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March 2010, Week 2


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"Larsson, Donald F" <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Thu, 11 Mar 2010 16:47:27 +0000
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See McCay's "Little Nemo in Slumberland" comics--anything but static!  

There's a brief overview that cites "The Katzenjammer Kids" as establishing principles of continuity in comics by 1897 and some useful references at  Besides Scott McCloud's "Understanding Comics," which is listed on the site, it might be worth a look at Will Eisner's "Comics and Sequential Art" and "Graphic Storytelling and Visual Narrative."

Don Larsson

"Only connect!"   --E.M. Forster

Donald F. Larsson, Professor
English Department, Minnesota State University, Mankato
Email: [log in to unmask]
Mail: 230 Armstrong Hall, Minnesota State University
        Mankato, MN  56001
Office Phone: 507-389-2368

From: Film and TV Studies Discussion List [[log in to unmask]] on behalf of [log in to unmask] [[log in to unmask]]
Sent: Sunday, March 07, 2010 12:54 PM
To: [log in to unmask]
Subject: [SCREEN-L] comics & development of continuity editing

I was reading some material about the development of continuity editing during the 1910s and it occurred to me that comics probably had some effect on this.  However I can't find any material about such connections though my search was admittedly fairly brief.  Does anybody know of such work?  Comics historians are generally focused on visual print (typically starting Hogarth>Topffer>Outcault>McCay>the explosion) with comics-film influences generally seen as pure borrowings of image technique such as framing, angles, light.  Some of the earliest comics, such as McCay's Dreams of a Rarebit Fiend (film adaptation in 1906), were fairly static visually and can be taken as roughly parallel to tableau editing.

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