COD 2021 - D411
Webinar - The Language of Comics. An Introduction
Language, Humanities and Social Science teachers who would like to introduce the comic format as reading material in their lessons
1
sesiones, inicia: 19-Mar
El curso elegido no admite nuevas inscripciones
Ficha del curso
Ciclo: 2021
Nivel: A Distancia
Idioma: Inglés
Estado: Terminado
Lugar: A Distancia
Capacitador/es: Martha Patricia De Cunto
Colegios Afiliados
No arancelado
No arancelado
Centros de Examen
ARS 1800.00
ARS 1800.00
No afiliados
ARS 1800.00
ARS 1800.00
Sesiones
| Sesiones | Fechas | Inicia | Termina |
|---|---|---|---|
| 1 | 19 Marzo 2021 | 06:00 pm | 07:30 pm |
Capacitador/es
Martha Patricia De Cunto
Language, Humanities and Social Science teachers who would like to introduce the comic format as reading material in their lessons
Visuals are an effective way to teach not only language but also humanities and social sciences especially in the EFL classroom. Comics and graphic novels, a longer version of the comic book or “sequential art” (Eisner 1985), do not make use of images as supplemental material. Images act as signifiers for meaning making. In the comic format, pictures and words working in tandem pose a great cognitive challenge to students of all ages, and help them develop reading abilities and critical thinking. The comic format is not just for the presentation of super heroes. Graphic novels cover all genres, from memoirs, historical fiction, fantasy, documentaries, romance to science fiction, to mention just a few. Visual narrative storytelling is frequently used in journalism to report current events, also known as comic or graphic journalism, and in advertising with rhetorical purposes.
The main objective of this short seminar is to introduce a glossary of terminology used by cartoonists to produce and describe their art, which will help eventually guide teachers to help students explore the dynamics of comics and graphic novels.
The course will aim at identifying and evaluating both visual and textual features of the comic format. It will discuss McCloud’s elements of comics: types of panels (sizes and forms) and their meaning; typography, use of images and colors, the position of drawings in the panels, emanata, gutters, the sequential transitions between the panels, the use of time and space, the layout or mise en page, the collaboration between words and pictures, splash, spread, bleed, bubbles, captions, shot and angles, among others.
The course will also introduce different online comic generators so that the participants can become familiar with the choices made by cartoonist when making their own strips or graphic novels. Drawing comics is a great creative activity that can be used for the consolidation of both language and content in the L2 classroom.
The main objective of this short seminar is to introduce a glossary of terminology used by cartoonists to produce and describe their art, which will help eventually guide teachers to help students explore the dynamics of comics and graphic novels.
The course will aim at identifying and evaluating both visual and textual features of the comic format. It will discuss McCloud’s elements of comics: types of panels (sizes and forms) and their meaning; typography, use of images and colors, the position of drawings in the panels, emanata, gutters, the sequential transitions between the panels, the use of time and space, the layout or mise en page, the collaboration between words and pictures, splash, spread, bleed, bubbles, captions, shot and angles, among others.
The course will also introduce different online comic generators so that the participants can become familiar with the choices made by cartoonist when making their own strips or graphic novels. Drawing comics is a great creative activity that can be used for the consolidation of both language and content in the L2 classroom.
The seminar will use several comic strips and graphic novels to illustrate the language of comics. The graphic novels City of Glass by Auster (1994) and Maus I by Spiegelman (1991) will be made reference to for shedding light on the terminology of comics. They are not mandatory reading material but the facilitator will provide a link with the virtual books for those who want to read them. However, there will not be a literary analysis of the two graphic novels in the course of the seminar.
The facilitator will introduce the terminology and will give examples. She will show the possible effect of the choices the writer/illustrator made. Participants will be required to work on extracts to explore some of the comic terms and their use. They will also turn their hands at one or two online comic generators.
Carter, J. B. (2007). Transforming English with graphic novels: Moving toward our “Optimus Prime”.The English Journal, 97(2), 49-53.
Cary, S. (2004). Going graphic: Comics at work in the multilingual classroom. Portsmouth: Heinemann.
Chute H.(2008) “Comics as Literature? Reading Graphic Narrative” in PMLA, Vol. 123, No. 2, pp. 452-465. Modern Language Association. http://www.jstor.org/stable/25501865 .Accessed: 21/09/2014 14:26
Cohn, N.(2013b). The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images. London, UK: Bloomsbury.
Duncan, R and Smith, M. (2009) The Power of Comics. History, Form, and Culture. New York: The Continuum International Publishing Group Inc.
Eisner,W.(1996) . Graphic Storytelling and Visual Narrative Tamarac: Poorhouse.
Gilmore, L. and Marshal, E. (2010) ‘Girls in Crisis: Rescue and Transnational Feminist Autobiographical Resistance’ in Feminist Studies, Vol. 36, No. 3, pp. 667-690. Feminist Studies, Inc. http://www.jstor.org/stable/27919128 .Accessed: 18/02/2015 12:17
Groensteen, Thierry (2009). The System of Comics. Jackson: UP of Mississippi.
Heffernan, J. (2006) Cultivating Picturacy Visual Art and Verbal Interventions. Waco, Texas: Baylor University Press.
McLaughlin, J. (ed.) (2005) Comics as Philosophy. Jackson: University Press of Mississippi.
McCloud, S.(1994)Understanding Comics. Harper Perennial.
-------------(2006). Making Comics. Harper. ISBN 978-0-06-078094-4.
Cary, S. (2004). Going graphic: Comics at work in the multilingual classroom. Portsmouth: Heinemann.
Chute H.(2008) “Comics as Literature? Reading Graphic Narrative” in PMLA, Vol. 123, No. 2, pp. 452-465. Modern Language Association. http://www.jstor.org/stable/25501865 .Accessed: 21/09/2014 14:26
Cohn, N.(2013b). The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images. London, UK: Bloomsbury.
Duncan, R and Smith, M. (2009) The Power of Comics. History, Form, and Culture. New York: The Continuum International Publishing Group Inc.
Eisner,W.(1996) . Graphic Storytelling and Visual Narrative Tamarac: Poorhouse.
Gilmore, L. and Marshal, E. (2010) ‘Girls in Crisis: Rescue and Transnational Feminist Autobiographical Resistance’ in Feminist Studies, Vol. 36, No. 3, pp. 667-690. Feminist Studies, Inc. http://www.jstor.org/stable/27919128 .Accessed: 18/02/2015 12:17
Groensteen, Thierry (2009). The System of Comics. Jackson: UP of Mississippi.
Heffernan, J. (2006) Cultivating Picturacy Visual Art and Verbal Interventions. Waco, Texas: Baylor University Press.
McLaughlin, J. (ed.) (2005) Comics as Philosophy. Jackson: University Press of Mississippi.
McCloud, S.(1994)Understanding Comics. Harper Perennial.
-------------(2006). Making Comics. Harper. ISBN 978-0-06-078094-4.