Find examples of different visual conventions used to convey time and/or place/ space – frame-by-frame storytelling, handling of perspective, use of speech bubbles, etc. – from different historical periods. Use this exercise to develop your research skills by accessing the online image libraries available to you at OCA, conducting internet image searches, or accessing your local library.
Think carefully about the key terms you’ll use to describe what you’re looking for. You’ll find sequential images in cartoons, graphic novels or murals, to give just a few examples, and you’ll see them described as frame-by-frame, cartoon strips, visual stories, etc. Any … Read the rest
Your view of knitting will be shaped both by your own experience of it – as a knitter, a wearer of knitted items or friend or relative of someone who knits – and through visual representations of knitting as an activity.
• To start with, produce a quick mind map of what knitting means to you and
what you associate with it.
• Do some visual research by finding contemporary and historical examples of
where and how knitting or knitted items have been represented, for example
pattern books, humorous cards based on 1950s patterns for knitted tank
tops, balaclavas, etc., … Read the rest
We are asked to read the extract from ‘The Road’ again – as many times as we feel you need to – and to think carefully about the following and make some notes:
‘He’, the man, and ‘the boy’ are nameless. Why? Does their anonymity change the way we feel about the characters? Can we still care about them without names? Do they still have an identity without a name?
There are various reasons the characters are nameless. One could be that, without names, we as readers can’t project any of our own biases onto them. For instance, if they … Read the rest
Project 4 starts by giving us an extract from The Road by Cormac McCarthy and asks us to re-write a few lines of the extract using different types of narrator:
• First person narrator – from the point of view of the man (I pushed the cart…)
“I pushed the cart and both me and the boy carried knapsacks. In the knapsacks were essential things in case we had to abandon the cart and make a run for it. Clamped to the handle of the cart was a chrome motorcycle mirror that I used to watch the road behind us. … Read the rest
This exercise asks us to attempt a close reading of Dylan Thomas’ poem Fern Hill. The instructions suggest making an entry into your learning log and jotting down some notes as follows:
• What’s the mood of the poem? How does it make you feel?
The overall mood is light and happy. It makes me feel the freedom of childhood. At the end, however, the narrator appears to accept the fact that these days are gone, and the poem takes a turn for the more serious
• What poetic devices does Thomas use and what effect do they have on … Read the rest
Write a list of everything you’ve read or written or seen or heard in the last 24 hours.
How many stories are contained within your list? This could be anything from notes in your learning log to the afternoon play on Radio 4, from a friend recounting a funny tale to the latest news online.
The things on my list I would count as stories are an 87k word fan fiction story I’m reading, the film ‘2001: A Space Odyssey’ that I watched last night, some marketing emails I read which include ‘personal’ stories from the writers, and some of
The first exercise follows on from the ideas of ‘the arbitrariness of the sign’ and ‘the textual revolution and the story’:
What happens to a story when you take it from its source, make it permanent in print, and disseminate it to a wide audience?
When a story is printed, it reaches a lot more people than it would when told orally. It stops evolving too. No longer does it change with each re-telling. That particular story is set in stone (or ink), unless it is re-written by someone else.
Printing of stories can have negative implications – misinformation and