![]() ![]() Specific focus is given to the final assessment task that required students to make a 'transmodal shift' from linguistic to visual-linguistic from written narrative to multimodal storytelling. Firstly, this article outlines the course's aims and assessment to consider how multimodality might feature in a unit of work for student teachers. Working at the intersection of Kress' work on Multimodality, Newfield's transmodal moment and the critical literacy project, I designed and implemented a course for English secondary education in one school of education in South Africa. This enabled some students to play with genre conventions, rethink the relationship between word and image, and explore multimodality in interesting ways. This paper explores how student teachers navigated moving between different modes of representation from written text to image. It is also my intention to address the idea that the use of graphic literature as a teaching tool may represent a modernisation of the humanities, an academic area which to some extent tends always to find itself fighting from behind in these competitive times. ![]() In addition, I intend to investigate works such as the ‘Graphic Guide’ series, which aim to introduce important literary and scientific theories with the aid of the graphic form. In order to facilitate this task, I will look not only at investigations of the form as a teaching tool, but also at the ways in which comics and graphic novels themselves can be taught and the differences and similarities they have with other media. In this project, using both pedagogical theory and the analysis of graphic texts, as well as an overview of semiotics and its uses within both traditional and new media, I aim to investigate the form as a potential teaching and learning tool, pinpoint both the advantages and disadvantages inherent within its use and highlight the ways in which comics and sequential art can be used alongside and in complement to more traditional texts and methods at all levels of learning. At the same time, this information requires that the 'reader' do more work to fill in the gaps, often even proving elliptical as opposed to conclusive: In this way, the information provided by a teacher can be at once faster to absorb and more apt to be problematized by the students in question. The signs and signifiers inherent within the graphic form are, for the most part, used because they are instantly recognisable, and as such the information they impart reaches the target audience far faster, and in an instinctive manner. Graphic texts represent the marriage of verbal and non-verbal language, and it is this semiotic synthesis that, I argue, makes the form the perfect tool for teachers. Fully updated and revised to reflect current practices and technology, including a section on digital media, this introduction to the art of comics is as valuable a guide as it was when first published.This paper represents an attempt to argue that sequential graphic narrative techniques, more colloquially referred to as comics, represent an important tool for university teachers. He addresses dialogue, anatomy, framing, and many other important aspects of the art form. ![]() Eisner reveals here the fundamentals of graphic storytelling. Adapted from Eisner's landmark course at New York's School of Visual Arts, Comics and Sequential Art is an essential text filled with invaluable theories and easy-to-use techniques. Here, in his classic Comics and Sequential Art, he refines the art of graphic storytelling into clear, concise principles that every cartoonist, comic artist, writer, and filmmaker meeds to know. Will Eisner is one of the twentieth century's great American artists, a man who pioneered the field of comic arts. "Comics and Sequential Art is a masterwork, the distillation of Will Eisner's genius to a clear and potent elixir."―Michael Chabon, Pulitzer Prize-winning author of The Amazing Adventures of Kavalier & Clay. ![]()
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