Comics and the Senses

A Multisensory Approach to Comics and Graphic Novels

Fiction & Literature, Literary Theory & Criticism, Books & Reading, Nonfiction, Social & Cultural Studies, Social Science
Cover of the book Comics and the Senses by Ian Hague, Taylor and Francis
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Author: Ian Hague ISBN: 9781134684557
Publisher: Taylor and Francis Publication: January 10, 2014
Imprint: Routledge Language: English
Author: Ian Hague
ISBN: 9781134684557
Publisher: Taylor and Francis
Publication: January 10, 2014
Imprint: Routledge
Language: English

Attempts to define what comics are and explain how they work have not always been successful because they are premised upon the idea that comic strips, comic books and graphic novels are inherently and almost exclusively visual. This book challenges that premise, and asserts that comics is not just a visual medium. The book outlines the multisensory aspects of comics: the visual, audible, tactile, olfactory and gustatory elements of the medium. It rejects a synaesthetic approach (by which all the senses are engaged through visual stimuli) and instead argues for a truly multisensory model by which the direct stimulation of the reader’s physical senses can be understood. A wide range of examples demonstrates how multisensory communication systems work in both commercial and more experimental contexts. The book concludes with a case study that looks at the works of Alan Moore and indicates areas of interest that multisensory analysis can draw out, but which are overlooked by more conventional approaches.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Attempts to define what comics are and explain how they work have not always been successful because they are premised upon the idea that comic strips, comic books and graphic novels are inherently and almost exclusively visual. This book challenges that premise, and asserts that comics is not just a visual medium. The book outlines the multisensory aspects of comics: the visual, audible, tactile, olfactory and gustatory elements of the medium. It rejects a synaesthetic approach (by which all the senses are engaged through visual stimuli) and instead argues for a truly multisensory model by which the direct stimulation of the reader’s physical senses can be understood. A wide range of examples demonstrates how multisensory communication systems work in both commercial and more experimental contexts. The book concludes with a case study that looks at the works of Alan Moore and indicates areas of interest that multisensory analysis can draw out, but which are overlooked by more conventional approaches.

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