首页> 外文OA文献 >Visual narratives in the children\u27s picture story book : an investigation of the extent to which the formal structuring of a visual narrative retrieves a pastiche of past experiences and images which in turn shapes and redirects the story
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Visual narratives in the children\u27s picture story book : an investigation of the extent to which the formal structuring of a visual narrative retrieves a pastiche of past experiences and images which in turn shapes and redirects the story

机译:儿童图画故事书中的视觉叙事:对视觉叙事的正式结构在多大程度上检索过去经验和图像的仿作的调查,反过来又塑造和重定向了故事

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摘要

Throughout this research, the notion that illustrators of children\u27s books embark on two types of activity has been reinforced at every turn. On one hand the artist acknowledges the external world by organising images of actions and events in the contexts of place and time. This process involves bringing ideas into a physical form and demands the structuring of characters, settings, and story development. Planning and decisions are informed by imperatives that recognise the need for conventions of articulation and communication to a particular target audience. These then become a mayor priority of bookmaking and are constantly impacted on by publishers1 demands and ethical constraints. The other perspective sees the illustrator as expresser where the core of visual narratives for children celebrates the potency of imagination. Here dreams, fantasies, memories and the unconscious become the conduits to shaping sequential images. The artist is engaged not simply in visually telling a story, but rather telling facets of his or her own story. This exegesis traces the evolution of my own picture story book Eddie\u27s Fantastic Fortnight published by Five Mile Press Publishers in tandem with the insights and reflections of five of Australia\u27s most prominent illustrators. It examines whether the structure invested in a visual narrative liberates expressive response, ascribing to the premise that bookmaking plays an informing role to imagination. Equally it adopts the alternative position which asserts that the essence of children\u27s books is indeed fantasy, memory and dreams. This proposition views imagination and inspiration as the primary catalyst around which illustrators build their narrative. In the often lengthy processes of bookmaking, these considerations constantly shift. I have attempted to explore and reveal these mobile and ever changing priorities, not only in my own work, but also through leading exponents in the field.
机译:在整个研究过程中,有关儿童书籍的插画家从事两种活动的观念在任何时候都得到了加强。一方面,艺术家通过在地点和时间的背景下组织动作和事件的图像来认识外部世界。这个过程涉及将思想转变为物理形式,并要求人物,场景和故事发展的结构化。计划和决策是通过当务之急来进行的,当务之急是认识到需要针对特定​​目标受众进行表达和交流的惯例。然后,这些成为制书业的市长优先事项,并不断受到出版商的要求和道德约束的影响。另一种观点则认为插画家是表达者,儿童视觉叙事的核心体现了想象力。在这里,梦想,幻想,记忆和潜意识成为塑造连续图像的渠道。艺术家不仅从事视觉上讲故事的工作,而且还讲自己故事的各个方面。本释经追溯了我自己的图画故事书《五英里出版社》(Everdie's Fantastic Fortnight)的演变,该小说由五英里出版社出版,与五位澳大利亚最杰出的插画家的见解和反思相吻合。它考察了在视觉叙事中投入的结构是否解放了表达反应,并假设了簿记对想象力起着促进作用。同样,它采取替代立场,断言儿童读物的本质确实是幻想,记忆和梦想。这一主张将想象力和灵感视为插画家构建叙事的主要催化剂。在通常漫长的制表过程中,这些考虑因素不断变化。我不仅试图在自己的工作中,而且通过该领域的领先者来探索和揭示这些移动和不断变化的优先事项。

著录项

  • 作者

    Forrest, John, 1948-;

  • 作者单位
  • 年度 1997
  • 总页数
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类

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