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From Novel to Graphic Novel

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Alveda Zahn

on 20 October 2014

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Transcript of From Novel to Graphic Novel

From Novel to Graphic Novel
Welcome to the New Age
"Comics and graphic novels
can be used as a “point of reference” to bridge what students already know with what they have yet to learn...For example, comics and graphic novels can teach about making inferences, since readers must rely on pictures and just a small amount of text. By helping students transfer this skill...teachers can lessen the challenge of a new book." (NCTE Xu)
Works Cited:
AMC Networks. "The Prisoner: Graphic Novel." 2010-2014. The Prisoner. Online Graphic Novel. 4 Feb 2014. <http://www.amctv.com/the-prisoner-graphic-novel/>.

NCTE. "Using Comics and Graphic Novels in the Classroom." The Council Chronicle (2005). Webpage. 4 Feb 2013. <http://www.ncte.org/magazine/archives/122031>.

Shakespeare, William and John McDonald (Adapter). Romeo and Juliet The Graphic Novel: Original Text. Ed. Clive Bryant. Litchborough: Classical Comics, 2011.

Shakespeare, William. Romeo and Juliet: Shakespeare Made Easy. Ed. Alan Durban. Hauppage: Baron's, 1985.

Photo Credits:
Amazon. n.d. 4 Feb 2014.
<http://www.amazon.com/Romeo-Juliet-The-Graphic-Novel/dp/1906332614/ref=sr_1_1?ie=UTF8&qid=1391533036&sr=8-1&keywords=romeo+and+juliet+graphic+novel>.





Shakespeare Made Easy-Dynamic or Static
On the surface,
Shakespeare Made Easy
could be considered a
dynamic interface medium.
It comes with side-by-side
modern English and
original text, which allows the reader to decide in the moment which side to read.
But, it contains only words!
The readers must
create the images in
their minds. The
readers are
responsible for
creating the action. This
renders the text
as static.
On the other hand...
A more fun and exciting interface for struggling readers has appeared!
The
Graphic
Novel!
Characters Come To Life
The graphic novel
brings faces to the
characters. The reluctant
or struggling reader is
able to put a face to the name within the pages.
The Scenes Jump Out of the Pages!
The readers become a
part of the action!
Here is a look at the same action from Act I, Scene I:
Can You Hear It?
The reader can see and 'hear' the action as it takes place. It helps the reader who has difficulty making those mental images.
But, Just Because...
It is a graphic novel,
does not mean a
student cannot learn
from reading this type
of interface. Many
educational graphic
novels include author
history and inside
information.
It Also Contains...
A vocabulary page to help the reader understand the text.
A Table of Contents page so the reader can navigate the text with ease.
And for the students who want to create their own graphic novel interface...
This graphic novel has pages that show them how!
Exploring the Advantages of Romeo and Juliet using Graphic Novels
or This?
Would you rather interact with THIS?:
What does the future hold for graphic novels?
Computer Generated Graphic Novels
http://www.amctv.com/the-prisoner-graphic-novel/
The Graphic Novel
as A Hybrid Interface

Comparative Limitations
to the Graphic Novel as an Interface
Marshall McLuhan, Understanding Media: The Extensions of Man (1964)
Principle #1: "Hot Medium" vs. "Cold Medium" (McLuhan 29)
Hot Medium = Involves a single sense (often vision) so that a person does not need to put in much effort in filling details of that medium (EXAMPLE: FILM)
Cold Medium = Minimal visual details are given More “conscious participation” by the viewer is required to make meaning (EXAMPLE: COMICS)
Scott McCloud,
Understanding Comics: The Invisible Art
(1994).
Cartooning is a form of "amplification through simplification" (McCloud 30).
Scott McCloud,
Understanding Comics: The Invisible Art
(1994).
(McCloud 30)
Scott McCloud,
Understanding Comics: The Invisible Art
(1994).
(McCloud 31)
Common Criticism/Potential Limitation of Graphic Novels ...
Doesn't simplification of STYLE lead to simplification of STORY?
Scott McCloud,
Understanding Comics: The Invisible Art
(1994).
(McCloud 45)
Scott McCloud,
Understanding Comics: The Invisible Art
(1994).
(McCloud 59)
Art Spiegelman,
Maus
(1991).
The author interviews his father about his experiences as a Polish Jew and a Holocaust survivor
Art Spiegelman,
Maus
(1991).
 Jews depicted as mice
 Germans depicted as cats
 Non-Jewish Poles depicted as pigs

Art Spiegelman,
Maus
(1991).
The power of the text comes through its "amplification through simplification."

Spiegelman: “I’m literally giving a form to my father’s words and narrative, and that form for me has to do with panel size, panel rhythms, and visual structures of the page” (Chute 202).

Art Spiegelman,
Maus
(1992).
(Spiegelman 83)
Principle #2: "The content of a medium is always a [previous] medium" (McLuhan 22).
Principle #3: "The medium is the message" (McLuhan 7).
 The form of a medium embeds itself in the message. The medium influences how the message is perceived.
Works Cited
Chute, Hillary. Twentieth Century Literature 52.2 (Summer 2006): 199-230. Print.

McCloud, Scott. Understanding Comics: The Invisible Art. New York: William Marrow, 1992. Print.

McLuhan, Marshall. Understanding Media: The Extensions of Man. Cambridge: MIT Press, 1994. Print.

Spiegelman, Art. Maus: A Survivor’s Tale. New York: Pantheon Books, 1991. Print.

Principle #3: "The medium is the message" (McLuhan 7).
(McCloud 49)
Scott McCloud,
Understanding Comics: The Invisible Art
(1994).
(McCloud 141)
(McCloud 142)
Textually
Visually
Production
Interactively
Comparative Limitations
to the Graphic Novel as an Interface
Visual Limitations
to the Graphic Novel as an Interface
Textual Limitations
to the Graphic Novel as an Interface
Production Limitations
to the Graphic Novel as an Interface
Interactive Limitations
to the Graphic Novel as an Interface
Sir Arthur
Conan Doyle's
Sherlock Holmes:
Print
Graphic
Hybrid
Film
Interactive Media
The "Hybrid" Graphic Novel:

The Best of Both Worlds?
Expanded Audience
Increased "Value"
New Perspectives
Finding the Balance
Economy of Words
Textual Art as Emphasis
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