777
Views
5
CrossRef citations to date
0
Altmetric
Articles

The cultural pages of comics: cross-cultural variation in page layouts

, , , &
Pages 67-86 | Received 06 Feb 2017, Accepted 03 Dec 2017, Published online: 24 Dec 2017

References

  • Abbott, M., and C. Forceville. 2011. “Visual Representation of Emotion in Manga: Loss of Control is Loss of Hands in Azumanga Daioh Volume 4.” Language and Literature 20 (2): 91–112. doi:10.1177/0963947011402182.
  • Barber, J. 2002. “The Phenomenon of Multiple Dialectics in Comics Layout.” Masters thesis, Typo/Graphic Studies, London College of Printing.
  • Bateman, J. A., F. O. D. Veloso, J. Wildfeuer, F. H. Cheung, and N. S. Guo. 2016. “An Open Multilevel Classification Scheme for the Visual Layout of Comics and Graphic Novels: Motivation and Design.” Digital Scholarship in the Humanities 1–35. doi:10.1093/llc/fqw024.
  • Bateman, J. A., and J. Wildfeuer. 2014. “A Multimodal Discourse Theory of Visual Narrative.” Journal of Pragmatics 74: 180–208. doi:10.1016/j.pragma.2014.10.001.
  • Caldwell, J. 2012. “Comic Panel Layout: A Peircean Analysis.” Studies in Comics 2 (2): 317–338. doi:10.1386/stic.2.2.317_1.
  • Cao, Y., A. B. Chan, and R. W. H. Lau. 2012. “Automatic Stylistic Manga Layout.” ACM Transactions on Graphics 31 (6): 1–10. doi:10.1145/2366145.2366160.
  • Chan, T. T., and B. Bergen. 2005. “Writing Direction Influences Spatial Cognition.” In Proceedings of the twenty-seventh annual conference of cognitive science society, 412–417, Stresa, Italy, July 21–23.
  • Chavanne, R. 2015. “The Composition of Comics.” European Comic Art 8 (1): 111–144. doi:10.3167/eca.2015.080108.
  • Cohn, N. 2013a. “Navigating Comics: An Empirical and Theoretical Approach to Strategies of Reading Comic Page Layouts.” Frontiers in Psychology—Cognitive Science 4: 1–15. doi:10.3389/fpsyg.2013.00186.
  • Cohn, N. 2013b. The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images. London: Bloomsbury.
  • Cohn, N. 2014. “The Architecture of Visual Narrative Comprehension: The Interaction of Narrative Structure and Page Layout in Understanding Comics.” Frontiers in Psychology 5: 1–9. doi:10.3389/fpsyg.2014.00680.
  • Cohn, N., and H. Campbell. 2015. “Navigating Comics II: Constraints on the Reading Order of Comic Page Layouts.” Applied Cognitive Psychology 29 (2): 193–199. doi:10.1002/acp.3086.
  • Cohn, N., and S. Ehly. 2016. “The Vocabulary of Manga: Visual Morphology in Dialects of Japanese Visual Language.” Journal of Pragmatics 92: 17–29. doi:10.1016/j.pragma.2015.11.008.
  • Cohn, N., A. Taylor-Weiner, and S. Grossman. 2012. “Framing Attention in Japanese and American Comics: Cross-Cultural Differences in Attentional Structure.” Frontiers in Psychology – Cultural Psychology 3: 1–12. doi:10.3389/fpsyg.2012.00349.
  • Dobel, C., G. Diesendruck, and J. Bölte. 2007. “How Writing System and Age Influence Spatial Representations of Actions.” Psychological Science 18 (6): 487–491. doi:10.1111/j.1467-9280.2007.01926.x.
  • Forceville, C. 2005. “Visual Representations of the Idealized Cognitive Model of Anger in the Asterix Album La Zizanie.” Journal of Pragmatics 37 (1): 69–88. doi:10.1016/j.pragma.2003.10.002.
  • Forceville, C. 2011. “Pictorial Runes in Tintin and the Picaros.” Journal of Pragmatics 43 (3): 875–890. doi:10.1016/j.pragma.2010.07.014.
  • Foulsham, T., D. Wybrow, and N. Cohn. 2016. “Reading without Words: Eye Movements in the Comprehension of Comic Strips.” Applied Cognitive Psychology 30: 566–579. doi:10.1002/acp.3229.
  • Fresnault-Deruelle, P. 1976. “Du linéaire au tabulaire.” Communications 24 (1): 7–23. doi:10.3406/comm.1976.1363.
  • Fuhrman, O., and L. Boroditsky. 2010. “Cross-Cultural Differences in Mental Representations of Time: Evidence from an Implicit Nonlinguistic Task.” Cognitive Science 34 (8): 1430–1451. doi:10.1111/j.1551-6709.2010.01105.x.
  • Groensteen, T. 2007. The System of Comics. Translated by Bart Beaty and Nick Nguyen. Jackson: University of Mississippi Press.
  • Juricevic, I. 2017. “Analysis of Pictorial Metaphors in Comicbook Art: Test of the LA-MOAD Theory.” Journal of Graphic Novels and Comics 1–21. doi:10.1080/21504857.2017.1313287.
  • Lefèvre, P. 2000. “The Importance of Being ‘Published’: A Comparative Study of Different Comics Formats.” In Comics and Culture: Analytical and Theoretical Approaches to Comics, edited by A. Magnussen and H.-C. Christiansen, 91–105. Copenhagen: Museum Tusculanum Press.
  • Maass, A., and A. Russo. 2003. “Directional Bias in the Mental Representation of Spatial Events.” Psychological Science 14 (4): 296–301. doi:10.1111/1467-9280.14421.
  • Molotiu, A. 2012. “Abstract Form: Sequential Dynamism and Iconostasis in Abstract Comics and in Steve Ditko’s Amazing Spider-Man.” In Critical Approaches to Comics: Theories and Methods, edited by M. J. Smith and R. Duncan, 84–100. New York: Routledge.
  • Omori, T., T. Ishii, and K. Kurata. 2004. “Eye Catchers in Comics: Controlling Eye Movements in Reading Pictorial and Textual Media.” In 28th international congress of psychology, Beijing, China.
  • Padakannaya, P., M. L. Devi, B. Zaveria, S. K. Chengappa, and J. Vaid. 2002. Directional Scanning Effect and Strength of Reading Habit in Picture Naming and Recall. Amsterdam: Elsevier.
  • Pederson, K., and N. Cohn. 2016. “The Changing Pages of Comics: Page Layouts across Eight Decades of American Superhero Comics.” Studies in Comics 7 (1): 7–28. doi:10.1386/stic.7.1.7_1.
  • Peeters, B. [1991] 1998. Case, Planche, et Récit: Lire la Bande Dessinée. Paris: Casterman.
  • Postema, B. 2013. Narrative Structure in Comics: Making Sense of Fragments. Rochester: RIT Press.
  • Pratha, N. K., N. Avunjian, and N. Cohn. 2016. “Pow, Punch, Pika, and Chu: The Structure of Sound Effects in Genres of American Comics and Japanese Manga.” Multimodal Communication 5 (2): 93–109. doi:10.1515/mc-2016-0017.
  • Schodt, F. L. 1983. Manga! Manga! The World of Japanese Comics. New York: Kodansha America.
  • Takahashi, M. 2008. “Opening the Closed World of Shojo Manga.” In Japanese Visual Culture: Explorations in the World of Manga and Anime, edited by M. W. MacWilliams, 114–137. London: M.E. Sharpe
  • Tanaka, T., K. Shoji, F. Toyama, and J. Miyamichi. 2007. “Layout Analysis of Tree-Structured Scene Frames in Comic Images.” In International joint conference on artificial intelligence, Hyderabad, India, January 6–12. (Vol. 7, pp. 2885-2890)
  • Tversky, B., S. Kugelmass, and A. Winter. 1991. “Cross-Cultural and Developmental Trends in Graphic Productions.” Cognitive Psychology 23 (4): 515–557. doi:10.1016/0010-0285(91)90005-9.
  • Vaid, J., M. Singh, T. Sakhuja, and G. C. Gupta. 2002. “Stroke Direction Asymmetry in Figure Drawing: Influence of Handedness and Reading/Writing Habits.” Brain and Cognition 48 (2–3): 597–602.
  • Witek, J. 2009. “The Arrow and the Grid.” In A Comic Studies Reader, edited by J. Heer and K. Worcester, 149–156. Jackson: University Press of Mississippi.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.