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Graphic novels presentation
- 1. Everything you always wanted to know about graphic novels, but were afraid to ask
- 7. =
- 10. Non-fiction
- 11. Creative Nonfiction Graphic Novels Informational Nonfiction Graphic Novels
- 16. Graphic novels are for reluctant readers.
- 17. Graphic novels are NOT JUST for reluctant readers.
- 23. Can make dynamic and relevant curricular connections to help educators teach: Complex social issues, such as race and immigration ( American Born Chinese ). Historical and current events (Pulitzer Prize-winner Maus is set during the Holocaust, while Fax from Sarajevo is set against the contemporary Balkan conflict). Folklore and mythology (Fairy Tales of Oscar Wilde and Amazing Greek Myths of Wonder and Blunder). Popular culture (JLA Archives reflects life in the 1940s, as The Complete Color MAD reflects the 1950s).
- 24. Indiana Jones Adventures Volume 1 - Cross-Curricular Application of Indiana Jones Adventures Owly - English as a Second Language for all grade levels Donald Duck Adventures: Volume 3 - Reading and Vocabulary for Elementary School, grade 5 Ultimate Spider-Man - Plot Development for Middle School Castle Waiting - Literature for Elementary School, grades 4-6 or Comparative Literature for High School
- 25. Superman - Analyzing Relationships Among American Literature, History, and Culture for High School or Middle School Transformers: Generation One - Writing a Persuasive Essay for Middle School or High School Deogratias - Graphic Literature as a Mirror for Current Events for High School Julius - Using Julius in Conjunction with Shakespeare's Julius Caesar for High School Star Wars: Clone Wars - Writing an Editorial for High School
- 26. Donald Duck Adventures: Volume 3 Unit/Curricular Connections: Reading – Vocabulary Grade Levels: Elementary, grade 5 Story: “The First Mouse on the Moon” Objective: By the end of the lesson, students will have become familiar with the illustrations and the story and will have learned the definitions for new vocabulary in the story.
- 27. Direct teaching: In a picture walk of the story, discuss what is happening in each panel with the students. (A panel is a separate square or rectangle of artwork.) Focus the students’ attention on the facial expressions of the characters, the action in the panels, and the use of lines and shading to suggest movement and action. Generate a chart of predictions and for future reference, correlate those predictions to the page numbers of the story. Writing Activity: Using a dictionary, have the students identify the following vocabulary terms from the story: trajectory, mechanism, organic, sullen, stalagmite, gumption, carp(ing), and consolation. After students write the definition, have them write the word in an original sentence in their vocabulary journals. Connections: Students may use create their own cartoon to use a vocabulary word in their own cartoon and create illustrations to demonstrate their understanding of the word.
- 28. Superman Analyze Relationships Among American Literature, History, and Culture Rationale: Comic books can be used as the main source material in a comparative lesson about American history and the role of popular culture as it relates to two different eras. Rationale: Comic books can be used as the main source material in a comparative lesson about American history and the role of popular culture as it relates to two different eras. Grade Levels: High School, Middle School
- 31. VS.
- 34. (888) COMIC BOOK http://www.comicshoplocator.com/
- 36. What’s a Graphic Novel Section Supposed to Look Like?
- 42. Some of the Best.
Notas del editor
- A graphic novel is a narrative work in which the story is conveyed to the reader using comic form. The term is employed in a broad manner, encompassing non-fiction works and thematically linked short stories as well as fictional stories across a number of genres.
- After a decline through the 80s and 90s, graphic novels and comic book sales have skyrocketed since 2000. A big part of this is the success of movies based on graphic novels. Graphic Novels & Young Male Readers Whether it’s because they are genuinely reluctant readers of one type or another, or simply because they have been mis-socialized to believe that reading is not “cool” or “manly,” young males read in vastly smaller numbers than their female contemporaries. This lack of interest has a direct impact on reading ability: In one study, males in grade 10 were found “proficient” at reading only 31.6% of the time, compared to 36.0% for females. Only 28.5% of males were assessed as “advanced” readers (which, logically, would be those more likely to use a library), as compared to a whopping 36.0% for females.¹
- Lots of graphic novels and manga that appeal to girls.
- ESL students are helped by the combination of pictures and text.
- Manga from Japan and Korea encourages interest in other cultures.
- Increase in circulation statistics. Bone by Jeff Smith
- Since visuals are the key component to a graphic novel, determine the appeal of color versus black-and-white illustrations, and the influence cover art can have on overall circulation. Cartoon Books, CrossGen Comics, and TokyoPop are known for creating graphic novels that appeal to young people. Marvel Comics and DC Comics, two mainstream publishers of superhero graphic novels, are known for publishing high-quality comics that appeal to both youngsters and their parents. Most recommended lists and top picks offer advice on target audience and age suitability.
- Superhero Stories �.� These stories involve a character, or characters, familiar to most readers. Popular Superhero Stories include those about Superman, Batman, Spider-Man, the X-Men, and the Justice League.
- A second type of graphic novel is the � Human Interest Story .� These stories can cover a broad range of subjects, but are similar to traditional fiction stories. Usually more true-to-life in their depiction of young adult life. Focus on characterization rather than action.
- Nonfiction graphic novels, though not technically novels, are still narrative in nature, and told in pictorial form. Therefore, these stories are also classified as graphic novels. Never before have I seen a nonfiction book as beautifully and compellingly written and illustrated as The 9/11 Report: A Graphic Adaptation . I cannot recommend it too highly. It will surely set the standard for all future works of contemporary history, graphic or otherwise, and should be required reading in every home, school and library."
- While an informational nonfiction graphic novel focuses on historical facts, events, people and/ or places, creative nonfiction graphic novels focus on a blend between historical facts, events, people and / or places and author storytelling. In short, the difference between the two types of nonfiction graphic novels lies in the amount of creator involvement. In an informational nonfiction graphic novel, the creator stands back and attempts to have little to no presence. In a creative nonfiction graphic novel, the creator is actively involved and filters the historical facts, events, people and / or places through his or her own storytelling perspective.
- Manga� is a form of graphic novel that has stemmed from Japanese comics as an outgrowth of anime.
- If you’ve ever struggled to make the connections in reading a graphic novel while a teen reader whizzes through it, you’ve experienced how different this type of literacy is.
- Q What’s the difference between American comics and Japanese manga ? A There are a few key differences between American graphic novels and Japanese graphic novels, or manga. While superhero comics still dominate the U.S. market, in Japan there is a much wider diversity of topics, from romantic comedies to historical fiction to how-to comics, and they are published in both weekly and monthly installments. Japanese comics work with a complex language of visual signals, from character design to sound effects to common symbols. The biggest difference is obvious: Japanese comics are from another culture and were never intended for export. In some ways, Japan’s pop culture is like ours, but in many ways it’s not, and learning the secret code that opens up those stories for us is one thing that makes manga so appealing to American readers.
- Visual Literacy Today's young adults feel comfortable with non-text visual media, from video games to graphical icons used with standard computer programs. Graphic Novels employ a highly cinematic approach to storytelling. Graphic Novels utilize combinations of text and pictures (sequential art) to convey messages in a manner unique to comics. Understanding comics requires a special type of visual literacy, which in turn offers a translatable skill in today's highly graphical environment. Reading comics with a critical eye helps develop an appreciation for art and different artistic styles.
- One of the biggest benefits of graphic novels is that they often attract kids who are considered “reluctant” readers. This is not just hype — the combination of less text, narrative support from images, and a feeling of reading outside the expected canon often relieves the tension of reading expectations for kids who are not natural readers, and lets them learn to be confident and engaged consumers of great stories.
- That being said, graphic novels are not only for reluctant readers — they’re for everyone! It’s a disservice to the format to dismiss it as only for those who don’t read otherwise, and relegating graphic novels to a lower rung of the reading scale is not only snobbish, but wrong. Charles Burns’ Black Hole. Complex set of images as metaphor of sex. In the literary tradition of "Black Hole" sex also means body horror, sickening transformations and loss
- Graphic novels are simply another way to get a story. They represent an alternative to other formats, not a replacement. They are as varied as any other medium and have their fair share of every kind of title, from fluff to literary masterpieces. What they always involve, though, is reading — just as books, from Newbery winners to the latest installment in the Animorphs series, do.
- Stephen Krashen, who examines voluntary reading in his book The Power of Reading , discovered that comics are an unrecognized influence on reading. He found that not only were kids more likely to pick up comics voluntarily, but the average comic book has twice the vocabulary as the average children’s book and three times the vocabulary of a conversation between an adult and child. And the very fact that a child chooses to read them gives them a greater impact on that child’s confidence in reading.
- Not only do graphic novels entail reading in the traditional sense, they also require reading in a new way. To read a comic requires an active participation in the text that is quite different from reading prose: the reader must make the connections between the images and the text and create the links between each panel and the page as a whole. This is generally referred to as “reading between the panels,” and this kind of literacy is not only new but vital in interacting with and succeeding in our multimedia world. If you’ve ever struggled to make the connections in reading a graphic novel while a teen reader whizzes through it, you’ve experienced how different this type of literacy is.
- In today’s market, graphic novels exist for almost everyone but are not automatically for all ages. In the past, American comics were mostly aimed at children and teens, but today there are graphic novels for everyone from elementary school kids to seniors. It’s true that a higher percentage of graphic novels and comics are still essentially aimed at men from teens to middle age, while girls and women have fewer titles created expressly for their tastes. Japanese manga creators, on the other hand, have a specific age and gender audience in mind when working on their titles, and those age and gender recommendations usually hold up.
- There are as many actual different types of graphic novels as there are genres of written word, both pulp and literature.
- All over the country, teachers are using graphic novels and comic books to supplement their curricula... in some cases, they're even inventing their own curricula, applying the unique stories and properties of graphic novels to improve literacy, reading comprehension and enjoyment.
- Whether you're buying a reference book or a graphic novel, the criteria for evaluating materials for your library are the same--purchase them from reputable publishers that will appeal to your audience. Most graphic novels range between $10 to $20 per title. Although it's feasible to begin building a collection with as little as $100, it's best to spend $300 to $500 to ensure you start off with a solid and diverse core collection. But remember these important considerations before you start: genre, target audience, quality, and artistic merit, as well as the reputation and style of the author and illustrator. If you're unable to buy graphic novels directly from a comic bookstore, get in touch with Diamond Comics, the main comic book distributor in the United States. Visit bookshelf.diamondcomics.com , a section of which is specifically created for librarians. Here you'll find lists of graphic novels classified by audience and genre, ordering information, reviews, basic cataloging information, and even lesson plans for using graphic novels in the classroom. You can also try getting in touch with more traditional library vendors, such as Baker & Taylor, Ingram, and Brodart, which now readily distribute graphic novels.
- Catering to Your Community Although most of you are opposed to censoring, be aware that certain genres of graphic novels will be the target of parental or community objections: horror, the supernatural, crime and punishment, satire, and dark humor. In short, there are several critically acclaimed graphic novels essential for building a core adult collection but inappropriate for your library's children or young adult section. These include From Hell by Alan Moore (horror), The Sandman series by Neil Gaiman, 100 Bullets by Brian Azzarello, the Sin City series by Frank Miller, Johnny the Homicidal Maniac by Jhonen Vasquez, and all books in the Blade of the Immortal series by Hiroaki Samura.
- There are also certain publishers or publisher imprints, such as the Fantagraphics Publishing Company, Vertigo (an imprint of DC Comics), and Max (an imprint of Marvel Comics), that produce graphic novels with more controversial themes or mature content.
- Indeed, a few titles are completely innocuous and won't offend even the most conservative libraries or communities. They include the Bone series by Jeff Smith, the Akiko series by Mark Crilley, the Ultimate Spider-Man series by Brian-Michael Bendis, and Leave It to Chance by James Robinson. Without trading quality or artistic merit for conservatism, these titles are both safe and fun for all ages. If your library users enjoy reading the first volumes in the list of graphic novels I've provided, I strongly urge that you add the following series to your collection: Ranma ½ , AstroCity , Elfquest , Ultimate X-Men , Usagi Yojimbo , and Groo . Be prepared for possible challenges if you've developed a sizable graphic novel collection. Add a graphic novel addendum to your existing collection development or materials selection policy. If you're concerned about parental apprehension, post positive reviews for them to read, as well as quotations about other libraries' success with graphic novels.
- Remember, you don't have to become an expert in graphic novels to purchase a quality collection. Form a working relationship with a local comic bookstore, befriend a local expert, and spend some time browsing the shelves with a specialist. Together, the library and the local comic bookstore can be a powerful team in recruiting a whole new generation of readers. ALSO: It's a great place to ask questions and gather ideas for organizing, displaying, and circulating your graphic novels collection.
- Cataloging Graphic Novels Once you've started a graphic novel collection, you'll need to consider options for cataloging. Librarians usually take one of two routes: traditional cataloging or 'on-the-fly' processing. Both have advantages and disadvantages, so your decision will depend greatly on how your library catalogs incoming materials. We shelve our graphic novels in a separate display area. They are categorized by fiction or non-fiction. Books are given a graphic novels genre label on the spine. Some libraries choose to give a distinct call number such as GN. Another option is to catalog graphic novels under the 741.5 dewey decimal number alongside comic books.
- Displaying and Circulating Graphic Novels Graphic novels are a visual medium, and so their display must be vibrant, eye-catching, and memorable. Color is key, but location is everything. If space permits, shelve these books face out. Place them in highly trafficked teen areas and away from children and storytime areas. Shelve graphic novels near computer terminals for teens, so they have reading materials while awaiting their turn. Comic books are especially attractive to reluctant readers, so place them near magazines, CDs, or Cliffs Notes .
- When ordering, always order the paperback version (commonly referred to as the trade paperback in the comic book world). They may not last as long as hardbacks, but kids are more apt to check them out if they can cram them into their backpacks or back pockets.
- Although circulation will take off once word gets out about your graphic novels, it's still a good idea to promote your new collection at the beginning phase of development. You can also promote your collection in conjunction with the release of a number of upcoming superhero movies. Slightly mark graphic novels before displaying them. A neon library sticker on the cover or a library seal wrapped around the spine is usually enough to convince most teens to return graphic novels to the library once they've been read. FACE FACE FACE! Display your graphic novels face out if you have the room. The exciting and colorful cover art tends to attract kids who are otherwise disinclined to pick up a book.
- osamu tezuka