Comic books and graphic novels are an amalgamation of artwork and literature. It is an interestin... more Comic books and graphic novels are an amalgamation of artwork and literature. It is an interesting medium which can be used to tell a story in an alternative way from other mediums. The medium itself is so distinctive because of the measured way in which it combines visuals and words. We live in a visually driven digital age. Different media channels have benefitted from this. Films, TV, Newspapers and magazines- are available on hand held gadgets. And there are readers who believe in the traditional experience of these mediums. Even comic books are now available digitally. But according to trade figures, the comic book industry throughout the world is struggling despite the digital convenience. Its appeal is niche and the Industry isn’t exactly a money spinner like Films. The Indian Comic book industry has managed to exist and prosper in by far; one of the toughest commercial environments in the world. The distribution channels for comic books are non-existent in India. The readership is miniscule. For years, they have told stories influenced by Western comic books. They were bound by the harshness of the market. They managed to exist and survive. The situation has now changed for the better. Indian comic book industry is now a different animal altogether: a perseverant beast; to be precise. Numerous comic cons (pop culture conventions) have been successful in India. The Industry has embraced elements which are rooted deep in its countries culture. Stories have been spun around sadhus, goddesses, mystiques, warriors, ghosts, pop culture icons, unusual creatures and even social issues. This has added to the existent crop of superheroes and detective based comic books. Apart from this, there is also a dedicated Graphic novel industry now. This research delves into contemporary comic books and graphic novels which are an indicator of this change. The metamorphosis has been backed by narrative, aesthetic and distinctive qualities of these comic books and graphic novels. This inquiry attempts to provide a definitive compilation of distinctive conceptual, visual and storytelling elements that make the Indian Comic book Industry what it is today. 107 contemporary comic books/graphic novels by 28 publishers were a part of this study. Patterns, range and uniqueness emerged amongst the chosen material. The research also identified other dimensions for further research of Indian comic books.
Films and audiences are like those shy neighbours who see each other frequently in the building,
... more Films and audiences are like those shy neighbours who see each other frequently in the building, but never go to the extent of speaking to each other. If one of these neighbours breaks this wall, the other might find this unusual. Breaking such walls does create atypical experiences. The term breaking the fourth wall is used in film, theatre, television, and literary works; it refers to a character directly addressing an audience, or actively acknowledging (through breaking character or through dialogue) that the characters and action going on is not real. Like public speaking, fourth wall breaks require considerable thought and preparation. In films, Fourth wall breaks have not been used expansively. Annie Hall (1977) was one of the first commercially successful and critically acclaimed exponents of this concept. This film can be seen as a metaphorical turning point in the cinematic journey of breaking the fourth wall. Deadpool (2016), The Wolf of Wall Street (2013), Fight club (1999) and The Big Short (2015) are films involving fourth wall breaks, box-office success and critical acclaim. The researchers studied a total of 83 fourth wall breaking scenes from 10 English language feature films (including the films above) using narrative analysis. The scenes were analysed with regards to their audience centric construction. These films have characters: especially the protagonist, addressing the audience in at least 4 scenes in the film. This research borrowed some elements from Tom Brown’s book “Breaking the Fourth Wall- Direct Address in the Cinema”. These are number of fourth wall breaking characters, their confessions, honesty and effort to build emotional connection. The researchers formulated some elements to suit the special needs of the research. These are their attempt to retain attention, effort to entertain, characterization, significance of scene in the film, and placement of fourth wall break in the scene. The research purpose is deconstructing how this concept has been used as a storytelling device. The research was able to quantify the usage of fourth wall breaks and also dissect multiple layers of their intricacies. Patterns, range and uniqueness emerged among the chosen films. The research also identified other dimensions for further research of fourth wall breaks.
Keywords: the fourth wall, speaking to the audience, direct address, Meta reference, storytelling value, narrative analysis.
Comic books and graphic novels are an amalgamation of artwork and literature. It is an interestin... more Comic books and graphic novels are an amalgamation of artwork and literature. It is an interesting medium which can be used to tell a story in an alternative way from other mediums. The medium itself is so distinctive because of the measured way in which it combines visuals and words. We live in a visually driven digital age. Different media channels have benefitted from this. Films, TV, Newspapers and magazines- are available on hand held gadgets. And there are readers who believe in the traditional experience of these mediums. Even comic books are now available digitally. But according to trade figures, the comic book industry throughout the world is struggling despite the digital convenience. Its appeal is niche and the Industry isn’t exactly a money spinner like Films. The Indian Comic book industry has managed to exist and prosper in by far; one of the toughest commercial environments in the world. The distribution channels for comic books are non-existent in India. The readership is miniscule. For years, they have told stories influenced by Western comic books. They were bound by the harshness of the market. They managed to exist and survive. The situation has now changed for the better. Indian comic book industry is now a different animal altogether: a perseverant beast; to be precise. Numerous comic cons (pop culture conventions) have been successful in India. The Industry has embraced elements which are rooted deep in its countries culture. Stories have been spun around sadhus, goddesses, mystiques, warriors, ghosts, pop culture icons, unusual creatures and even social issues. This has added to the existent crop of superheroes and detective based comic books. Apart from this, there is also a dedicated Graphic novel industry now. This research delves into contemporary comic books and graphic novels which are an indicator of this change. The metamorphosis has been backed by narrative, aesthetic and distinctive qualities of these comic books and graphic novels. This inquiry attempts to provide a definitive compilation of distinctive conceptual, visual and storytelling elements that make the Indian Comic book Industry what it is today. 107 contemporary comic books/graphic novels by 28 publishers were a part of this study. Patterns, range and uniqueness emerged amongst the chosen material. The research also identified other dimensions for further research of Indian comic books.
Films and audiences are like those shy neighbours who see each other frequently in the building,
... more Films and audiences are like those shy neighbours who see each other frequently in the building, but never go to the extent of speaking to each other. If one of these neighbours breaks this wall, the other might find this unusual. Breaking such walls does create atypical experiences. The term breaking the fourth wall is used in film, theatre, television, and literary works; it refers to a character directly addressing an audience, or actively acknowledging (through breaking character or through dialogue) that the characters and action going on is not real. Like public speaking, fourth wall breaks require considerable thought and preparation. In films, Fourth wall breaks have not been used expansively. Annie Hall (1977) was one of the first commercially successful and critically acclaimed exponents of this concept. This film can be seen as a metaphorical turning point in the cinematic journey of breaking the fourth wall. Deadpool (2016), The Wolf of Wall Street (2013), Fight club (1999) and The Big Short (2015) are films involving fourth wall breaks, box-office success and critical acclaim. The researchers studied a total of 83 fourth wall breaking scenes from 10 English language feature films (including the films above) using narrative analysis. The scenes were analysed with regards to their audience centric construction. These films have characters: especially the protagonist, addressing the audience in at least 4 scenes in the film. This research borrowed some elements from Tom Brown’s book “Breaking the Fourth Wall- Direct Address in the Cinema”. These are number of fourth wall breaking characters, their confessions, honesty and effort to build emotional connection. The researchers formulated some elements to suit the special needs of the research. These are their attempt to retain attention, effort to entertain, characterization, significance of scene in the film, and placement of fourth wall break in the scene. The research purpose is deconstructing how this concept has been used as a storytelling device. The research was able to quantify the usage of fourth wall breaks and also dissect multiple layers of their intricacies. Patterns, range and uniqueness emerged among the chosen films. The research also identified other dimensions for further research of fourth wall breaks.
Keywords: the fourth wall, speaking to the audience, direct address, Meta reference, storytelling value, narrative analysis.
Uploads
Papers by Apraajit S
We live in a visually driven digital age. Different media channels have benefitted from this. Films, TV, Newspapers and magazines- are available on hand held gadgets. And there are readers who believe in the traditional experience of these mediums. Even comic books are now available digitally. But according to trade figures, the comic book industry throughout the world is struggling despite the digital convenience. Its appeal is niche and the Industry isn’t exactly a money spinner like Films.
The Indian Comic book industry has managed to exist and prosper in by far; one of the toughest commercial environments in the world. The distribution channels for comic books are non-existent in India. The readership is miniscule. For years, they have told stories influenced by Western comic books. They were bound by the harshness of the market. They managed to exist and survive.
The situation has now changed for the better. Indian comic book industry is now a different animal altogether: a perseverant beast; to be precise. Numerous comic cons (pop culture conventions) have been successful in India. The Industry has embraced elements which are rooted deep in its countries culture. Stories have been spun around sadhus, goddesses, mystiques, warriors, ghosts, pop culture icons, unusual creatures and even social issues. This has added to the existent crop of superheroes and detective based comic books. Apart from this, there is also a dedicated Graphic novel industry now.
This research delves into contemporary comic books and graphic novels which are an indicator of this change. The metamorphosis has been backed by narrative, aesthetic and distinctive qualities of these comic books and graphic novels. This inquiry attempts to provide a definitive compilation of distinctive conceptual, visual and storytelling elements that make the Indian Comic book Industry what it is today.
107 contemporary comic books/graphic novels by 28 publishers were a part of this study. Patterns, range and uniqueness emerged amongst the chosen material. The research also identified other dimensions for further research of Indian comic books.
but never go to the extent of speaking to each other. If one of these neighbours breaks this
wall, the other might find this unusual. Breaking such walls does create atypical experiences.
The term breaking the fourth wall is used in film, theatre, television, and literary works; it refers
to a character directly addressing an audience, or actively acknowledging (through breaking
character or through dialogue) that the characters and action going on is not real. Like public
speaking, fourth wall breaks require considerable thought and preparation.
In films, Fourth wall breaks have not been used expansively. Annie Hall (1977) was one of the
first commercially successful and critically acclaimed exponents of this concept. This film can
be seen as a metaphorical turning point in the cinematic journey of breaking the fourth wall.
Deadpool (2016), The Wolf of Wall Street (2013), Fight club (1999) and The Big Short (2015)
are films involving fourth wall breaks, box-office success and critical acclaim. The researchers
studied a total of 83 fourth wall breaking scenes from 10 English language feature films (including
the films above) using narrative analysis. The scenes were analysed with regards to
their audience centric construction. These films have characters: especially the protagonist,
addressing the audience in at least 4 scenes in the film.
This research borrowed some elements from Tom Brown’s book “Breaking the Fourth Wall-
Direct Address in the Cinema”. These are number of fourth wall breaking characters, their
confessions, honesty and effort to build emotional connection. The researchers formulated
some elements to suit the special needs of the research. These are their attempt to retain attention,
effort to entertain, characterization, significance of scene in the film, and placement of
fourth wall break in the scene. The research purpose is deconstructing how this concept has
been used as a storytelling device.
The research was able to quantify the usage of fourth wall breaks and also dissect multiple
layers of their intricacies. Patterns, range and uniqueness emerged among the chosen films.
The research also identified other dimensions for further research of fourth wall breaks.
Keywords: the fourth wall, speaking to the audience, direct address, Meta reference, storytelling
value, narrative analysis.
We live in a visually driven digital age. Different media channels have benefitted from this. Films, TV, Newspapers and magazines- are available on hand held gadgets. And there are readers who believe in the traditional experience of these mediums. Even comic books are now available digitally. But according to trade figures, the comic book industry throughout the world is struggling despite the digital convenience. Its appeal is niche and the Industry isn’t exactly a money spinner like Films.
The Indian Comic book industry has managed to exist and prosper in by far; one of the toughest commercial environments in the world. The distribution channels for comic books are non-existent in India. The readership is miniscule. For years, they have told stories influenced by Western comic books. They were bound by the harshness of the market. They managed to exist and survive.
The situation has now changed for the better. Indian comic book industry is now a different animal altogether: a perseverant beast; to be precise. Numerous comic cons (pop culture conventions) have been successful in India. The Industry has embraced elements which are rooted deep in its countries culture. Stories have been spun around sadhus, goddesses, mystiques, warriors, ghosts, pop culture icons, unusual creatures and even social issues. This has added to the existent crop of superheroes and detective based comic books. Apart from this, there is also a dedicated Graphic novel industry now.
This research delves into contemporary comic books and graphic novels which are an indicator of this change. The metamorphosis has been backed by narrative, aesthetic and distinctive qualities of these comic books and graphic novels. This inquiry attempts to provide a definitive compilation of distinctive conceptual, visual and storytelling elements that make the Indian Comic book Industry what it is today.
107 contemporary comic books/graphic novels by 28 publishers were a part of this study. Patterns, range and uniqueness emerged amongst the chosen material. The research also identified other dimensions for further research of Indian comic books.
but never go to the extent of speaking to each other. If one of these neighbours breaks this
wall, the other might find this unusual. Breaking such walls does create atypical experiences.
The term breaking the fourth wall is used in film, theatre, television, and literary works; it refers
to a character directly addressing an audience, or actively acknowledging (through breaking
character or through dialogue) that the characters and action going on is not real. Like public
speaking, fourth wall breaks require considerable thought and preparation.
In films, Fourth wall breaks have not been used expansively. Annie Hall (1977) was one of the
first commercially successful and critically acclaimed exponents of this concept. This film can
be seen as a metaphorical turning point in the cinematic journey of breaking the fourth wall.
Deadpool (2016), The Wolf of Wall Street (2013), Fight club (1999) and The Big Short (2015)
are films involving fourth wall breaks, box-office success and critical acclaim. The researchers
studied a total of 83 fourth wall breaking scenes from 10 English language feature films (including
the films above) using narrative analysis. The scenes were analysed with regards to
their audience centric construction. These films have characters: especially the protagonist,
addressing the audience in at least 4 scenes in the film.
This research borrowed some elements from Tom Brown’s book “Breaking the Fourth Wall-
Direct Address in the Cinema”. These are number of fourth wall breaking characters, their
confessions, honesty and effort to build emotional connection. The researchers formulated
some elements to suit the special needs of the research. These are their attempt to retain attention,
effort to entertain, characterization, significance of scene in the film, and placement of
fourth wall break in the scene. The research purpose is deconstructing how this concept has
been used as a storytelling device.
The research was able to quantify the usage of fourth wall breaks and also dissect multiple
layers of their intricacies. Patterns, range and uniqueness emerged among the chosen films.
The research also identified other dimensions for further research of fourth wall breaks.
Keywords: the fourth wall, speaking to the audience, direct address, Meta reference, storytelling
value, narrative analysis.