Grafik Romanda Özgünlük ve Etkileşimli Bir Uygulama
Özet
Graphic novels that continue its publishing life as it develops each passing day, have
also rapidly improved as one of the important art/ design branches of the modern world.
Graphic novels reaching their readers through multiple countries, artists, and languages,
have hosted new cults every passing day. Graphic novels that quickly spread all over the
world and in Turkey despite all the difficulties and became a communication tool with
their own unique characteristics, has also become a contemporary cultural element.
Because graphic novels are an important artistic branch of the present and future, in this
thesis study, different periods on the earth have been researched from past to today, and
an application study in this area has been chosen as the subject.
In the first chapter of this thesis entitled "Authenticity and an Interactive Application in
Graphic Novel", a comic book was tried to be defined in its various aspects; its
historical development, censorship, and contribution to art and the artist has been
emphasized; interviews with artists were included and the art of humor and its place in
the cinema were reviewed.
In the second chapter, after the description, development, and importance of the graphic
novel are emphasized, information has been provided about the graphic novel reader. In
addition, the contribution of graphic novels to the development of the individual and the
community has been researched and presented.
In the third chapter, various graphic novel examples are analyzed and their originality
were compared in terms of form, content and illustration. At the same time, examples of
interactive graphic novels were also researched and reviewed by separating it into its
elements.
vii
In the fourth chapter, the designs and applications of interactive graphic novels that was
separated into its elements in the previous chapter were exemplified and compared in
terms of originality and function.
In the fifth and last chapter, a place was given to the analysis of the summary of the
story and the characters in it, which constitute the basis of the application study, with
the information obtained from the researches and examples and also from the opinions
of the experts in the field. In addition to all of these, by sharing the sketches of the story
of the application and samples interactive with the data matrix; a place was given to the
application study.
The applications were given by scrutinizing through its process from thought/ sketch
phase to the finalization.
Bağlantı
http://hdl.handle.net/11655/4632Koleksiyonlar
Künye
C. (2000). Çizgi Roman Tasarım Teknikleri Ve Bir Uygulama Çalışması. Yayımlanmamış Yüksek Lisans Tezi, Hacettepe Üniversitesi, Ankara. Alpgin, H. (2008). 1001 Soruda Çizgi Roman. İstanbul: İnkılap Yayınları. Alpgin, H. (2006). Çizgi Roman Ansiklopedisi. İstanbul: İnkılap Yayınları. Appiah, O. (2006). Rich media, poor media: the impact of audio/video vs. Text/picture testimonial ads on browsers’ evaluations of commercial web sites and online products. Journal Of Current Issues and Research in Advertising 28(1), 73-86. Arnold, A., D. (1998. “Drawing in the Gals.” http://www.epnet.com>. Barker, M. (1989). Comics: Ideology, Power And The Critics. Manchester: Manchester University Press. Bauer, R., A. & Greyser, S., A. (1968). Advertising in America: The consumer view. Boston, MA: Harvard University. Bezci, Ş. (2002). Çizgili Hayat Kılavuzu. İstanbul: İletişim Yayınları. s;255-256 Biederman, I., & Vessel, E. A. (2006). Perceptual pleasure and the brain. American Scientist, 94, 249-255. Bolan, B. (2000). Çizgi Roman Sanatı. İstanbul: İletişim Yayınları. Botzakis, S. (2009). Adult fans of comic books: What they get out of reading. Journal of Adolescent & Adult Literacy, 53(1), 50-59. Botzakis, S. (2011). ‘To be a part of the dialogue’: American adults reading comic books. Journal of Graphic Novels and Comics, 2(2), 113-123. 241 Brown, J., S. & Duguid, P. (2000). The social life of information. Boston: Harvard Business School. Carrier, D. (2000). The Aesthetics of Comics. University Park: Penn State University Press. Cantek, L. (2012). Türkiye’de Çizgi Roman. İstanbul: İletişim Yayınları. Cantek, L. (2002). Çizgili Hayat Kılavuzu. İstanbul: İletişim Yayınları. Cantek, L. (2004). Serüven Çizgi Roman Araştırmaları Dergisi. İstanbul:Oğlak Yayınları. Sayı:1 Çelik, İ. (2015). SMUB Çizgi Roman Nedir? Erişim: 01 Mart 2016. http://smubcizgiroman.com/smub-cizgi-roman-nedir/ Coşar, S. (2010). Edebiyatın Karikatürize Halleri, Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic. Volume 5/2, İzmir. Coyle, J. R., & Thorson, E. (2001). The effects of progressive levels of interactivity and vividness in web marketing sites. Journal of Advertising 30(3), 65-77. De Castro, R. F (2015). Mariachi Batman? Mexicans reinvent the Dark Knight in their own Image. Retrieved November 20, 2016 http://fusion.net/story/43825/mariachi-batmanmexicans- reinvent-the-dark-knight-in-their-owni mage/?utm_source=facebook&utm_medium=social&utm_campaign=fusionnetwork Ducoffe, R., H. (1995). How consumers assess the value of advertising, Journal of Current Issues and Research in Advertising, 17(1), 1-18. Ducoffe, R., H. (1996), advertising value and advertising on the web, Journal of Advertising Research, 36(5), 21-35. 242 Edebiyat Haber. (2015). “ Grafik roman, çizgi romanı itibarlandırdı ” Erişim: 28 Mart 2016. http://www.edebiyathaber.net/levent-cantek-grafik-roman-cizgi-romaniitibarlandirdi/ Eighmey, J. (1997). Profiling user responses to commercial web sites, Journal of Advertising Research, 37(3), 59-67. Eisner, W. (1985). Comics And Sequential Art. Paramus, NJ: Poorhouse Press. Eroğlu, A. (1999). Bizler Birer Çizgi Roman Kahramanı İdik. Öküz, Eylül. Esrock, E., J. (1994). The Reader’s Eye: Visual Imaging As Reader Response. Baltimore: Johns Hopkins UP. Figueiredo, S. (2011). Building worlds for an interactive experience: Selecting, organizing, and showing worlds of information through comics. Journal of Visual Literacy 30(1), 86-100. Frederick, D., M. (2013). The effects of parallax scrolling on user experience and preference in web design. Department of Computer Graphics Technology Degree Theses, Purdue University. Retrieved form http://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=1025&context=cgttheses Gaines, J., M. (1991). Contested Culture: The Image, the Voice, and the Law. Chapel Hill: University of North Carolina Press Print. George, J., & Spillman, M. (2013). Storytelling with interactive graphics: An analysis of editors’ attitudes and practices. Visual Communication Quarterly 20(1) 20-27. Gleick, J. (1999). Faster: The Acceleration of Just About Everything. New York: Pantheo. Gordon, I. (1998). Comic Strips and Consumer Culture 1890–1945. London: Smithsonian Institution Press Print. 243 Goldsmith, F. (1998). YA Talk: Graphic Novels. Booklist 1 May 1998, 1510-1. Gorman, Michele. “Graphic Novels and the Curriculum Connection.” Library Media Connection 22.3 (Nov./Dec. 2003): 20-1. Library Literature and Information Science H.W. Wilson. University of North Carolina at Chapel Hill, Davis Lib. 22 Feb. 2004. Gönenç, L. (2011). Yıldız Tutulması. Erişim: 22 Mart 2016. http://birgunkitap.blogspot.com.tr/2013/04/yldz-tutulmas-levent gonenc.html. Gravett, P. (1989). Avrupada Çizgi Roman. Argos, Mart. Kontrol için Cante bak istersen Güreli, T. (1997). Türkiye’de Çizgi Romanlar. Sanat Dünyamız, sayı:64 Gürata, A. (2002). Çizgili Hayat Kılavuzu. İstanbul: İletişim Yayınları. s. 54-58 Hassenzahl, M., & Tractinsky, N. (2006). User experience-a research agenda. Behaviour & Information Technology, 25(2), 91-97 Harvey, R. (1996). The Art of the Comic Book: An Aesthetic History. Jackson: UP Mississippi. Hochheimer, J., L. “Reading the world through the word: The power of literacy in a new media age”. College Literature 28 (Winter 2001), 202-9. Literature Online. ProQuest. University of North Carolina at Chapel Hill. 7 March 2004 < http://www.proquest. com> Horn, M. (1976). The World Encyclopedia Of Comics. New York: Chelsea. Horn, M. (1989). Çizgi Romanın Kısa Tarihi . Argos, Mart. Howells, R. (2003). Visual Culture. Cambridge: Polity. Ilgaz, Doç. Sevil Ilgaz. (1997). Çizgi Film. İstanbul: Leya Yayınları. 244 Inge, M.,T. (1997). Çizgi Romanlar, Sanat Dünyamız. İstanbul: Yapı Kredi Yayınları sayı 64 Kireççi, Ü. (2008). Çizgi Roman Senaryosu. İstanbul: Cera Yayıncılık. Kunzle, D. (1973) History of the Comic Strip. Volume 1, The Early Comic Strip: Narrative Strips and Picture Stories in the European Broadsheet from c. 1450 to 1825 Berkeley and Los Angeles: University of California Press Leng, H., K. (2012). Of Bats and Spiders: The Appeal of Comics to Adult Readers. GSTF Journal of Law and Social Sciences (JLSS), 2(1), 196.- 200. Lefèvre, P. (1999). Recovering Sensuality in Comic Theory. International Journal of Comic Art, Vol:1, No:1, s; 140-149. Maas, John-Michael. “Where the Fans Are.” Publishers Weekly 28 April 2003: 23- 6. Library Literature and Information Science H.W. Wilson. University of North Carolina at Chapel Hill, Davis Lib. 22 Feb. 2004. McCloud, S. (1993). Understanding Comics: The Invisible Art. New York: HarperPerennial. McCloud, S. (2000). Reinventing Comics. New York: Harper. McCloud, S. (2006). Making comics: storytelling secrets of comics, manga and graphic novels. New York: Harper. McKenzie, D., F. (1999). Bibliography and the Sociology of Texts. Cambridge University Press. McLuhan, M. (1964) Understanding Media: The Extensions of Man. New York: McGraw-‐Hill. 245 McQuail, D. (1983). Mass Communication Theory: An introduction. London: Sage Publications. Nodelman, P. (1996). How Picture Books Work,' In S. Egoff, G. Stubbs, R. Ashley & W. Sutton (eds.) Only Connect. Readings on Children's Literature. Oxford University Press. Nyberg, A., K. (1998). Seal of Approval: The History of the Comics Code, htttp://www.geocities.com Özberk, M. (2012). Lumiere Kardeşler. Erişim: 18.03.2018. http://www.otekisinema.com/lumiere-kardesler/ Pety, J. (2006). A Brief History of Comic Books. Dallas, Texas: Heritage Auction Galleries Platin, A. (1985). Tek Resimden Dizi Resime Geçiş.Gösteri. Prensky, M. (2001). Digital Natives, Digital Immigrants Part 2: Do they really think differently? On the Horizon, 9(6), 1-6. Radford, S. K., & Bloch, P. H. (2011). Linking innovation to design: Consumer responses to visual product newness. Journal of Product Innovation Management, 28(1), 208-220. Reeves, B., & Ivar., C. (1996). The media equation: How people treat computers, television, and new media like real people and places. Stanford, CA: Center for the Study of Language and Inf. Renonciat, A. (2001). Introduction to the reprint of Gustave’s Doré Des-agréments d’un voyage d’agrément. Éditions Le Capucin. 246 Richard, B., K. (2007). One Thousand Years of Manga, Paris: Flammarion. Ross, S. (2007). Comics Timeline The History of The Funnies in America Arnheim, R. (1971). Art and Visual Perception, a Psychology of the Creative Eye. University of California Press. Julia, R. (2008). Karen Berger Röportajı. Comics and Literature. www.juliaround.com May 8. Web. Sears, A., & Jacko, J., A. (2007). Future trends in human-computer interaction. The human-computer interaction handbook: Fundamentals, evolving technologies and emerging applications, 1281-1290. Sabin, R. (1993). “The Graphic Novel in Context”, Adult Comics. New York: Routledge. Sabin, R. (1993). Adult Comics: An Introduction. London: Routledge. Sabin, R. (1996). Comics, Comix and Graphic Novels A History of Comic Art. Hong Kong: Phaidon Press Limited. Sarıkavak, Namık K. (1998). Kaligrafi Ders Notları (Yayınlanmamış). Ankara: Hacettepe Üniversitesi. Scott, A. O. (2002) “A Hunger for Fantasy, an Empire to Feed it” , New York Times. Sertçelik, U. (2005). İnternet Çizgi Roman Uygulamaları. Yayımlanmamış Yüksek Lisans Tezi, Hacettepe Üniversitesi Ankara. Sevinç, M., San, Ç., Güngör, A., Kireççi Ü. (2015). Boş Balon. İstanbul 247 Smitten, J., R. (1981). Introduction: Spatial Form and Narrative Theory. Ithaca and London: Cornell University Press. Stern, B., & Zaichowsky, J., L. (1991). The impact of ‘entertaining’ advertising on consumer responses. Australian Marketing Researcher, 14, 68-80. Strader, Helen B. (Ekim 1978). “Visual Literacy and Adult Basic Education” Drexel Library Quarterly. Sundar, S. S., & Kalyanaraman, S. (2004). Arousal, memory, and impression-formation effects of animation speed in web advertising. Journal of Advertising 33(1), 7-17. Sundar, S. S., & Kim, J. (2005). Interactivity and persuasion: influencing attitudes with information and involvement. Journal Of Interactive Advertising 5(2), 6-29. Uçan, B. (Eylül 2015). Dünyada ve Türkiye’de Karikatürün Tarihsel Gelişiminin İncelenmesi (Bildiri), Sanat Gerçeklik ve Paradoks. Bodrum. Uçmak, A. (2007). Grafik Anlatım Diliyle Farklılık Yaratan Çizgi Romanlar Ve Yaratıcıları. Yüksek Lisans Tezi, Marmara Üniversitesi, İstanbul. Varol, E. (2003). Uzakdoğu Kültüründe, ‘Japonya Örneğinde’ Çizgi Roman Sanatının Gelişimi Ve Bir Çizgi Roman Denemesi. Yayımlanmamış Yüksek Lisans Tezi, Hacettepe Üniversitesi, Ankara. Weber, W., & Rall, H. (2012). Between data visualization and visual storytelling: The Interactive information graphic as a hybrid form. Paper presented at the annual meeting of the International Communication Association, Sheraton Phoenix Downtown, Phoenix, AZ. Weiner, R. (2010). Graphic Novels and Comics in Libraries and Archives. United States of America: McFarland and Company. 248 Wright, B., W. (1998). The American Comic Book:A Cultural History. Phd Thesis Statement, Purdue University. Willats, J. (1997). Art and Representation. New Principles in the Analysis of Pictures. Princeton University Press. Wurman, R. (2000). Information anxiety 2. Indianapolis: Que. Yavuz, D. (2011). Red Kit Ve Tarkan Çizgi Romanlarının Yapısal Açıdan Karşılaştırılması.Yüksek Lisans Tezi, Yeditepe Üniversitesi, İstanbul. Yazıcı, N. (2005). Çizgi Romanda Türk Kimliği. Yayımlanmamış Yüksek Lisans Tezi, Hacettepe Üniversitesi, Ankara. Yıldır, E. (1984). Çizgi Roman Dosyası. Töre. Ziolkowska, S. and Howard, V. (2010). “Forty-one-year-old female academics aren’t supposed to like Comics!” The Value of Comic Books to Adult Readers. In R.G Weiner (Ed.) Graphic Novels and Comics in Libraries and Archives: Essays on Readers, Research, History and Cataloging (1st ed., pp 154-‐166).İlgili öğeler
Başlık, yazar, küratör ve konuya göre gösterilen ilgili öğeler.
-
Görsel İletişim Bağlamında Sessiz Grafik Roman İllüstrasyonları ve Bir Uygulama
Toptaş, Ayşe Nur (Güzel Sanatlar Enstitüsü, 2020-08)Silent or wordless graphic novels are a subtype of silent sequential illustrations. Like other silent sequential narrative examples, they are graphic novels that do not contain text and the narration is established only ... -
Kültürel Anlatılarda Amazon Kadını: Hareketli Bir Çizgi Roman Uygulaması
Güngör, Aylin (Güzel Sanatlar Enstitüsü, 2020)Comics appealing to children and adults are created with male- dominated predominantly superheroes with infinite powers in an imaginary world. However, the rareness of female characters created in comics or creating them ... -
Çizgi Romanda Anlatısal Dönüşüm ve Bir Hareketli Çizgi Roman Önerisi
Sarıkaya, Rasim (Güzel Sanatlar Enstitüsü, 2021-01-20)During the recorded date, comic has been seen as a popular mass media and consumption, the fact that it is basically a narrative type largely ignored and / or hidden. In this context, non-reproducible literature, comics, ...