individualistic and innovative techniques for authors, while a “Language” system promotes shared techniques amongst a community. -
difference is recognizable in other domains such as drawing style. While American authors draw in dramatically varying ways, Japanese authors are similar enough in structure to belong to an overarching “Japanese style” that is recognizable at a glance. -
Of course, the need for an explanation for variance at all is in part a curious one when dealing with the notion of languages, since usually languages are expected to vary.
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