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Anderson, Jennifer L. Strange Places. Illustrating the Otherworldly in Mike Mignola’s Hellboy. Master of Science (Thesis), Pratt Institute, School of Art and Design 2007 (73 S.). 
Added by: joachim (20 Jul 2016 10:18:48 UTC)   Last edited by: joachim (20 Jul 2016 10:21:45 UTC)
Resource type: Thesis/Dissertation
Languages: englisch
BibTeX citation key: Anderson2007
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Categories: General
Keywords: "Hellboy", Campbell. Joseph, Mignola. Mike, USA
Creators: Anderson
Publisher: Pratt Institute (New York)
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Attachments   URLs   http://completehel ... E+OTHERWORLDLY.pdf
Abstract
“Mignola’s artistic and literary undertaking in Hellboy is the recombination of preexisting elements. Scattered throughout the panels of the comic like pieces of a puzzle are the partial depictions of existing art objects that Mignola recycles into his new art. This recycling process, akin to the Levi-Straussian process of bricolage, sets up a system of visual narrative for Mignola’s reader. The specificity of Mignola’s page design produces a didactic experience of narrative: every element on the page contributes meaning which, combined uniquely as they are within the limits of Hellboy, resolves into Mignola’s polyvalent message. Also coded in Mignola’s retelling of myth through comic art is a new myth of his own creation. The character of Hellboy travels through Mignola’s compilation of world myth in order to emerge as a familiar, yet anomalous mythological hero. I have discovered, through careful formal analysis of the image and through the application of semantic and literary theories, that Mignola conveys the story to his reader not only on the dual levels of word and picture, but also on the levels of cultural reference and color coding. The way he lays out the panels on a page, the way he designs the color scheme of the comic, the objects he chooses to represent, the prominence he gives to each object, and how he combines objects and figures communicate not only narrative but also meaning. The cultural reference encoded in the art is not merely to add regional character to the settings but to reify the original folklore and myth that inspired Mignola to create Hellboy. Hellboyis the vehicle for myth, as Mignola’s art is the vehicle for meaning.” (65–66)

Table of Contents

List of Illustrations (i)
Glossary (1)

Introduction (4)

1. The Evolution of Visual Storytelling in Mignola’s Hellboy
Introduction: Visual Storytelling (9)
Mignola’s Basic Storytelling Technique (10)
Visual Guidance Through the Action
– Page Layout and Panel Technique (11)
– Reader Participation (12)
– The Passing and Treatment of Time (15)
– Intersecting Timelines (16)
Visual Development of the Setting
– Visualization of Local and Spiritual Setting (19)
– Metaphysical Spaces and Mutability (19)
– Application of Realistic Elements to Define Physical Location (21)
– Applications of Realistic Elements to Allude to Spiritual Realms (22)
– Quoted Art as Signifier of Encoded Meaning (24)
– Quoted Art as Cultural Reference (26)
– Color and the Design of Hellboy (28)
– Indication of Time Periods (29)
– Color Codes: Event and Location (30)
– Color Codes: Event and Sound (31)
– Color Codes: Symbolism (33)
– Page Design and Metaphysics (34)
– “Sympathy for a Devil:” Illustrating the Character of Hellboy (34)
Conclusion (36)

2. Hellboy as Mythical Hero
Introduction (40)
Analysis of Hellboy in Comparison to Myth in General
– Campbell’s Myth Structure (41)
The Hero’s Development
– Hellboy’s Origin and Character Development (42)
– Hellboy’s Ambiguous Positionality and its Relation to Myth (43)
– Hellboy’s Mythological Kin (44)
– Hellboy as Knight-errant (47) The Hero’s Adventures
– The Hero’s Weapon/Power (49)
The Hero’s Journey
– Crossroads and Encounters (50)
– Encounter with a Dragon (51)
The Hero’s Inner Struggle
– Resistance (52)
– The Hero’s Acceptance of the Journey (53)
– Supernatural Helpers at the Threshold of Adventure (54)
– The Hero’s Return Home (57)
Hellboy as New Mythical Hero
– Hellboy as New Myth (59)
– The Hero’s Morality: Departure from Campbell’s Hero (59)
– The Hero’s Identity (60)
– The Hero’s Identity Torn Between Humans and Non-humans (61)
– The Nature of Hellboy (62)
Conclusion (63)

Thesis Conclusion (65)

Bibliography (67)

Illustrations


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