So for now, any and all new posts will be featured there. Check it out!
Thursday, September 22, 2011
Thursday, May 26, 2011
The Gutenburgh
This is a web mock-up I did recently using Adobe Illustrator for a hypothetical online newspaper based in Pittsburgh. The name is inspired by the Gutenberg printing press, but I changed up the end to "burgh," as in the 'Burgh...clever, right? I wanted to keep it clean and easy to navigate. In addition, I used the colors of black, golds, and grays to relate it more to the city of Pittsburgh. (All stories are fictional.)
Monday, May 2, 2011
Monday, March 14, 2011
Mashup Smashups
I recently started playing around "mashing" up images using the online creation tool: Aviary. Aviary furthers the idea of re-appropiation on the web to create something uniquely "your" own. Based on the idea of Photoshop Tennis, I mashed up an original image of mine with a fellow classmates to create something entirely new.
Waldo Takes on Brooklyn
Waldo really fits in with all those hipsters.
Obviously, this is a play on the “Where’s Waldo” theme books, which were a favorite of mine growing up. Even recently, a friend of mine commented that he believes “Where’s Waldo” contributed greatly to his perceptual abilities leading to his new found interest in ornithology.
To create this image I used a photo I took this past summer at a free show in Brooklyn. Using Photoshop, I cropped the image to place emphasis on the crowd. After removing Waldo from his original image, I placed him amongst the crowd and changed his size to fit in with his new surroundings. I then altered the color of the original crowd photograph to be more in tune with Waldo’s highly saturated, cartoon appearance. Lastly, I used the Clone Stamp Tool to add shadows under Waldo’s feet, so he didn’t appear be floating
Effective Typography
Continuing to look at typography and it’s role in design, I have to address the concept of book covers and the graphic novel. If there is anywhere where font and image need to co-exist harmoniously it’s within the frames of the comic book. A great example – one of my all time favorite graphic novelists, the artist that really turned me on to the genre, Chris Ware.
I remember reading this book years ago after my sister decided to check it out from the library to bring on vacation. By the end of the week my entire family had read it. This act of excellent book selection was prompted by a Ware exhibit we had seen together earlier that summer at the Museum of Contemporary Art in Chicago. Ware is a master of design layout. Within the borders of the page, his frames are all over the place in different shapes and sizes. Occasionally arrows point to the next sequence, creating an exciting world for the viewer, but sadly not for his protagonist, Jimmy Corrigan. This book cover is a great example of how effective Ware is at combining image and typography. Various fonts are at play here, but with the tight color scheme and the radial balance it all works; drawing the viewer’s eyes to absorb every word.
If you want to see more of where that came from, check out Drawn & Quarterly’s website. The site is very visually appealing, and a work of art in its own right. And it should be as they publish works by the likes of Clowes, Brown, Ware, and Barry.
Gallery 72 - Brand Design Project
For a past project I had the honor of working with an amazing team of classmates to develop an original (albeit hypothetical) brand. This involved developing our brand’s values, logo, marketing tools, and website mock-up. I always enjoy working in teams. I think it’s valuable for creative minds of differing visions and opinions to come together to form a cohesive creation. So, without further ado I present you with our brand:
Gallery 72 is a virtual art gallery. Gallery 72 is intended to function as a platform for innovative, hip, and creative digital art. The gallery will assume a virtual space, with the user being able to navigate the gallery floor, viewing the different works. The art work is user-generated, but is displayed according to the current exhibition’s standards and theme, as chosen by the curators (owners). The fact that the gallery is curatorial lends credibility to the work being shown. Since it is an online gallery, all work is archived and accessible at later dates; allowing viewers access to past shows and artist work. The online platform also gives viewers and the artists a chance to interact through message boards and social networking. Gallery 72 is for everyone with internet access who is interested in exploring exciting, new media and art through a digital interface. We hope that Gallery 72 will also allow those without access to great art institutions (i.e. MoMA) a chance to be a part of this exciting new creative art process.
Here is a link to our logo treatments, marketing tools, business materials, and web page mock-up:
Friday, October 15, 2010
Here is my re-design of the Kodak logo done using Adobe Illustrator. For those of you living under a rock your entire existence. – Kodak is the world’s largest communication imaging provider (film, cameras, etc.). Kodak’s logo as changed several times over the years, but it’s most well-known logo has reached the status of being iconic (in my opinion anyway) with it’s signature red and yellow color scheme and boxy shape. However, Kodak’s most recent logo reinvention is a little lackluster. Kodak claims this new logo is a more modern design, that keeps their distinctive “a” in tack. Distinctive “a”? Excuse me? I’m pretty sure the “a” is the last thing I notice about the Kodak logo – it’s all about the color, people! So, it needed to be redone. Therefore, I wanted to give the logo the throwback treatment. I wanted to re-imagine the logo with it’s original, recognizable coloring (red & yellow) and composition (the “K”-like symbol emanating from the center). However, I did want to change the shape up a bit from the original round-edged square to a circle. In the end, I think my logo keeps the feel and recognition of the original Kodak logo, while giving it the retro look that’s so hip these days.
Conan's on Twitter
This is an assignment I completed a while ago using Adobe Photoshop when Conan O'Brien first joined Twitter. It was an exercise in Typography, and I had a lot of fun with assignment (although it had nothing to do with Conan’s witty remark, although it is pretty awesome). I find working with type to be a challenging source of enjoyment. I had a limited amount of time to complete this, with the requirement being that I could only use the tools available in Photoshop. I have a slight issue with some of the leading in this design. I didn’t get a chance to go back and assure a congruous 48pt leading to account for the larger portions of text. But overall, I’m pretty happy with it.
Friday, October 1, 2010
Fibonacci’s Skeletons
Don’t be afraid! There’s nothing to fear about these skeletons as they’re arranged according to Fibonacci’s Sequence, and are therefore pleasing to the eye.
Tuesday, September 28, 2010
Candy Tree
Hmm...These posts are becoming "sweetly" themed. Perhaps the smell of Halloween is in the air? Or I just really like Candy!
I actually just rediscovered this video the other day while cleaning out an old USB drive. It was completed as part of a group project last year, and I'm super glad I stumbled across it. The theme song is an amazing complement to the dizzying array of "expressions."
I actually just rediscovered this video the other day while cleaning out an old USB drive. It was completed as part of a group project last year, and I'm super glad I stumbled across it. The theme song is an amazing complement to the dizzying array of "expressions."
Monday, March 8, 2010
SWOTing Hallmark Cards
Often times in the business of business it is imperative to assess a company's strengths, weaknesses, opportunities, and threats...it's SWOTness, if you will. Examining Hallmark Cards became an interesting task as I knew very little about the company besides the fact that my mother makes me frequent a store for every special occasion on the calender. And what I found was quite surprising. For a company dripping in cheese, it's remarkably well-run and innovative. So while most print businesses are running scared, I'm pretty sure Hallmark will remain grounded.
Hallmark Cards is celebrating its 100th anniversary this year. What started as a picture postcard business in 1910 in Kansas City, Missouri has grown into a multi-billion dollar a year industry spanning across various media outlets. From cards to gift wrap to those heartfelt Hallmark Channel movies, the name, the brand, and the message has remained the same. The company’s continued dedication to being a private, family enterprise that seeks to connect people around the world has kept it at the top of its market.
Stats:
• Founded by J.C. Hall in 1910
• Led today by Donald C. Hall and his sons, Donald J. Hall and David E. Hall
• Headquarters: Kansas City, Missouri
Strengths:
• Controls 50% of the greeting card and gift wrapping market.
• In 2008 reported revenue at $4.3 billion.
o The greeting card industry, as a whole, generates around $7.5 billion total.
• Numerous stores around the country – 3,300 Gold Crown Stores AND featured in 41,500 retail outlets.
• Wealth of product availability:
o 65,000 products available at once.
o 18,000 new and redesigned greeting cards each year.
• Private, family owned business – produces a sense of community among employees. In 2009, was named one of the best places to work by the Human Rights Campaign’s “Corporate Equality Index” and a Working Mother 100 Best Companies by Working Mother magazine.
• Produces for a specialized market - there will always be holidays, birthdays, and occasions to celebrate/mourn, and if there’s not, Hallmark will invent some.
o 1.8 billion cards are sold at Christmas time alone (St. Patrick’s Day, the lowest selling holiday, still sells 12 million cards).
o Offers a variety of products within this niche market: greeting cards, paper party supplies, gifts and wrapping paper, ornaments and decorative home items, memory-keeping picture frames, albums and scrapbooks, e-cards, mobile greetings and customized photo cards, and a cable television channel. of products in a
• Various Rewards Programs (i.e. Gold Crown Rewards) work as incentives for customers.
• Good Management – adapting to a changing market.
o Produces a line of e-cards, mobile greetings, and Webcam greetings (3D Animated greeting cards) –
e-card industry accounts for around $300 million in revenue.
Just released App for iPhone.
Online shopping and mailing system for paper and electronic cards.
Price packages for online services.
Ability to personalize cards purchased online.
o Artists use innovative technology (3-D laser cutting and computer software) in addition to traditional art-making techniques.
o Utilizes Facebook and Twitter to connect with consumers.
• Hallmark Channel
• Hallmark School Store – operated in conjunction with Alvirne High School in New Hampshire; run entirely by Marketing I & II students.
• Recently announced extended deal with NBC Universal.
o Incorporates film and television properties with Hallmark Cards products – the partnership, “gives millions of consumers new ways to celebrate meaningful occasions and include their favorite television shows and movies,” (corporate.hallmark.com).
• Upstanding “citizen” company: Hallmark presents itself favorably; induces high public opinion through:
o Leaders in environmental responsibility.
Since 1940 has used recycled paper; in 1978 established company-wide van-pooling transportation initiative; since 1990’s reduced solid waste by 70% and hazardous waste by 90%; distribution center in Connecticut has zero percent waste program; surplus products go to families in need. In addition, company has a “rain garden” to control drainage and soil erosion. Excess food is donated to local food banks, food waste is turned into high-quality soil additive; Energy Star Designation company status.
o Contributions to various charities – in 2008 contributed over $30 million worth of goods and services to benefit Global AIDS Alliance, Susan G. Komen For the Cure, and UNICEF.
o Local Contributions – Hallmark is dedicated to directing most of their charitable programs at the local level – programs for children (Kaleidoscope) and Volunteer Involvement Pays (VIP) program where employees volunteer at least 25 hrs per 6 months to local non-profits.
• Microsoft Greetings Workshop
o Software for creating and printing cards – Partnership with Microsoft.
• International Business
o Headquarters located in Bradford, England and founded in 1966.
UK greeting card business is worth $1.7 billion annually.
o Products include mostly greeting cards and gift wrap.
o Featured in 30 languages and distributed in more than 100 countries.
o International Subsidiaries:
Asia Pacific – Hallmark Cards Australia, Ltd.; Hallmark Cards New Zealand, Ltd.; Nihon Hallmark K.K. (Tokyo, Japan)
Continental Europe – Hallmark Belgium N.V.; Hallmark Cards Netherlands, B.V.
United Kingdom – Hallmark Cards PLC (includes Hallmark Cards UK, Tigerprint, and Hambledon Studios)
• Numerous U.S. Subsidiaries – this showcases Hallmark’s extreme command of their market and ability to reach a large variety of consumers.
o Crayola and Crayola brand products– acquired in 1984.
o Crown Center – a shopping, dining, and entertainment complex that attracts 5 million visitors annually.
o Day Spring Cards – started in 1999. A lead supplier of Christian greeting cards/gifts. *Sold in more than 3,000 retail stores and available in 60 countries.
o Hallmark Business Solutions – started in 2009, a business to business division specializes in company relations and growth. Includes Hallmark Insights (2000) and Irresistible Ink (1998), Hallmark Business Expressions, and Hallmark Tributes. These lines focus on the development of personalize business and corporate cards, *incentive and rewards programs for retailers and businesses, including promotional products; and direct mail personalization and handwriting services.
o Halls Merchandising Inc. (1913) – Two specialty department stores.
o *Litho-Crome Company (1979) – printing company specializing in high-quality color separation and lithography. Provides printing capabilities for art reproduction, greeting cards, and other consumer products. Additional strength as Hallmark does not need to outsource their means of production.
o Sunrise Greetings (1998) – line of greeting cards distributed throughout the U.S. and Canada.
o William Arthur (1997) – specializes in high-end, luxury stationary. Includes lines designed by Vera Wang and Rita Renning.
Weaknesses:
• Specializes in what is seen as a very traditional, “old” practice – giving greeting cards.
• Recession
o Spending money on greeting cards, gift wrapping, home décor, etc. is a luxury and not a necessity. Therefore, sales are slowing in the current economy.
o In 2008, Hallmark Cards had to layoff 550 – 750 employees.
o Revenue fell 2% from 2007 to 2008.
o Last week, Hallmark was forced to close down a plant in St. Joseph, NC.
• Print Business
o Like any print business these days, sales are slowing. Consumers are turning towards the Internet and electronic/new media forms for sending greetings.
o Printing is a more expensive practice.
o In-house, traditional artists produce products that may cost more to produce. Unlike electronic services which are cheaper to make and distribute.
Opportunities:
• Expansion of online services.
o Hallmark is definitely trying to take advantage of new media and the e-card craze. However, they still charge for e-cards and mobile greetings ($0.99). Several web services offer free sending of online greetings.
Possible Solution – offering combination packages. Set price for a mix of mobile, e-card, and paper product services – consumer choice.
• Expanding international business – especially in the United Kingdom. The greeting card industry earns more than coffee and tea combined. It is the most successful region for the greeting card business in the world.
• Mobile technology
• Appeal to a younger demographic
o A new study of the greeting card market found that young adults aged 25 -34 spend the most (41% more than buyers aged 35-44); however, this demographic is also actively seeking alternatives via Facebook, Twitter, MySpace, and other social networking media.
• Develop partnerships with art departments at universities.
Threats:
• Lawsuits – owning content.
o Hallmark was sued by Paris Hilton and Neil Armstrong for copyright infringement.
• Recession – Layoffs, slowing sales.
• Facebook, Twitter, MySpace, & other social media.
o New media and electronic greetings are Hallmark’s biggest threat as they provide a cheap and convenient alternative.
• Other card companies:
o American Greetings, etc.
American Greetings established AGI (American Greetings Interactive – a print-at-home greeting card service).
o Specialty boutiques and high-end/handmade card lines (usually cost more and seen as more “artistic”).
• E-cards
• Elf yourself
o Office Max’s holiday greeting.
Works Cited
Hallmark Cards Official Web Site
Hallmark Corporate Official Web Site
Answers.com: Reference Answers
Regan, K. “E-card Makers Find Senders Willing to Pay” E-commerce Times. 9 Dec 2005
“Is Hallmark’s move into personalized card business driven by strategy or are they just late to the party?” Head Blog: Head First Advertising and Design. 5 Feb 2010.
Kansas City.com “Hallmark Cards To Cut Up to 750 Jobs” The Star 14 Apr 2009
Kansas City.com “Distribution Plant Used by Hallmark Closing in St. Joseph” The Star 17 Feb 2010
Wikipedia.org
Hallmark Cards is celebrating its 100th anniversary this year. What started as a picture postcard business in 1910 in Kansas City, Missouri has grown into a multi-billion dollar a year industry spanning across various media outlets. From cards to gift wrap to those heartfelt Hallmark Channel movies, the name, the brand, and the message has remained the same. The company’s continued dedication to being a private, family enterprise that seeks to connect people around the world has kept it at the top of its market.
Stats:
• Founded by J.C. Hall in 1910
• Led today by Donald C. Hall and his sons, Donald J. Hall and David E. Hall
• Headquarters: Kansas City, Missouri
Strengths:
• Controls 50% of the greeting card and gift wrapping market.
• In 2008 reported revenue at $4.3 billion.
o The greeting card industry, as a whole, generates around $7.5 billion total.
• Numerous stores around the country – 3,300 Gold Crown Stores AND featured in 41,500 retail outlets.
• Wealth of product availability:
o 65,000 products available at once.
o 18,000 new and redesigned greeting cards each year.
• Private, family owned business – produces a sense of community among employees. In 2009, was named one of the best places to work by the Human Rights Campaign’s “Corporate Equality Index” and a Working Mother 100 Best Companies by Working Mother magazine.
• Produces for a specialized market - there will always be holidays, birthdays, and occasions to celebrate/mourn, and if there’s not, Hallmark will invent some.
o 1.8 billion cards are sold at Christmas time alone (St. Patrick’s Day, the lowest selling holiday, still sells 12 million cards).
o Offers a variety of products within this niche market: greeting cards, paper party supplies, gifts and wrapping paper, ornaments and decorative home items, memory-keeping picture frames, albums and scrapbooks, e-cards, mobile greetings and customized photo cards, and a cable television channel. of products in a
• Various Rewards Programs (i.e. Gold Crown Rewards) work as incentives for customers.
• Good Management – adapting to a changing market.
o Produces a line of e-cards, mobile greetings, and Webcam greetings (3D Animated greeting cards) –
e-card industry accounts for around $300 million in revenue.
Just released App for iPhone.
Online shopping and mailing system for paper and electronic cards.
Price packages for online services.
Ability to personalize cards purchased online.
o Artists use innovative technology (3-D laser cutting and computer software) in addition to traditional art-making techniques.
o Utilizes Facebook and Twitter to connect with consumers.
• Hallmark Channel
• Hallmark School Store – operated in conjunction with Alvirne High School in New Hampshire; run entirely by Marketing I & II students.
• Recently announced extended deal with NBC Universal.
o Incorporates film and television properties with Hallmark Cards products – the partnership, “gives millions of consumers new ways to celebrate meaningful occasions and include their favorite television shows and movies,” (corporate.hallmark.com).
• Upstanding “citizen” company: Hallmark presents itself favorably; induces high public opinion through:
o Leaders in environmental responsibility.
Since 1940 has used recycled paper; in 1978 established company-wide van-pooling transportation initiative; since 1990’s reduced solid waste by 70% and hazardous waste by 90%; distribution center in Connecticut has zero percent waste program; surplus products go to families in need. In addition, company has a “rain garden” to control drainage and soil erosion. Excess food is donated to local food banks, food waste is turned into high-quality soil additive; Energy Star Designation company status.
o Contributions to various charities – in 2008 contributed over $30 million worth of goods and services to benefit Global AIDS Alliance, Susan G. Komen For the Cure, and UNICEF.
o Local Contributions – Hallmark is dedicated to directing most of their charitable programs at the local level – programs for children (Kaleidoscope) and Volunteer Involvement Pays (VIP) program where employees volunteer at least 25 hrs per 6 months to local non-profits.
• Microsoft Greetings Workshop
o Software for creating and printing cards – Partnership with Microsoft.
• International Business
o Headquarters located in Bradford, England and founded in 1966.
UK greeting card business is worth $1.7 billion annually.
o Products include mostly greeting cards and gift wrap.
o Featured in 30 languages and distributed in more than 100 countries.
o International Subsidiaries:
Asia Pacific – Hallmark Cards Australia, Ltd.; Hallmark Cards New Zealand, Ltd.; Nihon Hallmark K.K. (Tokyo, Japan)
Continental Europe – Hallmark Belgium N.V.; Hallmark Cards Netherlands, B.V.
United Kingdom – Hallmark Cards PLC (includes Hallmark Cards UK, Tigerprint, and Hambledon Studios)
• Numerous U.S. Subsidiaries – this showcases Hallmark’s extreme command of their market and ability to reach a large variety of consumers.
o Crayola and Crayola brand products– acquired in 1984.
o Crown Center – a shopping, dining, and entertainment complex that attracts 5 million visitors annually.
o Day Spring Cards – started in 1999. A lead supplier of Christian greeting cards/gifts. *Sold in more than 3,000 retail stores and available in 60 countries.
o Hallmark Business Solutions – started in 2009, a business to business division specializes in company relations and growth. Includes Hallmark Insights (2000) and Irresistible Ink (1998), Hallmark Business Expressions, and Hallmark Tributes. These lines focus on the development of personalize business and corporate cards, *incentive and rewards programs for retailers and businesses, including promotional products; and direct mail personalization and handwriting services.
o Halls Merchandising Inc. (1913) – Two specialty department stores.
o *Litho-Crome Company (1979) – printing company specializing in high-quality color separation and lithography. Provides printing capabilities for art reproduction, greeting cards, and other consumer products. Additional strength as Hallmark does not need to outsource their means of production.
o Sunrise Greetings (1998) – line of greeting cards distributed throughout the U.S. and Canada.
o William Arthur (1997) – specializes in high-end, luxury stationary. Includes lines designed by Vera Wang and Rita Renning.
Weaknesses:
• Specializes in what is seen as a very traditional, “old” practice – giving greeting cards.
• Recession
o Spending money on greeting cards, gift wrapping, home décor, etc. is a luxury and not a necessity. Therefore, sales are slowing in the current economy.
o In 2008, Hallmark Cards had to layoff 550 – 750 employees.
o Revenue fell 2% from 2007 to 2008.
o Last week, Hallmark was forced to close down a plant in St. Joseph, NC.
• Print Business
o Like any print business these days, sales are slowing. Consumers are turning towards the Internet and electronic/new media forms for sending greetings.
o Printing is a more expensive practice.
o In-house, traditional artists produce products that may cost more to produce. Unlike electronic services which are cheaper to make and distribute.
Opportunities:
• Expansion of online services.
o Hallmark is definitely trying to take advantage of new media and the e-card craze. However, they still charge for e-cards and mobile greetings ($0.99). Several web services offer free sending of online greetings.
Possible Solution – offering combination packages. Set price for a mix of mobile, e-card, and paper product services – consumer choice.
• Expanding international business – especially in the United Kingdom. The greeting card industry earns more than coffee and tea combined. It is the most successful region for the greeting card business in the world.
• Mobile technology
• Appeal to a younger demographic
o A new study of the greeting card market found that young adults aged 25 -34 spend the most (41% more than buyers aged 35-44); however, this demographic is also actively seeking alternatives via Facebook, Twitter, MySpace, and other social networking media.
• Develop partnerships with art departments at universities.
Threats:
• Lawsuits – owning content.
o Hallmark was sued by Paris Hilton and Neil Armstrong for copyright infringement.
• Recession – Layoffs, slowing sales.
• Facebook, Twitter, MySpace, & other social media.
o New media and electronic greetings are Hallmark’s biggest threat as they provide a cheap and convenient alternative.
• Other card companies:
o American Greetings, etc.
American Greetings established AGI (American Greetings Interactive – a print-at-home greeting card service).
o Specialty boutiques and high-end/handmade card lines (usually cost more and seen as more “artistic”).
• E-cards
• Elf yourself
o Office Max’s holiday greeting.
Works Cited
Hallmark Cards Official Web Site
Hallmark Corporate Official Web Site
Answers.com: Reference Answers
Regan, K. “E-card Makers Find Senders Willing to Pay” E-commerce Times. 9 Dec 2005
“Is Hallmark’s move into personalized card business driven by strategy or are they just late to the party?” Head Blog: Head First Advertising and Design. 5 Feb 2010.
Kansas City.com “Hallmark Cards To Cut Up to 750 Jobs” The Star 14 Apr 2009
Kansas City.com “Distribution Plant Used by Hallmark Closing in St. Joseph” The Star 17 Feb 2010
Wikipedia.org
Wednesday, December 9, 2009
Academic Plan
Charting My Media Studies Course
When I first applied to graduate school at The New School, I thought I knew exactly what I wanted do with my advanced education. The program’s combination of theory and practice was ideal for my goal to one day become a college professor and enter the world of academia. However, little did I know that once I started participating in class work my ideas would slowly change, leaving me with questions about my initial ambitions. But this is not a negative thing. I think the evolution of ideas and plans is natural and expected. During this semester in classes, such as Understanding Media Studies, Media Ideas, and Media Concepts, I learned and acknowledged traits within myself, which contributed to my reworked idea of my future within the field. For example, I’ve recently garnered interest in obtaining a Media Management certificate, and want to put my skills and knowledge into the production and management of creative media. While I still have hopes to one day work with future media students at the college level, and will therefore complete a thesis, there are a few things I want to accomplish and experience first surrounding the idea of examining and advising effective message making.
Furthermore, it is clear I need to explore my options and interests further to narrow my interests and goals, which will be accomplished in future course work next semester and beyond. In addition, I must think pragmatically about my educational course at The New School. I will consider connections with faculty, financial costs and time spent in school. Most importantly, I will gear my course of study towards my interests. Although I am still determining my place within the field, I have a good idea of what I need to do next to direct my future within media studies, and how all of this will factor together to formulate my New School journey.
Theory and Practice
I always knew I wanted to take a fairly equal number of theory and practice courses while attending graduate school. I think understanding the driving theory behind the creative process is equally as important as the resulting production. However, I initially imagined myself using this knowledge to enhance my own teaching of the core concepts of media literacy or education. With my background in art education, I wanted to teach college level students the importance of media literacy with ways to foster this in the field of education. However, during my first semester I rediscovered my own love of creating and producing. I had taken several studio courses while in undergrad, and they were some of my most cherished, practical school experiences. Since then I have practiced on my own, but only when I’ve had time in between work. Now that I’m back in school, I’m rejuvenating my creative side and getting back to my art making roots, albeit in a much different medium. In addition, due to my interest in media literacy, I’ve always been interested in how to create an effect message, one which is able to be understood by as many people as possible within that intended audience. In my Media Concepts course I was able to engage in this practice, and further my knowledge of the medium in which I’m working.
Next semester I am continuing my trend of balancing theory and practice courses, especially since I am still trying to gain my footing to determine a more definitive plan of action. I am currently enrolled in four classes for the Spring 2010 semester: Research Methods for Media Activism, Media Practices: Time-Based, Competitive Strategies: Branding, and Urban Media Lab: Strangers. I am hoping to advance my production skills in the Time-Based class, learn research methods necessary to any media venture, and get an idea of what media management entails. In addition, I will get a chance to enhance my theoretical knowledge while putting ideas into practice in the unique Urban Media Lab. By selecting this course load I am hoping to further cement my path in media studies. I will learn production and management skills required to participate in the practice of media studies. I also hope the spring semester will help me to further my idea for a thesis proposal.
Thesis and Graduation Timeline
I have taken the time to meet with Peter Haratonik for academic advising, and through our discussion have learned that it is common for students working towards a thesis to take an extra semester; therefore, graduating in two and half years instead of just two. Since I would like to complete a thesis, I am certain this will pertain to me as well. I am not entirely sure what I will choose for my thesis topic, and I surely do not know enough of the faculty yet to decide on an advisor. I am hoping that next semester I will have the opportunity to explore these options more fully. However, I have a general idea that I would like my thesis to be in the form of a multimedia project, along the lines of an interactive website, to fully incorporate not only my interests in theory and production, but my desire to explore effective message making and its related topics. While speaking with Professor Haratonik about this, I learned that I need to look for two faculty members to guide me in this venture. Therefore, I know I will searcg for an advisor with the skills and knowledge of interactive media, and one who understands media literacy and the research skills and methodology necessary for my thesis project.
Since I am aiming to complete a thesis, my personally proposed timeline for graduation is the end of the Fall 2011 semester. In speaking with a Professor Haratonik, I understand that I need to take some additional time next semester to narrow my interests within the field. I hope to turn in my thesis proposal during the fall term of 2010, complete my core coursework requirements by Spring 2011, and take the one credit Thesis Supervision course during Fall 2011 to complete my degree. Since I am currently receiving financial aid, during the Fall 2011 term I will try to find work or an internship related to my field while completing my thesis.
Future Course Work
While looking at the course list and faculty bios I know there are several classes I hope to take that will further my goal of combining production and theory. If I firmly decide to pursue a Media Management Certificate in addition to my Masters degree, I would like to not only meet with Paul Hardart, but take 3 more courses within MMP. I am interested in signing up for Media Management and Leadership, Film Distribution and New Media, and Digital Media: Strategy and Implementation. My goal is for these classes to contribute to my ability to creative produce by understanding the business and strategy behind it. Therefore, my culminating MMP project would relate to my final thesis.
Theory classes I wish to take include Interactive Media with Douglas Rushkoff, Digital Media Theory, and/or Fundamentals of the Sociology of Media with Paolo Carpignano. Since I am interested in the affects/effects relating to the production of and understanding of media messages, engaging in coursework regarding media of today and the sociology behind it seems sensible and, most importantly, of interest to me.
Production courses I hope to pursue are Media Practices: Design, The Producer’s Craft, and/or Media Practices: Interactive. Again, I feel these classes will contribute to my core knowledge of the production side of media, which goes hand-in-hand with theory. I hope to achieve a well-rounded education in terms of production. I feel it is important to understand how to operate the medium in which I plan to work. Overall, my goal is for my classes to work in conjunction with one another, enhancing my understanding of the each one through the participation in the other.
Lastly, in reading faculty bios and through discussions with peers and advisors, in addition to presentations during Understanding Media studies, there are several faculty members I hope to interact with while at The New School. I am very interested in taking a course with Douglas Rushkoff. I found his experience and expertise with interactive media, as well as, his contributions to The Daily Beast and Arthur magazine, is something I hope to benefit from through his teachings. I also would like to take a course with the highly respected Paulo Carpignano, whom would have great insights into the sociology side of media. Paul Hardart would be an excellent professor to provide guidance in regards to media management, and I hope to take another course with Brian McCormick. I had the pleasure of taking Mr. McCormick’s Media Practices: Concepts course this semester and found his teachings to be very practical and worthwhile. In addition, he forms excellent relationships with his students and was able to provide additional guidance in response to my questions regarding my media interests
Next Step…
In conclusion, I know I still have a lot of exploring to do personally and educationally in order to make the most of my experience at The New School. I understand the need to narrow my interests within the field, and I plan to achieve this by engaging in my courses next semester, and seeking out meetings with faculty members for advising. In addition, I am adamant about keeping a journal to chart my professional ideas in media. I also keep extensive reference for classes, which help to guide me in locating my top interests within media studies. Utilizing all the resources available to me at The New School, such as my fellow peers and faculty, I plan to actively make the most of my education. My courses, along with my personal research and notes, will push me towards a solid method of study regarding the study of effective media production that reaches an intended audience. To begin, or better yet continue, on this journey I will ask questions as to how certain media is more effective than others and why, and what is the relationship between the message and medium rather than just assuming that the “medium is the message.”
When I first applied to graduate school at The New School, I thought I knew exactly what I wanted do with my advanced education. The program’s combination of theory and practice was ideal for my goal to one day become a college professor and enter the world of academia. However, little did I know that once I started participating in class work my ideas would slowly change, leaving me with questions about my initial ambitions. But this is not a negative thing. I think the evolution of ideas and plans is natural and expected. During this semester in classes, such as Understanding Media Studies, Media Ideas, and Media Concepts, I learned and acknowledged traits within myself, which contributed to my reworked idea of my future within the field. For example, I’ve recently garnered interest in obtaining a Media Management certificate, and want to put my skills and knowledge into the production and management of creative media. While I still have hopes to one day work with future media students at the college level, and will therefore complete a thesis, there are a few things I want to accomplish and experience first surrounding the idea of examining and advising effective message making.
Furthermore, it is clear I need to explore my options and interests further to narrow my interests and goals, which will be accomplished in future course work next semester and beyond. In addition, I must think pragmatically about my educational course at The New School. I will consider connections with faculty, financial costs and time spent in school. Most importantly, I will gear my course of study towards my interests. Although I am still determining my place within the field, I have a good idea of what I need to do next to direct my future within media studies, and how all of this will factor together to formulate my New School journey.
Theory and Practice
I always knew I wanted to take a fairly equal number of theory and practice courses while attending graduate school. I think understanding the driving theory behind the creative process is equally as important as the resulting production. However, I initially imagined myself using this knowledge to enhance my own teaching of the core concepts of media literacy or education. With my background in art education, I wanted to teach college level students the importance of media literacy with ways to foster this in the field of education. However, during my first semester I rediscovered my own love of creating and producing. I had taken several studio courses while in undergrad, and they were some of my most cherished, practical school experiences. Since then I have practiced on my own, but only when I’ve had time in between work. Now that I’m back in school, I’m rejuvenating my creative side and getting back to my art making roots, albeit in a much different medium. In addition, due to my interest in media literacy, I’ve always been interested in how to create an effect message, one which is able to be understood by as many people as possible within that intended audience. In my Media Concepts course I was able to engage in this practice, and further my knowledge of the medium in which I’m working.
Next semester I am continuing my trend of balancing theory and practice courses, especially since I am still trying to gain my footing to determine a more definitive plan of action. I am currently enrolled in four classes for the Spring 2010 semester: Research Methods for Media Activism, Media Practices: Time-Based, Competitive Strategies: Branding, and Urban Media Lab: Strangers. I am hoping to advance my production skills in the Time-Based class, learn research methods necessary to any media venture, and get an idea of what media management entails. In addition, I will get a chance to enhance my theoretical knowledge while putting ideas into practice in the unique Urban Media Lab. By selecting this course load I am hoping to further cement my path in media studies. I will learn production and management skills required to participate in the practice of media studies. I also hope the spring semester will help me to further my idea for a thesis proposal.
Thesis and Graduation Timeline
I have taken the time to meet with Peter Haratonik for academic advising, and through our discussion have learned that it is common for students working towards a thesis to take an extra semester; therefore, graduating in two and half years instead of just two. Since I would like to complete a thesis, I am certain this will pertain to me as well. I am not entirely sure what I will choose for my thesis topic, and I surely do not know enough of the faculty yet to decide on an advisor. I am hoping that next semester I will have the opportunity to explore these options more fully. However, I have a general idea that I would like my thesis to be in the form of a multimedia project, along the lines of an interactive website, to fully incorporate not only my interests in theory and production, but my desire to explore effective message making and its related topics. While speaking with Professor Haratonik about this, I learned that I need to look for two faculty members to guide me in this venture. Therefore, I know I will searcg for an advisor with the skills and knowledge of interactive media, and one who understands media literacy and the research skills and methodology necessary for my thesis project.
Since I am aiming to complete a thesis, my personally proposed timeline for graduation is the end of the Fall 2011 semester. In speaking with a Professor Haratonik, I understand that I need to take some additional time next semester to narrow my interests within the field. I hope to turn in my thesis proposal during the fall term of 2010, complete my core coursework requirements by Spring 2011, and take the one credit Thesis Supervision course during Fall 2011 to complete my degree. Since I am currently receiving financial aid, during the Fall 2011 term I will try to find work or an internship related to my field while completing my thesis.
Future Course Work
While looking at the course list and faculty bios I know there are several classes I hope to take that will further my goal of combining production and theory. If I firmly decide to pursue a Media Management Certificate in addition to my Masters degree, I would like to not only meet with Paul Hardart, but take 3 more courses within MMP. I am interested in signing up for Media Management and Leadership, Film Distribution and New Media, and Digital Media: Strategy and Implementation. My goal is for these classes to contribute to my ability to creative produce by understanding the business and strategy behind it. Therefore, my culminating MMP project would relate to my final thesis.
Theory classes I wish to take include Interactive Media with Douglas Rushkoff, Digital Media Theory, and/or Fundamentals of the Sociology of Media with Paolo Carpignano. Since I am interested in the affects/effects relating to the production of and understanding of media messages, engaging in coursework regarding media of today and the sociology behind it seems sensible and, most importantly, of interest to me.
Production courses I hope to pursue are Media Practices: Design, The Producer’s Craft, and/or Media Practices: Interactive. Again, I feel these classes will contribute to my core knowledge of the production side of media, which goes hand-in-hand with theory. I hope to achieve a well-rounded education in terms of production. I feel it is important to understand how to operate the medium in which I plan to work. Overall, my goal is for my classes to work in conjunction with one another, enhancing my understanding of the each one through the participation in the other.
Lastly, in reading faculty bios and through discussions with peers and advisors, in addition to presentations during Understanding Media studies, there are several faculty members I hope to interact with while at The New School. I am very interested in taking a course with Douglas Rushkoff. I found his experience and expertise with interactive media, as well as, his contributions to The Daily Beast and Arthur magazine, is something I hope to benefit from through his teachings. I also would like to take a course with the highly respected Paulo Carpignano, whom would have great insights into the sociology side of media. Paul Hardart would be an excellent professor to provide guidance in regards to media management, and I hope to take another course with Brian McCormick. I had the pleasure of taking Mr. McCormick’s Media Practices: Concepts course this semester and found his teachings to be very practical and worthwhile. In addition, he forms excellent relationships with his students and was able to provide additional guidance in response to my questions regarding my media interests
Next Step…
In conclusion, I know I still have a lot of exploring to do personally and educationally in order to make the most of my experience at The New School. I understand the need to narrow my interests within the field, and I plan to achieve this by engaging in my courses next semester, and seeking out meetings with faculty members for advising. In addition, I am adamant about keeping a journal to chart my professional ideas in media. I also keep extensive reference for classes, which help to guide me in locating my top interests within media studies. Utilizing all the resources available to me at The New School, such as my fellow peers and faculty, I plan to actively make the most of my education. My courses, along with my personal research and notes, will push me towards a solid method of study regarding the study of effective media production that reaches an intended audience. To begin, or better yet continue, on this journey I will ask questions as to how certain media is more effective than others and why, and what is the relationship between the message and medium rather than just assuming that the “medium is the message.”
Monday, November 30, 2009
Literature Review
Indecision: The Inconclusions of Comic Book Research
Comic Strips, comic books, graphic novels, Manga - the art of comics can take on many forms and styles of narrative. From single frame to full novels to the ever present Sunday Newspaper Strip, comics have been a part of American culture and the American psyche for decades. Comics have always served as a medium that reaches a considerably large audience – from the daily paper to specialized graphic novels (Spiggle 100-13). However they are continually debated in regards to value, education, and their place within the art world. A direct conclusion has yet to be reached that establishes comics’ role in the American landscape. However, this very well may be because comics are one of the only art forms that can cross so many borders. With elements of narrative storytelling, words, pictures, symbols, and icons comics tend to bridge the gap between literature and art. However, neither field welcomes comics with open arms.
Much research has been conducted examining comics’ relationship to art, which has been an integral part in developing a clear definition of the form itself. However, as the research tells us, this topic was hotly debated, and as bias continued to flourish, comics were seen has a “low” art form for many years; garnering protest within the educational and art fields (Schmitt 153-60). Only in recent years does this trend seem be reversing. Comics have also been not only criticized but admired for their role in language and reading development, as well as, their portrayal of social values and beliefs. It seems that the research is still entirely inconclusive with research presenting both sides of the argument without reaching a conclusion, but maybe this is the goal: to raise more questions and inspire further study. When society encounters a form of media that transcends various genres, it is forced to look at it with a critical eye. And this is rightfully so, for comics need to be studied to understand their full potential. Yet all the research being done covers the same topics with the same (in)conclusions.
Various articles have been written in publications from The Journal of Popular Culture to Education Week to TIME magazine in relation to comics place in this media-filled world from their qualifications as a true art form to their place within the educational system to their commentary on social issues of the day. Almost all research is quick to note the fast-growing nature of the comics industry, especially it’s ability to appeal to a mass audience across several mediums since it’s introduction into American pop culture in the early 1900’s, and this trend continues (Lieberman B1; Pawlowski 1; Spiggle 100-13).
Comics are a “window into certain aspects of American society,” (Berger 164-77) Therefore, the goal should not be to ban and devalue comics, but to understand and embrace their function has a media unto itself with the potential to not only reflect current values and beliefs, but educate technically as well as metaphorically.
Comics as Art
I think it is crucial to first recognize, or at least examine, comics’ role as a preeminent art form. Investigations conducted over the last 60 plus years continually bring up the argument of comics as art, however, none of this research ever gives us a clear answer. But is there every really a clear answer as to the true nature of art? However, in general research often notes the public perception of comics as a “low” art form (Dorrell, Curtis, and Rampal 223-32). Author Ronald Schmitt even notes comics have an “inconsequential and frivolous façade.” On the other hand, in his comprehensive and widely respected book Understanding Comics, Scott McCloud, derives from Will Eisner’s initial definition of comics as “sequential art,” a new, elaborative description that surely suggests comics are indeed art:
com-ics (kom’iks)n. plural in form, used with a singular verb. 1. Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.
Additionally, although comics are usually seen as a 20th century medium, when examining art history various examples emerge suggesting otherwise. Several articles site the work of Rodolphe Topffer and William Hogarth, two artists form the mid 18th – 19th centuries. Both men worked extensively on narrative storytelling through pictures with Topffer even using the written word to enhance his drawings (McCloud; Brandl 26-8).
Since many scholars and researchers have labored over comics place within the art world, it seems strange to consider it anything but art. In addition, comics are a highly flexible medium, one that appeals to not only a mass audience, but a small subculture depending on genre of comic (Spiggle 100-13). Therefore, comics in all shapes and sizes can qualify as “high” art. In addition, any groundbreaking work of art was labeled as such because it was, well, groundbreaking. It built upon past traditions to create a new way of communicating ideas and representing ideas, beliefs, objects, ways of life, etc. (Schmitt 153-60; Berger 164-77). This is exactly what comics did. When comics first began to show up on the American radar during the early 20th Century, it was a groundbreaking new art form. In his book, The Aesthetics of Comics, David Carrier “recognizes comics as a legitimate form of expression,” (Brandl 26-8). Carrier writes, “The standards of comics include inventiveness, originality, and consistency. The best comics really are great artworks.” Andy Warhol is famously quoted as saying, “Making money is art, working is art, and good business is the best art,” (Art Quotes Book). With comics’ cross-market appeal garnering billions of dollars each year for not only the comic book industry, but for film, TV, and retail companies it seems comics are definitely their own unique brand of art (Lieberman B1).
Comics and Education
Similar to comics’ relationship with art, most research concludes that comics have not been taken seriously by the American public. With comics’ burst into popular culture during the early1900’s pounds of criticism and debate ensued. Calls came from educators and scholars alike to ban them from the classroom. Comics presented concerns for parents, teachers, and society as a whole – this new medium was something unlike anything that had been seen before. Many researchers maintained that reading comics was detrimental to “comprehension, imagination, and caused eyestrain,” (Dorrell, Curtis, and Rampal 223-32). One of the biggest crusaders against comics in school was psychiatrist Fredrick Wertham, who insisted that comics were, “death on reading,” (Dorrell, Curtis, and Rampal 223-32). Wertham’s research appears in many texts, and he authored the book Seduction of the Innocent on the subject, which claimed children with poor reading skills tended to be frequent readers of comic books (Dorrell, Curtis, ad Rampal 223-32). Scholars writing for the Journal of Popular Culture turned to Wertham’s conclusion to tighten their research on the negative attitudes facing comics. However, most articles are quick to note no direct correlation between the reading of comics and intelligence level. In addition, there have been findings that reading comics may even be beneficial in fostering reading skills in remedial students (Dorrell, Curtis, and Rampal 223-32). Other research suggests that a bias towards comics for their commentary on social values have led to negative opinion (Schmitt 153-60). In addition, this incorrect association with being a lower class medium has fostered negative feelings, when in fact comics are generally read by middle and upper class individuals (Berger 164-77). In addition, the comic reaches a significantly wide audience through it’s publication in newspaper, therefore, exposing itself to almost every demographic (Spiggle 100-13). Much of this research was conducted in the 1940-50’s, and therefore, can be viewed as outdated. However, it was highly influential in cultivating attitudes towards comics that are still held today. But times may be changing as recent research is suggesting otherwise. Scholars publishing in the 1990’s and 2000’s in publications such as Education Week have been quick to touch upon Wertham-esque claims, but almost all debunk his outlook. Various articles talk of comics’ positive role in education. An article in The Education Digest notes comics ability to help children read and think creatively, while encouraging language and vocabulary building (Zimmerman 55-7) A 1996 study found that 7th grade males who read comics frequently tended to read more books in general. This same article even states President Barack Obama “credit[s] comic books with awakening [his] own love of reading,” (Viadero 1-2). Comics also have the tendency to use atypical language for children books, which can aid in vocabulary building. Teachers are even beginning to incorporate comics into classroom curricula to assist English-language learners and struggling readers. Educators are also finding comics a valuable tool in addressing sensitive subject matter and fostering creativity in the arts (Viadero 1-2). This demonstrates comics continued role in addressing social issues. Berger even suggests that, “ordinary language is capable, most adequately, of dealing with profound and complex matters. If the comics are simple, it does not mean that the problems the deal with are necessarily so.”
Comics and Social Values
While comics have received protest in the educational field due to their supposed negative effects on reading skills, an underlying cause may be their inherent critique and portrayal of social issues of the times. Comics have served as commentary on current events; illustrating the general tones and sentiments of a culture, as well as, offering fantastical solutions to problems via superheroes fighting crime for the common good. Comics are able to reach both a mass and a specialized audience, which aids in their ability to relate to readers’ needs, concerns, and emotions (Spiggle 100-13). Most research touches on comics’ ability to convey cultural perspectives within their frames, but few delve deep within the subject matter. One researcher even suggests the motivation of Wertham’s entire campaign was the “horror of a society forced to look at its own sins,” (Schmitt 153-60). TIME magazine even points to the increasingly common identification we feel with comic book characters. Comics, like most art forms, provide a representation of life. Therefore, readers like to identify with the characters we are reading about. TIME’s writer, James Poniewozik, states “It’s not enough that superheroes fight our battles. We need them to suffer our heartbreaks, reflect our anxieties, embody our weaknesses.”
In addition, research done by Susan Spiggle suggests that as consumers, we share common values and these values drive content and sales of comics, both mainstream and underground. Consumers feel the need to relate. Her entire inquiry into comics is to “assess the efficacy of content analysis of comics as a technique for measuring social values.” Spiggle goes on to say, “The history, content, market, and production and distribution system of underground commix suggest their utility as an indicator of the values of a distinct sub-cultural group.” Spiggle remarks, “…comics do not so much mirror reality as reflect its idealization.” Furthermore, Berger suggests comics are worthy of study because they open a “window into certain aspects of American society.”
When comics first gained momentum the early 1900’s it was because they provided a diversion from the realities of World War I. These superheroes engaged in battle with villains were metaphors for the battle against communism. Comic books and their characters often embody myths and ideologies of the culture from which they are produced (Schmitt 153-60).
Again, in the 1970’s, comics dealt increasingly with social and political issues (Berger 164-77). It was around this time underground “comix” surfaced on college campus and independent press outlets where the artists could have the freedom necessary to present their views on the issue of the day (Spiggle 100-13) Today some of the more popular artists, such as Chris Ware, tend to write comics that have elements of the personal and private – glimpses into the everyday life of the mundane (See Jimmy Corrigan: The Smartest Kid on Earth). It seems every reader can find a comic book character with which they can connect. Even McCloud points out the act of “cartooning” initially derived from the fact that less realistic-looking characters were easier for readers to identify with. These “superheroes” show us how to manage day to day life within the structure of our collective core values. As Poniewozik remarks, “America likes its superheroes: human.”
Comics and Media Literacy
An area within comics’ research that is increasingly important today is the issue of media literacy. It is my belief that comics act as an exceptional aid in fostering visual literacy skills, as the key to understanding comics is the deciphering of various icons, symbols, and cartoons (McCloud). Berger notes, “Comics give opportunity for a fusion of art and language which allows ideas to be presented in images that are often emotionally gripping.”
Therefore, various articles start to tackle comics’ role in visual or media literacy, but few actually explore comics potential as a tool to teach visual literacy – essentially how to read images and decode meaning. Only Viadero’s article states instances of teachers using comics in lessons on visual literacy. She even provides a quote from a Maryland librarian who says, “As we become a more and more visual society, schools will recognize the usefulness of these novels.” Other research merely suggests the need for media literacy skills to read comics, or how the practice of reading comics can enhance visual literacy (Faust 195-202). For example, Faust states in Comics and How to Read Them, “…the key to understanding them does not lie in the words or pictures alone but in the relationships between them.” He later states, “…communication is the effect of neither the linguistic nor the pictorial field, but of the hybrid.” Essentially this is the key to any form of understanding media. So why have comics not been further explored as tools for this type of education? And how exactly would we teach these lessons? I’ve found that comics are great tools for giving history lessons. In comics, such as, Pyongyang: A Journey in North Korea by Guy Delisle, I was able to travel to a country I’ve never been to and in Louis Reil: A Comic Strip Biography by Chester Brown, I learned about a time in Canadian history I previously knew nothing about. With comics’ ability to educate on other subjects, how can we use comics to educate us on deciphering…comics? Spiggle notes that consumers, “infer values from themes and symbols of human communication,” which clarifies the importance of media literacy.
International Comics & Technology: an Area for Continuation
Very little of the publications I researched contained information with an international perspective on comics. McCloud points out comics’ deep roots in Japan and even discusses the developmental and stylistic differences between Japanese and American comics. In addition, Viadero’s article lightly touches upon Manga, a Japanese-style graphic novel. However, the insight ends here. All other research detailed the American tradition of comics. Little notice was given even to the portrayal of minorities in comics and/or their role in creating or reading comics. Therefore, I believe a key area for additional research would be in addressing international comics with a comparison of their acceptance and history within their own countries.
Furthermore, the research is almost completely devoid of mention to comics’ relation to new and developing technology or new media. Berger discusses comics’ proclivity for addressing the issue of new technology through plot, but I could not find any research that directly addressed comics’ role in a technology, new media-filled future. This is an area that I would be interested in exploring.
Conclusion
In addition to the lack of research touching upon international comics, further work clearly needs to be done to enhance understanding and acceptance of comics within media literacy education and its relationship with new technology. I believe comics are way to give voice to the voiceless, and I think it’s crucial to examine comics at every level and in every geographical setting to understand how readers across the globe interpret this unique art form. In addition, as a former art educator, I understand the extreme importance of media literacy today. A 1956 study on comics by Science Research Association found comics’ meaning lays just “below the surface and concealed from public view,” (Berger 164-77) Therefore, I hope to further research comics’ innate ability to aid in this field of study as a tool for learning and study. Comics amass a huge amount of revenue, and are the basis for other forms of media, such as TV and film (Pawlowski 1). They reach a mass audience across several mediums. Through their “cartoon” characters readers across the globe can identify with the narrative and become a part of the story, often a reflection on a current critical issue. They are direct product of our popular culture (Lieberman B1). So why have these highly influential art forms not been taken seriously for generations? And why are they being further studied to asses their potential as guides to understanding other forms of media? As Faust states, “In analyzing comics, one must take account the connection between entertainment and ideology, between formal composition and mythical content,” and this is what I hope to accomplish with any further research I may do. As Berger mentions, comics are an “important part of our socialization, by virtue of the simple face that millions of children – and adults – cannot continually be exposed to a form of communication without something happening.”
Works Cited
"Famous Art Quotes." Art Quotes Book. artQuotes book, Web. 16 Nov 2009.
Berger, Arthur. "Comics and Culture." Journal of Popular Culture. 5.1 (1971): 164-77. Print.
Brandl, Mark Staff. "Art, Philosophy and Comics." Art Book. 8.2 (2001): 26-8. Print.
Brown, Chester. Louis Reil: A Comic-Strip Biography. Quebec, Montreal: Drawn & Quarterly, 2003. Print.
Delisle, Guy. PYONGYANG: A Journey in North Korea. Quebec, Montreal: Drawn & Quarterly, 2007. Print.
Dorrell, Larry D, Dan B Curtis, and Kuldip R Rampal. "Book-worms Without Books? Students Reading Comic Books in the School House." Journal of Popular Culture. 29.2 (1995): 223-32. Print.
Faust, Wolfgang Max. "Comics and How to Read Them." Journal of Popular Culture. 5.1 (1971): 195-202. Print.
Lieberman, David. "Comic Boom!; Magazines Earn Megabucks Through TV, Film, Retail Sales." USA Today 25 Jul 2008: B1. Print.
McCloud, Scott. Understanding Comics: The Invisible Art. New York, NY: HarperCollins, 1993. Print.
Pawlowski, Warren. "One in 10 Adult Book Buyers Read Comic Books, Simba Study Reveals." Internet Wire (2009): 1. Web. 12 Nov 2009.
Poniewozik, James. "Superhero Nation." TIME 20 May 2002: 76-8. Print.
Schmitt, Ronald. "Deconstructive Comics." Journal of Popular Culture. 25.4 (1992): 153-60. Print.
Spiggle, Susan. "Measuring Social Values: A Content Analysis of Sunday Comics and Underground Comix." Journal of Consumer Research. 13. (1986): 100-13. Print.
Ware, Chris. Jimmy Corrigan, Smartest Kid on Earth. Pantheon Books, 2000. Print.
Viadero, Debra. "Scholars See Comics as No Laughing Matter." Education Week. 28.21 (2009): 1-2. Print.
Zimmerman, Bill. "Creating Comics Fosters Reading, Writing, and Creativity." Education Digest. 74.4 (2008): 55-7. Print.
Comic Strips, comic books, graphic novels, Manga - the art of comics can take on many forms and styles of narrative. From single frame to full novels to the ever present Sunday Newspaper Strip, comics have been a part of American culture and the American psyche for decades. Comics have always served as a medium that reaches a considerably large audience – from the daily paper to specialized graphic novels (Spiggle 100-13). However they are continually debated in regards to value, education, and their place within the art world. A direct conclusion has yet to be reached that establishes comics’ role in the American landscape. However, this very well may be because comics are one of the only art forms that can cross so many borders. With elements of narrative storytelling, words, pictures, symbols, and icons comics tend to bridge the gap between literature and art. However, neither field welcomes comics with open arms.
Much research has been conducted examining comics’ relationship to art, which has been an integral part in developing a clear definition of the form itself. However, as the research tells us, this topic was hotly debated, and as bias continued to flourish, comics were seen has a “low” art form for many years; garnering protest within the educational and art fields (Schmitt 153-60). Only in recent years does this trend seem be reversing. Comics have also been not only criticized but admired for their role in language and reading development, as well as, their portrayal of social values and beliefs. It seems that the research is still entirely inconclusive with research presenting both sides of the argument without reaching a conclusion, but maybe this is the goal: to raise more questions and inspire further study. When society encounters a form of media that transcends various genres, it is forced to look at it with a critical eye. And this is rightfully so, for comics need to be studied to understand their full potential. Yet all the research being done covers the same topics with the same (in)conclusions.
Various articles have been written in publications from The Journal of Popular Culture to Education Week to TIME magazine in relation to comics place in this media-filled world from their qualifications as a true art form to their place within the educational system to their commentary on social issues of the day. Almost all research is quick to note the fast-growing nature of the comics industry, especially it’s ability to appeal to a mass audience across several mediums since it’s introduction into American pop culture in the early 1900’s, and this trend continues (Lieberman B1; Pawlowski 1; Spiggle 100-13).
Comics are a “window into certain aspects of American society,” (Berger 164-77) Therefore, the goal should not be to ban and devalue comics, but to understand and embrace their function has a media unto itself with the potential to not only reflect current values and beliefs, but educate technically as well as metaphorically.
Comics as Art
I think it is crucial to first recognize, or at least examine, comics’ role as a preeminent art form. Investigations conducted over the last 60 plus years continually bring up the argument of comics as art, however, none of this research ever gives us a clear answer. But is there every really a clear answer as to the true nature of art? However, in general research often notes the public perception of comics as a “low” art form (Dorrell, Curtis, and Rampal 223-32). Author Ronald Schmitt even notes comics have an “inconsequential and frivolous façade.” On the other hand, in his comprehensive and widely respected book Understanding Comics, Scott McCloud, derives from Will Eisner’s initial definition of comics as “sequential art,” a new, elaborative description that surely suggests comics are indeed art:
com-ics (kom’iks)n. plural in form, used with a singular verb. 1. Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.
Additionally, although comics are usually seen as a 20th century medium, when examining art history various examples emerge suggesting otherwise. Several articles site the work of Rodolphe Topffer and William Hogarth, two artists form the mid 18th – 19th centuries. Both men worked extensively on narrative storytelling through pictures with Topffer even using the written word to enhance his drawings (McCloud; Brandl 26-8).
Since many scholars and researchers have labored over comics place within the art world, it seems strange to consider it anything but art. In addition, comics are a highly flexible medium, one that appeals to not only a mass audience, but a small subculture depending on genre of comic (Spiggle 100-13). Therefore, comics in all shapes and sizes can qualify as “high” art. In addition, any groundbreaking work of art was labeled as such because it was, well, groundbreaking. It built upon past traditions to create a new way of communicating ideas and representing ideas, beliefs, objects, ways of life, etc. (Schmitt 153-60; Berger 164-77). This is exactly what comics did. When comics first began to show up on the American radar during the early 20th Century, it was a groundbreaking new art form. In his book, The Aesthetics of Comics, David Carrier “recognizes comics as a legitimate form of expression,” (Brandl 26-8). Carrier writes, “The standards of comics include inventiveness, originality, and consistency. The best comics really are great artworks.” Andy Warhol is famously quoted as saying, “Making money is art, working is art, and good business is the best art,” (Art Quotes Book). With comics’ cross-market appeal garnering billions of dollars each year for not only the comic book industry, but for film, TV, and retail companies it seems comics are definitely their own unique brand of art (Lieberman B1).
Comics and Education
Similar to comics’ relationship with art, most research concludes that comics have not been taken seriously by the American public. With comics’ burst into popular culture during the early1900’s pounds of criticism and debate ensued. Calls came from educators and scholars alike to ban them from the classroom. Comics presented concerns for parents, teachers, and society as a whole – this new medium was something unlike anything that had been seen before. Many researchers maintained that reading comics was detrimental to “comprehension, imagination, and caused eyestrain,” (Dorrell, Curtis, and Rampal 223-32). One of the biggest crusaders against comics in school was psychiatrist Fredrick Wertham, who insisted that comics were, “death on reading,” (Dorrell, Curtis, and Rampal 223-32). Wertham’s research appears in many texts, and he authored the book Seduction of the Innocent on the subject, which claimed children with poor reading skills tended to be frequent readers of comic books (Dorrell, Curtis, ad Rampal 223-32). Scholars writing for the Journal of Popular Culture turned to Wertham’s conclusion to tighten their research on the negative attitudes facing comics. However, most articles are quick to note no direct correlation between the reading of comics and intelligence level. In addition, there have been findings that reading comics may even be beneficial in fostering reading skills in remedial students (Dorrell, Curtis, and Rampal 223-32). Other research suggests that a bias towards comics for their commentary on social values have led to negative opinion (Schmitt 153-60). In addition, this incorrect association with being a lower class medium has fostered negative feelings, when in fact comics are generally read by middle and upper class individuals (Berger 164-77). In addition, the comic reaches a significantly wide audience through it’s publication in newspaper, therefore, exposing itself to almost every demographic (Spiggle 100-13). Much of this research was conducted in the 1940-50’s, and therefore, can be viewed as outdated. However, it was highly influential in cultivating attitudes towards comics that are still held today. But times may be changing as recent research is suggesting otherwise. Scholars publishing in the 1990’s and 2000’s in publications such as Education Week have been quick to touch upon Wertham-esque claims, but almost all debunk his outlook. Various articles talk of comics’ positive role in education. An article in The Education Digest notes comics ability to help children read and think creatively, while encouraging language and vocabulary building (Zimmerman 55-7) A 1996 study found that 7th grade males who read comics frequently tended to read more books in general. This same article even states President Barack Obama “credit[s] comic books with awakening [his] own love of reading,” (Viadero 1-2). Comics also have the tendency to use atypical language for children books, which can aid in vocabulary building. Teachers are even beginning to incorporate comics into classroom curricula to assist English-language learners and struggling readers. Educators are also finding comics a valuable tool in addressing sensitive subject matter and fostering creativity in the arts (Viadero 1-2). This demonstrates comics continued role in addressing social issues. Berger even suggests that, “ordinary language is capable, most adequately, of dealing with profound and complex matters. If the comics are simple, it does not mean that the problems the deal with are necessarily so.”
Comics and Social Values
While comics have received protest in the educational field due to their supposed negative effects on reading skills, an underlying cause may be their inherent critique and portrayal of social issues of the times. Comics have served as commentary on current events; illustrating the general tones and sentiments of a culture, as well as, offering fantastical solutions to problems via superheroes fighting crime for the common good. Comics are able to reach both a mass and a specialized audience, which aids in their ability to relate to readers’ needs, concerns, and emotions (Spiggle 100-13). Most research touches on comics’ ability to convey cultural perspectives within their frames, but few delve deep within the subject matter. One researcher even suggests the motivation of Wertham’s entire campaign was the “horror of a society forced to look at its own sins,” (Schmitt 153-60). TIME magazine even points to the increasingly common identification we feel with comic book characters. Comics, like most art forms, provide a representation of life. Therefore, readers like to identify with the characters we are reading about. TIME’s writer, James Poniewozik, states “It’s not enough that superheroes fight our battles. We need them to suffer our heartbreaks, reflect our anxieties, embody our weaknesses.”
In addition, research done by Susan Spiggle suggests that as consumers, we share common values and these values drive content and sales of comics, both mainstream and underground. Consumers feel the need to relate. Her entire inquiry into comics is to “assess the efficacy of content analysis of comics as a technique for measuring social values.” Spiggle goes on to say, “The history, content, market, and production and distribution system of underground commix suggest their utility as an indicator of the values of a distinct sub-cultural group.” Spiggle remarks, “…comics do not so much mirror reality as reflect its idealization.” Furthermore, Berger suggests comics are worthy of study because they open a “window into certain aspects of American society.”
When comics first gained momentum the early 1900’s it was because they provided a diversion from the realities of World War I. These superheroes engaged in battle with villains were metaphors for the battle against communism. Comic books and their characters often embody myths and ideologies of the culture from which they are produced (Schmitt 153-60).
Again, in the 1970’s, comics dealt increasingly with social and political issues (Berger 164-77). It was around this time underground “comix” surfaced on college campus and independent press outlets where the artists could have the freedom necessary to present their views on the issue of the day (Spiggle 100-13) Today some of the more popular artists, such as Chris Ware, tend to write comics that have elements of the personal and private – glimpses into the everyday life of the mundane (See Jimmy Corrigan: The Smartest Kid on Earth). It seems every reader can find a comic book character with which they can connect. Even McCloud points out the act of “cartooning” initially derived from the fact that less realistic-looking characters were easier for readers to identify with. These “superheroes” show us how to manage day to day life within the structure of our collective core values. As Poniewozik remarks, “America likes its superheroes: human.”
Comics and Media Literacy
An area within comics’ research that is increasingly important today is the issue of media literacy. It is my belief that comics act as an exceptional aid in fostering visual literacy skills, as the key to understanding comics is the deciphering of various icons, symbols, and cartoons (McCloud). Berger notes, “Comics give opportunity for a fusion of art and language which allows ideas to be presented in images that are often emotionally gripping.”
Therefore, various articles start to tackle comics’ role in visual or media literacy, but few actually explore comics potential as a tool to teach visual literacy – essentially how to read images and decode meaning. Only Viadero’s article states instances of teachers using comics in lessons on visual literacy. She even provides a quote from a Maryland librarian who says, “As we become a more and more visual society, schools will recognize the usefulness of these novels.” Other research merely suggests the need for media literacy skills to read comics, or how the practice of reading comics can enhance visual literacy (Faust 195-202). For example, Faust states in Comics and How to Read Them, “…the key to understanding them does not lie in the words or pictures alone but in the relationships between them.” He later states, “…communication is the effect of neither the linguistic nor the pictorial field, but of the hybrid.” Essentially this is the key to any form of understanding media. So why have comics not been further explored as tools for this type of education? And how exactly would we teach these lessons? I’ve found that comics are great tools for giving history lessons. In comics, such as, Pyongyang: A Journey in North Korea by Guy Delisle, I was able to travel to a country I’ve never been to and in Louis Reil: A Comic Strip Biography by Chester Brown, I learned about a time in Canadian history I previously knew nothing about. With comics’ ability to educate on other subjects, how can we use comics to educate us on deciphering…comics? Spiggle notes that consumers, “infer values from themes and symbols of human communication,” which clarifies the importance of media literacy.
International Comics & Technology: an Area for Continuation
Very little of the publications I researched contained information with an international perspective on comics. McCloud points out comics’ deep roots in Japan and even discusses the developmental and stylistic differences between Japanese and American comics. In addition, Viadero’s article lightly touches upon Manga, a Japanese-style graphic novel. However, the insight ends here. All other research detailed the American tradition of comics. Little notice was given even to the portrayal of minorities in comics and/or their role in creating or reading comics. Therefore, I believe a key area for additional research would be in addressing international comics with a comparison of their acceptance and history within their own countries.
Furthermore, the research is almost completely devoid of mention to comics’ relation to new and developing technology or new media. Berger discusses comics’ proclivity for addressing the issue of new technology through plot, but I could not find any research that directly addressed comics’ role in a technology, new media-filled future. This is an area that I would be interested in exploring.
Conclusion
In addition to the lack of research touching upon international comics, further work clearly needs to be done to enhance understanding and acceptance of comics within media literacy education and its relationship with new technology. I believe comics are way to give voice to the voiceless, and I think it’s crucial to examine comics at every level and in every geographical setting to understand how readers across the globe interpret this unique art form. In addition, as a former art educator, I understand the extreme importance of media literacy today. A 1956 study on comics by Science Research Association found comics’ meaning lays just “below the surface and concealed from public view,” (Berger 164-77) Therefore, I hope to further research comics’ innate ability to aid in this field of study as a tool for learning and study. Comics amass a huge amount of revenue, and are the basis for other forms of media, such as TV and film (Pawlowski 1). They reach a mass audience across several mediums. Through their “cartoon” characters readers across the globe can identify with the narrative and become a part of the story, often a reflection on a current critical issue. They are direct product of our popular culture (Lieberman B1). So why have these highly influential art forms not been taken seriously for generations? And why are they being further studied to asses their potential as guides to understanding other forms of media? As Faust states, “In analyzing comics, one must take account the connection between entertainment and ideology, between formal composition and mythical content,” and this is what I hope to accomplish with any further research I may do. As Berger mentions, comics are an “important part of our socialization, by virtue of the simple face that millions of children – and adults – cannot continually be exposed to a form of communication without something happening.”
Works Cited
"Famous Art Quotes." Art Quotes Book. artQuotes book, Web. 16 Nov 2009.
Berger, Arthur. "Comics and Culture." Journal of Popular Culture. 5.1 (1971): 164-77. Print.
Brandl, Mark Staff. "Art, Philosophy and Comics." Art Book. 8.2 (2001): 26-8. Print.
Brown, Chester. Louis Reil: A Comic-Strip Biography. Quebec, Montreal: Drawn & Quarterly, 2003. Print.
Delisle, Guy. PYONGYANG: A Journey in North Korea. Quebec, Montreal: Drawn & Quarterly, 2007. Print.
Dorrell, Larry D, Dan B Curtis, and Kuldip R Rampal. "Book-worms Without Books? Students Reading Comic Books in the School House." Journal of Popular Culture. 29.2 (1995): 223-32. Print.
Faust, Wolfgang Max. "Comics and How to Read Them." Journal of Popular Culture. 5.1 (1971): 195-202. Print.
Lieberman, David. "Comic Boom!; Magazines Earn Megabucks Through TV, Film, Retail Sales." USA Today 25 Jul 2008: B1. Print.
McCloud, Scott. Understanding Comics: The Invisible Art. New York, NY: HarperCollins, 1993. Print.
Pawlowski, Warren. "One in 10 Adult Book Buyers Read Comic Books, Simba Study Reveals." Internet Wire (2009): 1. Web. 12 Nov 2009.
Poniewozik, James. "Superhero Nation." TIME 20 May 2002: 76-8. Print.
Schmitt, Ronald. "Deconstructive Comics." Journal of Popular Culture. 25.4 (1992): 153-60. Print.
Spiggle, Susan. "Measuring Social Values: A Content Analysis of Sunday Comics and Underground Comix." Journal of Consumer Research. 13. (1986): 100-13. Print.
Ware, Chris. Jimmy Corrigan, Smartest Kid on Earth. Pantheon Books, 2000. Print.
Viadero, Debra. "Scholars See Comics as No Laughing Matter." Education Week. 28.21 (2009): 1-2. Print.
Zimmerman, Bill. "Creating Comics Fosters Reading, Writing, and Creativity." Education Digest. 74.4 (2008): 55-7. Print.
Tuesday, November 3, 2009
Reaction Paper
Construction Before Deconstruction: The Importance of Comprehension Before Analysis
What is a comic book? Or more primitively what are comics? For years artists and researchers alike have attempted to define this unique art form that walks the line between the written word and visual storytelling. Using a combination of words, visual symbols, icons, varied composition, framing, etc. the comic has been a hard medium to fully define – to pin down – and that has made people unnecessarily nervous throughout the years. Due to this distrust, comics have a rocky history with the American public, especially, and unrightfully so, in regards to the public school system. Using Scott McCloud’s genesis work Understanding Comics: The Invisible Art, I will attempt to give a brief synopsis of the nature of the comic and their effects on those who read them. While doing this I will try to debunk the opinionated stance of the many critics of comics. I will also reference the article Deconstructive Comics by Ronald Schmitt, which was published in the Journal of Popular Culture in 1992. While I agree with the majority of Schmitt’s statements, he tends to write with a bias towards the work of Fredric Wertham, a man whose studies may have single-handedly banned comics from the classroom for nearly 25 years. I will use some of the positive comments by Schmitt and others to definitively refute Wertham’s and his contemporaries’ negative opinions against comics. I think before we attempt to critically deconstruct comics, it’s important to fully understand them, their purposes, and their true effect on the reader.
In Scott McCloud’s masterpiece, Understanding Comics, he spends considerable time trying to define the comic. Starting with Will Eisner’s simple definition of “sequential art,” McCloud critically takes this a step forward bit by bit to determine a definition more suitable to today’s comic – attempting to eliminate confusion and solidify a still widely misunderstood art form. The definition McCloud establishes is:
com-ics (kom’iks)n. plural in form, used with a singular verb. 1. Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.
Using this definition McCloud delves into the history of comics. Generally speaking, one could argue comics date back to the 14th Century, when ancient peoples would record history on cave walls and produce elaborate tapestries depicting great wars and conquests (McCloud 10-15). In a sense, these are comics. These great works of ancient art were visual narratives to be read using pictures and symbols placed in deliberate sequence. However, I’ll return to comics’ relationship with “high” art later, but first I want to discuss comics as we know them today. For this argument it is important to recognize I am generally speaking of comics as the art form and entertainment medium that entered pop culture and the American consciousness in the mid-20th Century, captivating children and appalling adults (Schmitt 154).
Many adults, especially those in the educational field, were disgusted with comics appeal to young children. This was due to the supposed content of the comic book. Comics tackled issues that challenged the status quo. Although reading aimed at younger audiences, comics didn’t shy away from complicated metaphor and allegory in their story lines. The tales of superheroes were more often than not critiques on politics and the wars being waged overseas, most notably World War II. Even Schmitt states in his article Deconstructive Comics that, “comic book characters reveal essential myths and ideologies of the cultures in which they are produced,” (Schmitt 154). This can be compared to classical Greek mythology depicting stories of the gods for example. Since comics, as much as any piece of worthy pop culture should, challenges and questions that status quo, critics begin to refer to the art form as frivolous and trivial – think of Facebook before it revolutionized the way we “talk” to one another. However, if we go back to McCloud we can see that comics share many of the same traits as masterful works of art. As any art historian would argue, good art is meant to elicit an aesthetic and cognitive reaction from the viewer – to be the cause of critical thinking and analysis. So why was it that educational and political figureheads of the 1950’s were so vehemently against a medium that in my mind provided an education in metaphor and storytelling while addressing current events?
In addition to Wertham’s attacks on the content of comic books, he also strongly opposes comics’ effect on the way children read. Schmitt quotes Wertham as saying, “This kind of picture reading is not actually a form of reading…It is an evasion of reading and almost its opposite…for the habit of picture reading interferes with the acquisition of well-developed reading habits.” After defending comics’ content, Schmitt goes on to agree with Wertham in his claims that comics are damaging the way young people learn to read. Schmitt states, “Indeed, the skills involved in comic book ‘reading’ in no way prepare a youngster for prink-block text literacy.” This is where I begin to critically disagree with Schmitt. Wertham even ventures to dramatically state, “Comic books are death on reading,” (Dorrell, Curtis, and Rampal 225).
In the article, Book-worms Without Books? Students Reading Comic Books in the School House, through research it was found that the reading of comics had no effect on average to above average students when it came to reading comprehension and performance in school. The article cites the study conducted by educationist Florence Heisler saying, “Heisler found no connection between the reading of comics and the intelligence level of students. Nor did the reading ability differ between those who read comics and those who did not.” In addition, it was found that reading comics was actually beneficial to remedial or below average students. The article references the work of Robert Thorndike, which states, “comic books were a valuable aid in vocabulary building” and that comics were “beneficial in the area of remedial reading.” Therefore, at the time, proponents of comics attempted to incorporate them into the school curriculum. However, Wertham’s damaging writings prohibited this from happening (Dorrell, Curtis, and Rampal 226).
Furthermore, Schmitt notes Wertham’s observations that the development of left-to-right eye coordination used for reading is hindered by the composition of the comic book. Schmitt supports this by saying the comic book, “is a form of self-inflicted ‘double-writing,’ collapsing traditional strategies for reading word and picture texts.” On the contrary, the standard composition of the comic book frame adheres to the left-to-right, top-to-bottom tradition of reading. And in addition, as McCloud points out, the framing of comics encourages the reader to make connections between images and word – using imagination and critical thinking to enhance understanding. Fitting action, time, space, motion, and more into a series of frames forces readers to perform “closure” between the gaps of the comic book frame to create meaning, fostering visual literacy (McCloud 63).
Therefore, I think Wertham’s claims are extraordinarily outdated and incorrect, and those who still agree with him misunderstand comic books’ true nature. I believe the content of comics is what pushes it past the amateur status, and into the real world of art. In addition, the layout and design, or composition, of comics is equally impressive and contributes to its “high” art classification. The combination of icons, symbols, text, imagery, and so on to create a visually comprehensible narrative should provide a lesson to us all. It is a way to read, a way to learn how to be visually literate, which is of increasing importance due to the variety of images we must interpret on a daily basis.
Works Cited
Dorrell, Larry D., Dan B. Curtis, and Kuldip R. Rampal. "Book-worms Without Books? Students Reading Comic Books in the School House." Journal of Popular Culture. 29.2 (1995): 223-235. Print.
McCloud, Scott. Understanding Comics: The Invisible Art. New York, NY: HarperCollins Publishers, Inc., 1994. Print.
Schmitt, Ronald. "Deconstructive Comics." Journal of Popular Culture. 25.4 (1992): 153-160. Print.
What is a comic book? Or more primitively what are comics? For years artists and researchers alike have attempted to define this unique art form that walks the line between the written word and visual storytelling. Using a combination of words, visual symbols, icons, varied composition, framing, etc. the comic has been a hard medium to fully define – to pin down – and that has made people unnecessarily nervous throughout the years. Due to this distrust, comics have a rocky history with the American public, especially, and unrightfully so, in regards to the public school system. Using Scott McCloud’s genesis work Understanding Comics: The Invisible Art, I will attempt to give a brief synopsis of the nature of the comic and their effects on those who read them. While doing this I will try to debunk the opinionated stance of the many critics of comics. I will also reference the article Deconstructive Comics by Ronald Schmitt, which was published in the Journal of Popular Culture in 1992. While I agree with the majority of Schmitt’s statements, he tends to write with a bias towards the work of Fredric Wertham, a man whose studies may have single-handedly banned comics from the classroom for nearly 25 years. I will use some of the positive comments by Schmitt and others to definitively refute Wertham’s and his contemporaries’ negative opinions against comics. I think before we attempt to critically deconstruct comics, it’s important to fully understand them, their purposes, and their true effect on the reader.
In Scott McCloud’s masterpiece, Understanding Comics, he spends considerable time trying to define the comic. Starting with Will Eisner’s simple definition of “sequential art,” McCloud critically takes this a step forward bit by bit to determine a definition more suitable to today’s comic – attempting to eliminate confusion and solidify a still widely misunderstood art form. The definition McCloud establishes is:
com-ics (kom’iks)n. plural in form, used with a singular verb. 1. Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.
Using this definition McCloud delves into the history of comics. Generally speaking, one could argue comics date back to the 14th Century, when ancient peoples would record history on cave walls and produce elaborate tapestries depicting great wars and conquests (McCloud 10-15). In a sense, these are comics. These great works of ancient art were visual narratives to be read using pictures and symbols placed in deliberate sequence. However, I’ll return to comics’ relationship with “high” art later, but first I want to discuss comics as we know them today. For this argument it is important to recognize I am generally speaking of comics as the art form and entertainment medium that entered pop culture and the American consciousness in the mid-20th Century, captivating children and appalling adults (Schmitt 154).
Many adults, especially those in the educational field, were disgusted with comics appeal to young children. This was due to the supposed content of the comic book. Comics tackled issues that challenged the status quo. Although reading aimed at younger audiences, comics didn’t shy away from complicated metaphor and allegory in their story lines. The tales of superheroes were more often than not critiques on politics and the wars being waged overseas, most notably World War II. Even Schmitt states in his article Deconstructive Comics that, “comic book characters reveal essential myths and ideologies of the cultures in which they are produced,” (Schmitt 154). This can be compared to classical Greek mythology depicting stories of the gods for example. Since comics, as much as any piece of worthy pop culture should, challenges and questions that status quo, critics begin to refer to the art form as frivolous and trivial – think of Facebook before it revolutionized the way we “talk” to one another. However, if we go back to McCloud we can see that comics share many of the same traits as masterful works of art. As any art historian would argue, good art is meant to elicit an aesthetic and cognitive reaction from the viewer – to be the cause of critical thinking and analysis. So why was it that educational and political figureheads of the 1950’s were so vehemently against a medium that in my mind provided an education in metaphor and storytelling while addressing current events?
In addition to Wertham’s attacks on the content of comic books, he also strongly opposes comics’ effect on the way children read. Schmitt quotes Wertham as saying, “This kind of picture reading is not actually a form of reading…It is an evasion of reading and almost its opposite…for the habit of picture reading interferes with the acquisition of well-developed reading habits.” After defending comics’ content, Schmitt goes on to agree with Wertham in his claims that comics are damaging the way young people learn to read. Schmitt states, “Indeed, the skills involved in comic book ‘reading’ in no way prepare a youngster for prink-block text literacy.” This is where I begin to critically disagree with Schmitt. Wertham even ventures to dramatically state, “Comic books are death on reading,” (Dorrell, Curtis, and Rampal 225).
In the article, Book-worms Without Books? Students Reading Comic Books in the School House, through research it was found that the reading of comics had no effect on average to above average students when it came to reading comprehension and performance in school. The article cites the study conducted by educationist Florence Heisler saying, “Heisler found no connection between the reading of comics and the intelligence level of students. Nor did the reading ability differ between those who read comics and those who did not.” In addition, it was found that reading comics was actually beneficial to remedial or below average students. The article references the work of Robert Thorndike, which states, “comic books were a valuable aid in vocabulary building” and that comics were “beneficial in the area of remedial reading.” Therefore, at the time, proponents of comics attempted to incorporate them into the school curriculum. However, Wertham’s damaging writings prohibited this from happening (Dorrell, Curtis, and Rampal 226).
Furthermore, Schmitt notes Wertham’s observations that the development of left-to-right eye coordination used for reading is hindered by the composition of the comic book. Schmitt supports this by saying the comic book, “is a form of self-inflicted ‘double-writing,’ collapsing traditional strategies for reading word and picture texts.” On the contrary, the standard composition of the comic book frame adheres to the left-to-right, top-to-bottom tradition of reading. And in addition, as McCloud points out, the framing of comics encourages the reader to make connections between images and word – using imagination and critical thinking to enhance understanding. Fitting action, time, space, motion, and more into a series of frames forces readers to perform “closure” between the gaps of the comic book frame to create meaning, fostering visual literacy (McCloud 63).
Therefore, I think Wertham’s claims are extraordinarily outdated and incorrect, and those who still agree with him misunderstand comic books’ true nature. I believe the content of comics is what pushes it past the amateur status, and into the real world of art. In addition, the layout and design, or composition, of comics is equally impressive and contributes to its “high” art classification. The combination of icons, symbols, text, imagery, and so on to create a visually comprehensible narrative should provide a lesson to us all. It is a way to read, a way to learn how to be visually literate, which is of increasing importance due to the variety of images we must interpret on a daily basis.
Works Cited
Dorrell, Larry D., Dan B. Curtis, and Kuldip R. Rampal. "Book-worms Without Books? Students Reading Comic Books in the School House." Journal of Popular Culture. 29.2 (1995): 223-235. Print.
McCloud, Scott. Understanding Comics: The Invisible Art. New York, NY: HarperCollins Publishers, Inc., 1994. Print.
Schmitt, Ronald. "Deconstructive Comics." Journal of Popular Culture. 25.4 (1992): 153-160. Print.
Monday, October 19, 2009
Abstracts - Topic: Comic Books
For this assignment I have changed my topic to the History of Comic Books. I want to research the history of comics in relation to the composition of the frame, mostly through the graphic novel genre. However, it is essential to know the history of the medium in order to fully understand it today.
1. “Book-worms Without Books? Students Reading Comic Books in the School House”
Dorrell, Larry D., Curtis, Dan B., Rampal, Kuldip R. Journal of Popular Culture. Bowling Green: Fall 1995. Vol. 29, Iss. 2; pg. 223, 12 pgs
Abstract: With the fast-paced rise of comics through the 1940’s and 50’s, the educational system was faced with new form of media competition for students’ attention. Although many teachers and educational theorists believed the comic book to be detrimental to children’s reading abilities, after years of study and research, this was proved otherwise. Studies indicted little to no effect within the average student. For remedial students, the comic was found to be beneficial regarding engagement and vocabulary enhancement, creating some proponents to encourage the integration of the comic within the curriculum. However, the school system succumbed to societal pressures and bias banning the comic in classrooms for almost 25 years.
2. “Deconstructive Comics”
Schmitt, Ronald. Journal of Popular Culture; Spring 1992; 25, 4; Platinum Periodicals; pg 153
Abstract: This articles chronicles the struggles the art of comics has endured since it’s inception in mainstream American culture. The article argues that while comics do have a noticeable effect on the children who read them, it is not necessarily content related. The articles state that while comics do reveal myths and prejudices within a culture, it is their alignment with the audio-visual techniques of television that is most effective on young children - the comic is changing the way young people read. Through the examination of several research studies, most notably the work done by Fredric Wertham in his book Seduction of the Innocent, the history behind comics’ contention is detailed.
3. “BLOCKBUSTER Meets Superhero Comic, or ART HOUSE Meets Graphic Novel? The Contradictory Relationship Between Film and Comic Art”
McAllister, M., Gordon, I., Jancovich, M., Journal of Popular Film and Television. Washington: Fall 2006. Vol. 34, Iss.3; pg. 108, 7 pgs
Abstract: This article addresses the relationship between comic books, graphic novels, and motion pictures. First, through an examination of several major blockbusters released within the last few decades, such as the Batman and X-men franchises, the article discusses the joint venture between the comic book and film industries to create a trans-media product, which maximizes revenue. In addition, the article explores the other side of this partnership to address the adult-themed graphic novel inspired art film. Whether full of action and superheroes or dark and innovative, the article points out the continual influence of comics on film. Along with a comparison of budget and content the article chronicles comics’ history and relationship with Hollywood.
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