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Visual Continuity in Winsor McCay's Slumberland.

紀錄類型:	書目-電子資源 : Monograph/item
書名/作者:	Visual Continuity in Winsor McCay's Slumberland.
作者:	Williams, Taylor.
出版者:	Ann Arbor : : ProQuest Dissertations & Theses, , 2015
面頁冊數:	49 p.
附註:	Source: Masters Abstracts International, Volume: 55-01.
Contained By:	Masters Abstracts International55-01(E).
標題:	Art history.
標題:	Art criticism.
標題:	Mass communication.
ISBN:	9781321909494
摘要、提要註:	With the debut of the New York Herald's first color Sunday edition in 1905 came the premiere of "Little Nemo in Slumberland," a comic strip by Winsor McCay. While newspaper comic strips had been published with increased frequency since the 1890s, it was not until the February 25, 1906 issue of "Little Nemo in Slumberland" that visual continuity started to emerge between issues of comics featured in periodical publications. McCay began bridging issues through similar scenes and visual context. By December 1906, other newspaper comics drew from McCay's example and started providing explicit cliffhangers between their own respective issues. Through an analysis of the sequential role of the first and last panel of every issue of the comic strip in its first year of publication, the author attempts to distinguish episodic storytelling from serial storytelling in McCay's illustrations. Through a change in the use of closure and orienting panels, each issue becomes reliant on the context of the previous one, once Nemo reaches Slumberland. In short, McCay created a unique form of seriality that relied on a shift of visual signifiers over the explicit messages used in cliffhangers.

Visual Continuity in Winsor McCay's Slumberland.
Williams, Taylor.

Visual Continuity in Winsor McCay's Slumberland. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 49 p.

Source: Masters Abstracts International, Volume: 55-01.

Thesis (M.A.)--Maryland Institute College of Art, 2015.

With the debut of the New York Herald's first color Sunday edition in 1905 came the premiere of "Little Nemo in Slumberland," a comic strip by Winsor McCay. While newspaper comic strips had been published with increased frequency since the 1890s, it was not until the February 25, 1906 issue of "Little Nemo in Slumberland" that visual continuity started to emerge between issues of comics featured in periodical publications. McCay began bridging issues through similar scenes and visual context. By December 1906, other newspaper comics drew from McCay's example and started providing explicit cliffhangers between their own respective issues. Through an analysis of the sequential role of the first and last panel of every issue of the comic strip in its first year of publication, the author attempts to distinguish episodic storytelling from serial storytelling in McCay's illustrations. Through a change in the use of closure and orienting panels, each issue becomes reliant on the context of the previous one, once Nemo reaches Slumberland. In short, McCay created a unique form of seriality that relied on a shift of visual signifiers over the explicit messages used in cliffhangers.

ISBN: 9781321909494Subjects--Topical Terms:

180174
Art history.

Visual Continuity in Winsor McCay's Slumberland.
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