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Humor in the Age of Digital Reproduction: Continuity and Change in Internet-Based Comic Texts
lolcats??\n\nThe new\ntypes are defined and analysed in the light of three characteristics of the Internet:\nInteractivity, multimedia and global reach. Whereas interactivity is expressed in the\nhumorous texts in a very limited way, the features of multimedia and global reach are\nmore visible. The results point to a prominence of the visual humorous forms over the\nverbal forms, as well as to a global dominance over the local. This supremacy of the\nglobal is evident in the analysis of the humorous topics: Globally oriented topics such as\nsex, gender and animals are much more popular than locally oriented topics such as\nethnicity and politics. This does not mean, however, that the humorous texts reflect a\nuniversal set of values. Not only are the vast majority of the texts in English, but they\nalso reflect the values and priorities of Western, capitalist and youth-oriented cultures.
Paul Gravett | Article Detail
"Artists are constantly developing a visual-verbal vocabulary to express sound effects or onomatopoeia, and symbols and other graphic devices to convey a wide variety of motions, emotions and other narrative elements."
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Artists are constantly developing a visual-verbal vocabulary to express sound effects or onomatopoeia, and symbols and other graphic devices to convey a wide variety of motions, emotions and other narrative elements.
Madinkbeard » Pictureless Comics
"Horrocks argues with McCloud's definition of comics as a form and his attempts to put up boundaries around what comics is. He pulls out implications of McCloud's definition that are not immediately obvious and adds to his argument with quotes from a Comics Journal interview with McCloud. It seems that McCloud sees comics as being dominated by the images ("…If the pictures, independent of the words, are telling the whole story and the words are supplementing that, then that is comics.''). Earlier this idea is linked to film and sound (film is purer as just images, i.e. silent film). For some reason Godard's films that have audio tracks incongruous to the video come to mind (a comics equivalent might be interesting (and Chris Ware has done it). I certainly can't agree with the concept in regards to comics. (Is a song less a song if the words are more prominent than the music?)"
Semantic Shifts: where ‘The Tudors’ resembles OEL manga « A Face Made for Radio: Helen McCarthy's Blog
"clothes are as loaded with meaning as language. Visual semantics matter too."
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Maybe I’ll find it less annoying if I re-label it titillation, or visual chocolate: it certainly isn’t history
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Maybe I’ll find it less annoying if I re-label it titillation, or visual chocolate: it certainly isn’t history
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article: visual language of manga
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Created by: Nele Noppe
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