首页> 外文期刊>H-ermes. Journal of Communication >Introduzione. E-comics - Attualità e inattualità del fumetto nel tempo digitale = Introduction. E-comics - The contemporary and uncontemporary nature of comics in the digital era
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Introduzione. E-comics - Attualità e inattualità del fumetto nel tempo digitale = Introduction. E-comics - The contemporary and uncontemporary nature of comics in the digital era

机译:介绍。 e-comics - 在数字时间中的卡通的国家和无形性=介绍。 e-comics - 数字时代漫画的当代和不合计性质

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The advent of television in the second half of the "short century" led to the progressive erosion of the consumption base of the comic strip, which came to be considered, by some, as a medium destined for extinction. The reasoning behind this notion, prevalent both in the world of production and in that of mediological research, is to be primarily attributed to a perception – which is extremely widespread in apocalyptic sociological paradigms - related to the processes of change that have affected the imaginary and techno-culture of communication: from this point of view, the inclusion of comics in the perimeter of typographybased mass media would appear to make the future of the medium uncertain, as it too was subjected to "ruthless" competition from new and pervasive electronic media (from television to video game devices). Historical experience, as is often the case, has proven the previsional theories wrong. Generalist TV currently appears to be suffering as much as or perhaps more than "traditional" industrial media such as cinema. Comics have renegotiated their role in the economy of the imaginary by generating some radical mutations, processes of transformation, and hybridization on their own techno-cultural body to preserve their existence - albeit in the context of a substantial re-foundation of codes and statutes - in the new mediascape of cultural consumption. From the advent of the definition of a "graphic novel" to experimenting with comic journalism, from resizing mass production to the growth of dedicated consumption, from new forms of participatory collecting to the digital transformation of narratives and media, from high-quality publishing to adaptations for film and television, the "old" language of hand drawn pencil and ink comic strips hand-drawn confirmed - paradoxically in many aspects - as "currently outdated" or "outdatedly current". Within the horizon of the transformation taking place in the world of media, this monographic issue of H-ermes journal, designed and edited in conjunction with several European universities, wishes to explore emerging practices and new aesthetic trends in comics. This is a particularly substantial volume, as over the course of their research the curators realized that the extent and the records of the changes taking place in the visual language of comics are more impressive and, at the same time, more diversified than was generally thought; however, even so, it is clear that there are many other topics to be addressed and themes to be explored. The contributions of the individual authors of this monograph are all along these lines, observing the complex scenario of the change in progress and attempting to grasp the implied meaning behind an apparent contradiction: that of a medium which had, in the period from the late nineteenth century to the first half of the twentieth century, contributed in a non-subordinate manner to test the forms of cultural "conditioning" of mass society, and which today finds itself at a crossroads between innovative models of social organization, thanks to the unexpected ability to glean audience participation in crucial dynamics of change that link its seemingly obsolete technological matrix, and up-and-coming forms of digital communication.
机译:电视中的“短世纪”导致连环画,它传来的消耗碱的逐步侵蚀的后半部分出现被认为是,由一些,作为介质往灭绝。这个概念背后的原因,在生产的世界,在mediological研究的盛行两种,就是被主要归因于一种看法 - 这是世界末日的社会学范式极为广泛 - 与已经影响了想象和变化的过程通信技术 - 文化:从这个角度来看,在typographybased大众媒体的周边漫画列入似乎使介质的不确定的未来,因为它也被受到来自新的和普遍的电子媒体“狠”的竞争(从电视到视频游戏设备)。历史的经验,这是常有的情况下,已经证明了previsional理论是错误的。通才电视目前似乎痛苦不亚于或者也许比“传统”的行业媒体如电影更多。虽然在法令法规的大幅重新基础的背景下 - 漫画已经通过产生他们自己的电子文化的身体有些激进的突变,转化的过程,和杂交保护他们的存在重新谈判他们在虚拟经济的作用 - 在文化消费的新媒体景观。从“绘图小说”的定义的出现与漫画新闻试验,从调整大小大规模生产专用消费的增长,从参与收集的新的形式来叙述和媒体的数字化改造,由高品质的发布到改编为电影和电视,手绘铅笔和墨水连环画手绘证实的“老”的语言 - 矛盾在许多方面 - 如“当前过时”或“outdatedly电流”。在转型正在发生的在媒体世界的视野,这个专题问题H-ERMES杂志,设计并结合几个欧洲大学编辑,希望探索在漫画新兴实践和新的审美趋势。这是一个特别显着的体积,因为在策展人意识到的程度和正在发生的变化以漫画的视觉语言的记录更令人印象深刻,并在同一时间,比人们通常认为的更多样化他们的研究过程;然而,即便如此,很显然,还有很多需要解决的其他议题和主题进行探讨。这本专着的个别作者的贡献都是沿着这些线路,观察正在进行的变化复杂的情况,并试图抓住一个明显的矛盾背后的寓意:这里面有,在此期间,从十九世纪末的介质世纪到二十世纪上半叶,在非下级的方式来测试文化的大众社会的“空调”的形式做出了贡献,而今天发现自己在社会组织的创新模式之间的十字路口,由于意外的能力在链接其看似过时的技术矩阵,数字通信的上升和未来的形式变化的关键动力搜集观众的参与。

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