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 guys... It's my answer for Q1. Horricks (2004) said that “the perceptions of comics as a media have changed by moving on to the other media.” One of his example was that, in the early 1950s, comics have faced a huge wave of opposition in the form of anti-comics’ campaigns in the US and Britain. I’m sure that it’d be the same for all parents in other countries, like NZ and Korea. But nowadays comics are reviewed by scholars; by journalist; or by other writers and studied at the universities. It is even re-made into the films, animations and etc. Why? Because there were more about comics which was just considered as a kind of cartoon containing satirical or humorous contents with bad/harmful influences on their child(ren). But, in fact, it’s just a different style or format of arts or literatures. Anyway, if comics is re-born as an animation, television series or a film, for example, what to adapt and not to adapt will be decided by the director or the producer. They may not include political issues or make things or actions more realistic. They will contribute comics that could be watch (or read) and re-watch (or re-read) and try to get in touch with their inner strange (target) audience for their story. It feels like that I'm not focusing on the question ^^~ what do you think about it guys?
~For Q2~ Baetons (2001) has defined monstration as “a different narration type that hierarchically combined as specific narrative situation in the movies” - what is told through language and what is shown by images. He also defined graphiation as “a subordinate part of narration rather than a different and parallel type of it.” So within this framework, comics is considered an effect of graphic and narrative enunciation undertaken by the graphiateur or the graphiator. Graphiateur is “the artists' graphic trace or index that enables reader to understand the information fully,” which means the cartoonist’s subject position. These are all I’ve got from the critical readers. Do you guys have any other comments to make?
~addition to Q1~ I’ve just finished the reading - Tintin’s Blue Lotus. When I did read the critical reader before reading the Tintin book, I didn’t quite understand where Horricks (2004) said about Tintin: “One of the things that attracted me … the impression that each panel opened a tiny window onto another world… step inside those tiny landscapes and enter that other world.” But now I do... I quite enjoyed it. But what I concern is that what if I was a child – what I would learn or see from it? Because I think it’s got stereotypical views (?) about Chinese and Japanese as well as a bit violent and dangerous. Just as Horricks pointed out: “If we ban the comics we are reducing the chances of war and preventing the further perversion of the world’s children.” I found many children and young men (?) like comic books or movies because the pictures are cool, new world is created, and they can go for an imaginary journey with or by the character(s).
The names of graphic and narrative enunciation of the comics ,and the agent responsible for it are given by Marion.In order to make the distinction between the diverse types of enunciations and enunciators of the comics easier,Marion names the former as "Graphiation" and the latter as "Graphiateur". Baetons (2001) expresses that every drawing carries the traces of 'Graphiation' , or the special enunciative act uttered by the author or agent when they make the drawings and do the lettering of the panels.Apart from that,owing to the distinction of narration and monstration,the reader of comics can only perceive the message of the work by identifying the graphic trace or index of the artist. Yet,'Graphiation' is prominently self-reflexive and autorefential. It is the device of auto-representation as well.
Besides,the meaning of 'Graphiateur' is that the authority or agent who is liable for the drawing of both the letters and the images. Baetons says that "The graphiateur is not the person in the flesh who signs the work , but an authority constructed by the reader" (2001, pp.151). At last,I am for Yuna's idea of 'monstration'.All the same, Baetons states that "the monstration in comics is far from having the same figurative transparency as in film" (2001, pp.149).The graphic material (both drawings and lettering)prohibits the act of monstration from being fully transparent and transitive.
Q3. What Asterix series does better than Hergé’s Tintin? It is ‘the speech balloon’ as Khordoc (2001) clearly analysed. He said “It is inevitable to form comics without using the speech ballons because it is used for ‘hearing’ to mean ‘understanding’(p.156) … It is in effect the link between the text and the image, but they themselves are also constituted of text, … does not simply signal the presence of text, it actually implies the message (p.160)” In other words, the speech balloons make ‘sound’ in comics and there are more variety of shapes and colors of them in the Asterix to deliver the different kinds of speeches which make Asterix better than Tintin. “All the balloons in TinTin are rectangular and yellow. … Herge dose not use certain devices to create the impression of sound,” (Khordic, 2001 p.164) whereas in Asteriz the balloons are mostly white in background and colors change depends on the context. For example, in Asterix and the Roman agent, the speech balloons of the other characters in such away that in gradually turns green which bring a significance in the comic. Khordic (2001) also explained that, in Asterix, "certain ballons is jagged suggesting a tone of voice which is not steady and calm, but rather shocked or angry. … anger, for example, can be indicated by a tail shaped to resemble a bolt of lightning." (p.163) Lastly, Khordic (2001) said that even "though he makes use of onomatopoeia, iconic symbols and other devices to create the effect of sound, Herge has not displayed... the full range of sounds which can be represented graphically" (p.158)
9 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 guys... It's my answer for Q1.
Horricks (2004) said that “the perceptions of comics as a media have changed by moving on to the other media.” One of his example was that, in the early 1950s, comics have faced a huge wave of opposition in the form of anti-comics’ campaigns in the US and Britain. I’m sure that it’d be the same for all parents in other countries, like NZ and Korea.
But nowadays comics are reviewed by scholars; by journalist; or by other writers and studied at the universities. It is even re-made into the films, animations and etc. Why? Because there were more about comics which was just considered as a kind of cartoon containing satirical or humorous contents with bad/harmful influences on their child(ren). But, in fact, it’s just a different style or format of arts or literatures.
Anyway, if comics is re-born as an animation, television series or a film, for example, what to adapt and not to adapt will be decided by the director or the producer. They may not include political issues or make things or actions more realistic. They will contribute comics that could be watch (or read) and re-watch (or re-read) and try to get in touch with their inner strange (target) audience for their story.
It feels like that I'm not focusing on the question ^^~ what do you think about it guys?
~For Q2~
Baetons (2001) has defined monstration as “a different narration type that hierarchically combined as specific narrative situation in the movies” - what is told through language and what is shown by images. He also defined graphiation as “a subordinate part of narration rather than a different and parallel type of it.” So within this framework, comics is considered an effect of graphic and narrative enunciation undertaken by the graphiateur or the graphiator. Graphiateur is “the artists' graphic trace or index that enables reader to understand the information fully,” which means the cartoonist’s subject position.
These are all I’ve got from the critical readers.
Do you guys have any other comments to make?
~addition to Q1~
I’ve just finished the reading - Tintin’s Blue Lotus. When I did read the critical reader before reading the Tintin book, I didn’t quite understand where Horricks (2004) said about Tintin: “One of the things that attracted me … the impression that each panel opened a tiny window onto another world… step inside those tiny landscapes and enter that other world.” But now I do... I quite enjoyed it. But what I concern is that what if I was a child – what I would learn or see from it? Because I think it’s got stereotypical views (?) about Chinese and Japanese as well as a bit violent and dangerous. Just as Horricks pointed out: “If we ban the comics we are reducing the chances of war and preventing the further perversion of the world’s children.” I found many children and young men (?) like comic books or movies because the pictures are cool, new world is created, and they can go for an imaginary journey with or by the character(s).
The names of graphic and narrative enunciation of the comics ,and the agent responsible for it are given by Marion.In order to make the distinction between the diverse types of enunciations and enunciators of the comics easier,Marion names the former as "Graphiation" and the latter as "Graphiateur".
Baetons (2001) expresses that every drawing carries the traces of 'Graphiation' , or the special enunciative act uttered by the author or agent when they make the drawings and do the lettering of the panels.Apart from that,owing to the distinction of narration and monstration,the reader of comics can only perceive the message of the work by identifying the graphic trace or index of the artist. Yet,'Graphiation' is prominently self-reflexive and autorefential. It is the device of auto-representation as well.
Besides,the meaning of 'Graphiateur' is that the authority or agent who is liable for the drawing of both the letters and the images. Baetons says that "The graphiateur is not the person in the flesh who signs the work , but an authority constructed by the reader" (2001, pp.151). At last,I am for Yuna's idea of 'monstration'.All the same, Baetons states that "the monstration in comics is far from having the same figurative transparency as in film" (2001, pp.149).The graphic material (both drawings and lettering)prohibits the act of monstration from being fully transparent and transitive.
Thanks for your feedback Kiniko~ ^^~
Q3. What Asterix series does better than Hergé’s Tintin? It is ‘the speech balloon’ as Khordoc (2001) clearly analysed. He said “It is inevitable to form comics without using the speech ballons because it is used for ‘hearing’ to mean ‘understanding’(p.156) … It is in effect the link between the text and the image, but they themselves are also constituted of text, … does not simply signal the presence of text, it actually implies the message (p.160)” In other words, the speech balloons make ‘sound’ in comics and there are more variety of shapes and colors of them in the Asterix to deliver the different kinds of speeches which make Asterix better than Tintin.
“All the balloons in TinTin are rectangular and yellow. … Herge dose not use certain devices to create the impression of sound,” (Khordic, 2001 p.164) whereas in Asteriz the balloons are mostly white in background and colors change depends on the context. For example, in Asterix and the Roman agent, the speech balloons of the other characters in such away that in gradually turns green which bring a significance in the comic. Khordic (2001) also explained that, in Asterix, "certain ballons is jagged suggesting a tone of voice which is not steady and calm, but rather shocked or angry. … anger, for example, can be indicated by a tail shaped to resemble a bolt of lightning." (p.163)
Lastly, Khordic (2001) said that even "though he makes use of onomatopoeia, iconic symbols and other devices to create the effect of sound, Herge has not displayed... the full range of sounds which can be represented graphically" (p.158)
2. What does Baetons (2001) mean by
‘monstration’, ‘graphiation’ and the ‘graphiateur’’?
Monstraion can be expalined as holy body together.
Graphiation can be explained as like tell people something with images.
Graphiateur can be explained as like drawings
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