東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Visual Continuity in Winsor McCay's ...

Williams, Taylor.

Linked to FindBook

Google Book

Amazon

博客來

Visual Continuity in Winsor McCay's Slumberland.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Visual Continuity in Winsor McCay's Slumberland./
Author:	Williams, Taylor.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
Description:	49 p.
Notes:	Source: Masters Abstracts International, Volume: 55-01.
Contained By:	Masters Abstracts International55-01(E).
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1594159
ISBN:	9781321909494

Visual Continuity in Winsor McCay's Slumberland.
Williams, Taylor.

Visual Continuity in Winsor McCay's Slumberland. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 49 p.

Source: Masters Abstracts International, Volume: 55-01.

Thesis (M.A.)--Maryland Institute College of Art, 2015.

With the debut of the New York Herald's first color Sunday edition in 1905 came the premiere of "Little Nemo in Slumberland," a comic strip by Winsor McCay. While newspaper comic strips had been published with increased frequency since the 1890s, it was not until the February 25, 1906 issue of "Little Nemo in Slumberland" that visual continuity started to emerge between issues of comics featured in periodical publications. McCay began bridging issues through similar scenes and visual context. By December 1906, other newspaper comics drew from McCay's example and started providing explicit cliffhangers between their own respective issues. Through an analysis of the sequential role of the first and last panel of every issue of the comic strip in its first year of publication, the author attempts to distinguish episodic storytelling from serial storytelling in McCay's illustrations. Through a change in the use of closure and orienting panels, each issue becomes reliant on the context of the previous one, once Nemo reaches Slumberland. In short, McCay created a unique form of seriality that relied on a shift of visual signifiers over the explicit messages used in cliffhangers.

ISBN: 9781321909494Subjects--Topical Terms:

2122701
Art history.

Visual Continuity in Winsor McCay's Slumberland.
LDR:02073nmm a2200301 4500 001 2118933
005 20170614101413.5
008 180830s2015 ||||||||||||||||| ||eng d
020 $a 9781321909494
035 $a (MiAaPQ)AAI1594159
035 $a AAI1594159
040 $a MiAaPQ $c MiAaPQ
100 1 $a Williams, Taylor. $3 3280780
245 1 0 $a Visual Continuity in Winsor McCay's Slumberland.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2015
300 $a 49 p.
500 $a Source: Masters Abstracts International, Volume: 55-01.
500 $a Adviser: Jose Villarubia.
502 $a Thesis (M.A.)--Maryland Institute College of Art, 2015.
520 $a With the debut of the New York Herald's first color Sunday edition in 1905 came the premiere of "Little Nemo in Slumberland," a comic strip by Winsor McCay. While newspaper comic strips had been published with increased frequency since the 1890s, it was not until the February 25, 1906 issue of "Little Nemo in Slumberland" that visual continuity started to emerge between issues of comics featured in periodical publications. McCay began bridging issues through similar scenes and visual context. By December 1906, other newspaper comics drew from McCay's example and started providing explicit cliffhangers between their own respective issues. Through an analysis of the sequential role of the first and last panel of every issue of the comic strip in its first year of publication, the author attempts to distinguish episodic storytelling from serial storytelling in McCay's illustrations. Through a change in the use of closure and orienting panels, each issue becomes reliant on the context of the previous one, once Nemo reaches Slumberland. In short, McCay created a unique form of seriality that relied on a shift of visual signifiers over the explicit messages used in cliffhangers.
590 $a School code: 1841.
650 4 $a Art history. $3 2122701
650 4 $a Art criticism. $3 526357
650 4 $a Mass communication. $3 2144804
690 $a 0377
690 $a 0365
690 $a 0708
710 2 $a Maryland Institute College of Art. $b Critical Studies. $3 3171944
773 0 $t Masters Abstracts International $g 55-01(E).
790 $a 1841
791 $a M.A.
792 $a 2015
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1594159