9,458
Views
4
CrossRef citations to date
0
Altmetric
Articles

Defining digital comics: a British Library perspective

Pages 393-409 | Received 24 Nov 2017, Accepted 16 Jul 2018, Published online: 25 Jul 2018

References

  • BBC. 2014. ‘Mary Queen of Scots 1561–1567, Bitesize’. BBC. Accessed 1 October 2014. http://www.bbc.co.uk/programmes/p027q90j.
  • Brienza, C. 2010. “Producing Comics Culture: A Sociological Approach to the Study of Comics.” Journal of Graphic Novels and Comics 1 (2): 105–119. doi:10.1080/21504857.2010.528638.
  • British Library. 2017. ‘Collecting Webcomics in the UK Web Archive - UK Web Archive Blog’. http://blogs.bl.uk/webarchive/2017/09/collecting-webcomics-in-the-uk-web-archive.html#.
  • Chute, H. L. 2010. Graphic Women: Life Narrative and Contemporary Comics. New York: Columbia University Press.
  • Cohn, N. 2005. “Un-Defining “Comics”: Separating the Cultural from the Structural.” International Journal of Comic Art 7 (2): 236–248.
  • Cook, R. T. 2012. “Why Comics are Not Films: Metacomics and Medium-Specific Conventions.” In The Art of Comics: A Philosophical Approach, edited by A. Meskin and R. T. Cook, 165–187. Sussex: Blackwell.
  • Daniels, E. C. nd. ‘The Digital Comics Manifesto’. Screendiver. http://screendiver.com/digital-comics-manifesto/.
  • Den of Geek. 2012. ‘Interview with Ben Wolstenholme, Madefire’s Co-Founder’. Den of Geek. Accessed 12 December 2012. http://www.denofgeek.com/us/go/34173.
  • Department for Culture, Media and Sport. 2013. ‘The Legal Deposit Libraries (Non-Print Works) Regulations 2013’. http://www.legislation.gov.uk/uksi/2013/777/contents/made.
  • Eisner, W. 2008. Comics and Sequential Art: Principles and Practices from the Legendary Cartoonist. Revised. New York: W. W. Norton & Company.
  • Futas, E., ed. 1995.Collection Development Policies and Procedures Revised edition. 3rd ed. Phoenix, Ariz: Greenwood Press.
  • Garrish, M. 2011. What Is EPUB 3?. 1st ed. Beijing: O’Reilly Media.
  • Goodbrey, D. M. 2010. ‘The Archivist’. http://e-merl.com/archivist/.
  • Goodbrey, D. M. 2013. “From Comic to Hypercomic.” In Cultural Excavation and Formal Expression in the Graphic Novel, edited by J. C. Evans and T. Giddens, 291–302. Oxford: Inter-Disciplinary Press.
  • Goodbrey, D. M. 2015. “Game Comics: An Analysis of an Emergent Hybrid Form.” Journal of Graphic Novels and Comics 6 (1): 3–14. doi:10.1080/21504857.2014.943411.
  • Green, M. 2008. ‘Chaosbunny. 2017’. http://www.chaosbunny.com/toon.php.
  • Groensteen, T. 2007. The System of Comics. Translated by Bart Beaty and Nick Nguyen. Jackson: University Press of Mississippi.
  • Gunning, T. 2014. “The Art of Succession: Reading, Writing, and Watching Comics.” Critical Inquiry 40 (3): 36–51. doi:10.1086/677328.
  • Hague, I. 2014. Comics and the Senses: A Multisensory Approach to Comics and Graphic Novels. 1 ed. New York: Routledge.
  • Hatfield, C. 2005. Alternative Comics: An Emerging Literature. Jackson: University Press of Mississippi.
  • Johnston, H. 2017. “ComiXology and the Future of the Digital Comic Book.” The iJournal: Graduate Student Journal of the Faculty of Information 2 (2). http://theijournal.ca/index.php/ijournal/article/download/28126.
  • Khordoc, C. 2001. “The Comic Book’s Soundtrack: Visual Sound Effects in Asterix.” In The Language of Comics: Word and Image, edited by R. Varnum and C. T. Gibbons, 156–173. Mississippi: University Press of Mississippi.
  • Klassen, J. 2011. I Want My Hat Back. London: Walker Books.
  • Klassen, J. 2012. This Is Not My Hat. London: Walker Books.
  • Klassen, J. 2016. We Found a Hat. London: Walker Books.
  • Kress, G. 2003. “Interpretation or Design: From the World Told to the World Shown.” In Art, Narrative and Childhood, edited by M. Styles and E. Bearne, 137–153. Staffordshire: Trentham Books Limited.
  • Kress, G. 2010. Multimodality: Exploring Contemporary Methods of Communication. New Ed ed. London; New York: Routledge.
  • Labio, C. 2015. “The Architecture of Comics.” Critical Inquiry 41 (2): 312–343. doi:10.1086/679078.
  • Library, T. B. 2015. ‘Living Knowledge: The British Library 2015–2023ʹ. The British Library. https://www.bl.uk/aboutus/foi/pubsch/pubscheme3/living-knowledge-2015-2023.pdf.
  • Lombard-Cook, K. 2015. “Jason Shiga’s Meanwhile and Digital Adaptability of Non-Traditional Narratives in Comics.” Journal of Graphic Novels and Comics 6 (1): 15–30. doi:10.1080/21504857.2014.943410.
  • Madefire. 2017. My Little Pony: Friendship Is Magic Motion Book: Episode 1. http://www.madefire.com/motion-books/my-little-pony-friendship-is-magic-1.
  • McCloud, S. 1993. Understanding Comics: The Invisible Art by McCloud, Scott. New York: HarperCollins.
  • McCloud, S. 2000. Reinventing Comics. 1st Perennial Ed ed. New York, NY: HarperCollins.
  • Meskin, A. 2007. “Defining Comics? ”The Journal of Aesthetics and Art Criticism 65 (4): 369–379. doi:10.1111/j.1540-594X.2007.00270.x.
  • Meskin, A., and R. T. Cook. 2012. “The Art and Philosophy of Comics: An Introduction.” In The Art of Comics: A Philosophical Approach, edited by A. Meskin and C. Roy T., xiv–xli. Sussex: Blackwell.
  • Michelle, G., J. Bailey, K. Cariani, T. Owens, and M. Altman. 2017. “Trends in Digital Preservation Capacity and Practice: Results from the 2nd Bi-Annual National Digital Stewardship Alliance Storage Survey.” D-Lib Magazine 23 (7/8): 1. doi:10.1045/july2017-gallinger.
  • Mikkonen, K. 2017. The Narratology of Comic Art. 1st Ed. New York; Oxon: Routledge.
  • Morton, D. 2015. “The Unfortunates: Towards a History and Definition of the Motion Comic.” Journal of Graphic Novels and Comics 6 (4): 347–366. doi:10.1080/21504857.2015.1039142.
  • Nel, P. 2012. “Same Genus, Different Species?: Comics and Picture Books.” Children’s Literature Association Quarterly 37 (4): 445–453. doi:10.1353/chq.2012.0053.
  • Nodelman, P. 1988. Words about Pictures: The Narrative Art of Children’s Picture Books. Athens, GA; London: University of Georgia Press.
  • Nodelman, P. 2012. “Picture Book Guy Looks at Comics: Structural Differences in Two Kinds of Visual Narrative.” Children’s Literature Association Quarterly 37 (4): 436–444. doi:10.1353/chq.2012.0049.
  • Orbán, K. 2014. “A Language of Scratches and Stitches: The Graphic Novel between Hyperreading and Print.” Critical Inquiry 40 (3): 169–181. doi:10.1086/677340.
  • Rowe, C. 2016. “Dynamic Drawings and Dilated Time: Framing in Comics and Film.” Journal of Graphic Novels and Comics 7 (4): 348–368. doi:10.1080/21504857.2016.1180541.
  • Sabin, R. 2000. “The Crisis in Modern American and British Comics, and the Possibilities of the Internet as a Solution.” In Comics & Culture: Analytical and Theoretical Approaches to Comics, edited by A. Magnussen and H.-C. Christiansen, 43–58. Copenhagen: Museum Tusculanum Press.
  • Sanders, J. S. 2013. “Chaperoning Words: Meaning-Making in Comics and Picture Books.” Children’s Literature 41 (1): 57–90. doi:10.1353/chl.2013.0012.
  • Sanders, J. S. 2015. “Valentine, Comics for Mobile Devices, and the Limits of Empowerment.” In On the Edge of the Panel: Essays on Comics Criticism, edited by J. Canero and E. Claudio, 174–195. Newcastle upon Tyne: Cambridge Scholars Publishing.
  • Saraceni, M. 2003. The Language of Comics. London; New York: Routledge.
  • Sargeant, B. 2015. “What Is an Ebook? What Is a Book App? and Why Should We Care? an Analysis of Contemporary Digital Picture Books.” Children’s Literature in Education 46 (4): 454–466. doi:10.1007/s10583-015-9243-5.
  • Schwartz, J. M., and T. Cook. 2002. “Archives, Records, and Power: The Making of Modern Memory.” Archival Science 2 (1–2): 1–19. doi:10.1007/BF02435628.
  • Smith, C. 2015. ‘Motion Comics: The Emergence of a Hybrid Medium’. Writing Visual Culture 7. http://www.herts.ac.uk/research/centres-and-groups/tvad-theorising-visual-art-and-design/writing-visual-culture/volume-7.
  • Stake, R. E. 1995. The Art of Case Study Research. Thousand Oaks: SAGE Publications.
  • Stead, L. 2013. “Introduction.” In The Boundaries of the Literary Archive: Reclamation and Representation, edited by C. Smith and L. Stead, 1–12. Surrey: Ashgate Publishing.
  • Steedman, C. 2001. Dust. Manchester: Manchester University Press.
  • Straw, W. 2009. “The Circulatory Turn.” In The Wireless Spectrum: The Politics Practices and Poetics of Mobile Media, edited by B. Crow, M. Longford, and K. Sawchuk, 17–28. Toronto: University of Toronto Press.
  • Striker, P. 2016. ‘Striker’. ongoing 2016. https://www.youtube.com/channel/UCdU9-dkgPCnWovjkqJ2V2Zg/videos.
  • Tan, S. 2010. Eric. Dorking: Templar Publishing.
  • Thorne, A. 2010. “Web Comics and Libraries.” In Graphic Novels and Comics in Libraries and Archives: Essays on Readers, Research, History and Cataloguing, edited by R. G. Weiner, 209–212, Jefferson; North Carolina; London: McFarland.
  • Tillett, B. 2003. ‘What Is FRBR? A Conceptual Model for the Bibliographic Universe’. Library of Congress. https://www.loc.gov/cds/downloads/FRBR.PDF.
  • Varnum, R., and C. T. Gibbons. 2001. “Introduction.” In The Language of Comics: Word and Image, edited by R. Varnum and C. T. Gibbons, ix–xix. Mississippi: University Press of Mississippi.
  • Wershler, D. 2011. “Digital Comics, Circulation, and the Importance of Being Eric Sluis.” Cinema Journal 50 (3): 127–134. doi:10.1353/cj.2011.0035.
  • Wolk, D. 2007. Reading Comics: How Graphic Novels Work and What They Mean. Cambridge, Mass.: Da Capo Press.
  • Wolstenholme, B., and L. Sharp. 2013-2017. ‘Mono - The Old Curiosity Shop’. DeviantArt. https://madefirestudios.deviantart.com/art/Mono-The-Old-Curiosity-Shop-Ep-3-363866264.