- Title
- Exploring the panel: producing a feature length, horror-themed motion comic based on a comic and screenplay
- Creator
- Tucker, Hardie James
- Relation
- University of Newcastle Research Higher Degree Thesis
- Resource Type
- thesis
- Date
- 2020
- Description
- Research Doctorate - Doctor of Philosophy (PhD)
- Description
- This screen media practice-based research examines the design of the horror-themed motion comic, Family Slaughter. A motion comic is a hybrid format that combines affordances from comics, animation, film, graphic design, sound design and interactivity. The primary research question is: With specific reference to the motion comic, what are the implications of hybrid media formats for contemporary media scholarship and media design practice? This research project combines both a literature-based theoretical investigation into the hybrid media context of motion comics and an exegesis of the design context of the artifacts—Family Slaughter comic and screenplay—and the subsequent design strategy for their remediation as Family Slaughter Motion Comic. The theoretical investigation reveals that the motion comic emerges from fluidity produced by softwarization and hybridization of media, wherein the process of remediation (see p. 44) operates as a key dynamic. It was found that hybrid media have blurred the lines between established media, including comics, whereby ‘comics’ perception’ has become part of the cultural interface of screens. The intersection of the comics’ panel with digital film and the screen circumscribes a domain of hybridity and partial immersion. With the motion comic, comics sacrifice the exclusivity of their spatial map and fuse with elements of temporal continuity acquired from animation and cinema. In turn, animation and cinema are also compromised – diminishing their characteristics of live-action recording and fully posed and rigged characters. The exegesis examines the unique context of Family Slaughter Comic (1989) as a movie tie-in whose design objective was to convey a low budget horror film. The motion comic redesign objective was to construct a compelling motion graphics feature narrative by remediating the comic panel assets. I have characterized motion comic design strategy, based on self-imposed creative constraint, as panel exploration. The implication of hybrid media is the warm aesthetic of the hybrid, a ‘medium in between’, neither hot nor cool (see p.47). Hybrid media disrupt the separation of media defined in formal scholarship and media aesthetics. The motion comic does not achieve the immediacy of live action film or cell animation. Immersion and immediacy remain partial and oscillate together with the hypermediacy of the graphics plane.
- Subject
- motion comic; motion graphics; hybrid media; remediation; screen media
- Identifier
- http://hdl.handle.net/1959.13/1412680
- Identifier
- uon:36519
- Rights
- Copyright 2020 Hardie James Tucker
- Language
- eng
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| Thumbnail | File | Description | Size | Format | |||
|---|---|---|---|---|---|---|---|
| View Details Download | ATTACHMENT01 | Thesis | 4 MB | Adobe Acrobat PDF | View Details Download | ||
| View Details Download | ATTACHMENT02 | Abstract | 198 KB | Adobe Acrobat PDF | View Details Download |