Thesis (B.A.)--Haverford College, Dept. of English, 2006. / Includes bibliographical references.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree of Master of Arts in Film and Television. / For this research project, I search for an approach to adaptation theory that may be better suited to adapting Manga (Japanese comics) to film. The American comic book adaptations in the last eight years have met with resounding success, and their increased number has also prompted a shift in what audiences and producers qualify as a successful adaptation. For example, 19 films that have been made by Marvel, Sony and Fox since 2008, were adapted from Marvel comics, but followed plot lines that varied greatly from that of the comics (IMDB.com, n.d). However, Manga adaptations have not met with the same level of success, and as such, I propose that a different approach might be necessary when it comes to adapting them. To do so, I discuss how Japanese Manga has been adapted by Hollywood in the past, and why those attempts have been considered a failure, the key example being that of ‘Dragonball Evolution’ (James Wong, 2008), which was based on the famous series, ‘Dragon Ball’, created by Akira Toriyama in 1984. To conclude, I propose my approach to adapting Manga and support it with a short film adaptation. / MT2017

Media theorists have identified five models explaining media content: reflection, media routines, personal characteristics, extrinsic forces and manipulation. This study looks at diversity and controversy in newspaper comic strips to test the models that 1) media content is determined by personal characteristics of the decision maker; and 2) media content is determined by forces extrinsic to the decision maker. It was found that in the majority of cases the personal characteristics of the newspaper editor were more important in determining which diverse and controversial comic strips he/she will publish. However, it was found that no single model completely explains how editors make decisions concerning controversial and diverse material, but instead a variety of decision making models, including reflection, media routines, personal characteristics, and extrinsic forces, influence editor’s decision making. / Master of Science

方敏瑜. / "2006年9月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 156-163). / "2006 nian 9 yue" / Abstracts in Chinese and English. / Fang Minyu. / Can kao wen xian (leaves 156-163). / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Chapter 第一章： --- 緒論 --- p.1 / 硏究簡介 --- p.1 / 香港漫畫簡況與日本愛情漫畫分類 --- p.3 / 硏究意義 --- p.5 / 論文結構 --- p.6 / Chapter 第二章： --- 理論基礎 --- p.8 / 文獻回顧 --- p.8 / 硏究問題 --- p.25 / 硏究方法 --- p.27 / Chapter 第三章: --- 社會處境分析 --- p.33 / 日本與香港漫畫發展 --- p.33 / 日本文化之跨境傳入 --- p.39 / Chapter 第四章： --- 日本愛情漫畫文本分析 --- p.49 / 故事內容分析 / Chapter 1. --- 故事結構 --- p.49 / Chapter 2. --- 故事劇情 --- p.55 / Chapter 3. --- 心理分析 --- p.61 / Chapter 4. --- 結局分析 --- p.63 / 人物分析 --- p.64 / 愛情觀分析 --- p.74 / Chapter 第五章： --- 漫畫使用及訊息接收 --- p.89 / 漫畫文本使用 --- p.89 / 漫畫意識形態的影響與接收 --- p.103 / 漫畫閱讀與論述角力 --- p.114 / Chapter 第六章： --- 個案硏究 --- p.123 / 傳媒的男男漫畫論述 --- p.124 / 男男文化的協商「抗衡」 --- p.133 / Chapter 第七章： --- 總結 --- p.140 / 核心發現 --- p.140 / 反思與討論 --- p.149 / 限制和展望 --- p.151 / 附件 / 表一 受訪者基本資料 --- p.153 / 表二 漫畫文本基本資料 --- p.155 / 參考 --- p.156

Thesis (M.A.)--Miami University, Dept. of English, 2006. / Title from first page of PDF document. Includes bibliographical references (p. 62-63).

Thesis (M.A.)--Brigham Young University. Dept. of English, 2006. / Includes bibliographical references (p. 114-120).

Indiana University-Purdue University Indianapolis (IUPUI) / Boy-love (or BL) manga (comic book) is a subgenre of Japanese girl’s manga. It features the homoerotic relationships between beautiful young boys and is popular among young straight women. This thesis explores the transnational influence of BL manga on young women and examines how Chinese female readers perceive and interpret this cultural artifact. An online survey has been conducted to answer key questions including: Who consumes BL productions in Chinese-speaking communities, how is BL fandom formed and what are the patterns of such fandom. Outcomes indicate women enjoy the queer fantasy deriving from reading BL manga and such fantasy should not be stigmatized or pathologized.

Orientador: Laan Mendes de Barros / Banca: Waldomiro de Castro / Banca: Maximiliano Martin Vicente / Resumo: A proposta dessa pesquisa é estudar os motivos que levam os professores a utilizarem ou não as Histórias em Quadrinhos como recurso auxiliar e estimulador no processo de aprendizagem na sala de aula. Trata-se de uma mídia cultural popular que utilizada adequadamente, pode abordar diferentes faixas etárias, níveis de ensino e diversas questões sociais, políticas, históricas, geográficas, entre outros. Num tempo em que as mídias digitais competem com a figura do professor, é fundamental valorizar este profissional que busca diferentes recursos embasados a partir de conceitos de Educomunicação a fim de trazer mais uma ferramenta auxiliadora e atrativa para os educandos passando conceitos e conteúdos da grade curricular. / Abstract: The purpose of this research is to study the reasons that lead teachers to use - or not - COMICS as an auxiliary and stimulating resource in the process of in classroom learning. It is a popular cultural media that, when used properly, can address different age groups, levels of education and many social, political, historical, and geographical topics, among others. At a time when digital media competes with the teacher, it is essencial to value this professional that seeks different resources based on concepts of "Educommunication" in order to bring useful and attractive tools in transmitting concepts and contents of the curriculum to students / Mestre

The Ph.D. focuses on the recent conflict in Sri Lanka that ended on 19 May 2009 with the military defeat of the Liberation Tigers of Tamil Eelam (LTTE), otherwise known as the Tamil Tigers, and the death and disappearance of between an estimated figure of 75,000 and 146,679 Tamil civilians and LTTE combatants from that year. The research is based on narratives from oral histories taken largely from survivors of the civil war in order to produce a graphic novel to convey the story of a family whose experiences are paralleled among many other people from the Vanni in north-eastern Sri Lanka. Multiple methodologies were deployed from working closely with an illustrator, Lindsay Pollock, to focus groups and semi-structured and structured interviews listening to survivors' testimonies and experiences based in Chennai, London and Zurich with those people who are currently going through, or have recently gone through, the asylum process. The thesis and in particular the graphic novel can contribute to the formation of a compelling and engaging 'human rights culture' (Galchinsky 2012) both in terms of representing the bloody conflict in Sri Lanka, and the ordeals and dilemmas faced by displaced persons in other countries in its aftermath. As opposed to human rights law which is based on a vertical axis, Galchinsky states that human rights culture is based on a horizontal appeal to a shared humanity. While universalist understandings of human rights and the holistic conception of culture implied in his proposal are questionable, the horizontal axis of enquiry and representation informs this research - ranging from the fieldwork period that led to the collation of testimonies to the production of the graphic novel, to its sharing with research contributors for their opinions and formative feedback, and to its wider dissemination. The accompanying graphic novel is hybrid in terms of the combination of text with illustrations and photographs, and with regards to a fusion between the 'fictional' with 'factual' - both deemed here as conventions of representing and engaging with real-life events. Even though the nuance of multiple perspectives offered by research interlocutors may be simplified in the narrative of the graphic novel, there are clear theoretical and methodological advantages that, to date, have not been considered in the Sri Lankan context for this kind of literature. These include the ability to retain the anonymity of interlocutors while highlighting the compelling recollections of their experiences, the potential to foster a 'sympathetic imagination' across social and other demarcations that can constitute the creation of meanings that offer a particular way of seeing, feeling and thinking about one's relationship with oneself, others, and with society in general (Salgado 2007), and the possibilities for a collaborative approach with interlocutors. The written thesis provides the contextual and ethnographic foundations for the graphic novel that also elaborates upon the self-reflexive and participatory methodologies and ethical concerns of creating the novel itself. The graphic novel enables a wider career in terms of its readership amongst research contributors as well as others, and its role in promoting educational awareness and humanitarian advocacy on the recent conflict.

The 21st century has seen an unprecedented rise in the volume of comics and graphic novels being produced and consumed and in scholarly interest in the form, with the interdisciplinary field of Comics Studies rising to become a vibrant global community with a significant body of work and an established academic infrastructure. Alternative comics and graphic novels - those outside of the superhero genre-dominated corporate publishing structures of Marvel and DC - have driven this rise and the ensuing legitimation of the form. What defines the specific nature of alternative comics and what they are is the particular work and labour of alternative cartoonists. This work is, in turn, characterized and defined by specific tensions between auteurism (driven by neoliberalism and late capitalism's veneration of the individual and the entrepreneur) and collective production (driven by the sociological perspective of works of art always being the product of many hands). This thesis is an attempt to present specific examples of where these tensions are exhibited and, as a result, to offer new accounts of the specific nature of comics work. It is also an attempt to move away from the formalism that has dominated the field of comics studies and to move towards an understanding of comics as cultural work, informed by an understanding of comics through their creators and an approach that allows comics practice to inform comics theory. Each chapter of this thesis examines a specific aspect of the culture of working in contemporary comics, contextualised within neoliberal political economy and consistently bridging the gap between auteurism and collective production. These include the portrayal of art school and comics' engagement with institutions; the direct portrayal of work itself in alternative comics; the use of colour in comics, which here facilitates a reading of the effects of the technical conditions of production on the content and construction of comics; and finally, the effects of digital culture and new disruptive technologies on the production, distribution and consumption of comics, and how this contributes to a present and future understanding of the figure of the auteur cartoonist. Drawing these chapters together, the thesis concludes with a presentation of the auteur cartoonist as one who drives the contemporary culture of comics and graphic novels in the emerging dialectic of comics work. Comics work is thus situated as a political act and a site of resistance and rebellion through collective production.