3,572 research outputs found
TINTIN Corpus: Framing structure data
No full textThis dataset covers annotations of Framing Structure for panels in the 1,030 comics in the TINTIN Corpus. This includes framing categories and characters per panel. For information about the annotation scheme, see:
Cohn, Neil. 2024. "Morphology: Framing Structure v.2." In TINTIN Project Documentation: Visual Language Theory Annotation Guides, edited by Neil Cohn, Irmak Hacımusaoğlu, Bien Klomberg and Ana Krajinović. Tilburg University: Visual Language Lab Resources
http://www.visuallanguagelab.com/tintin
Navigating meaning in the spatial layouts of comics: A cross-cultural corpus analysis
No full textIn visual narratives like comics, not only do comprehenders need to track shifts in characters, space, and time, but they do so across a spatial layout. While many scholars and comic artists have speculated about connections between meaning and layout in comics, few empirical studies have examined this relationship. We investigated whether situational changes between time, characters, or space interacted with page layouts, by looking at across-page, across-constituent, and within-constituent transitions in a corpus of 134 annotated comics from North America, Europe, and Asia. Panels shifting within constituents (e.g., while moving within a row) changed the situation the least, while those across pages and across constituents (like in a row break) had more situational changes. The boundary of a page especially aligned with changes in spatial location of the scene. In addition, discontinuous changes primarily aligned with across-page transitions. Cross-cultural analyses indicated that Asian comics convey meaning across panels in ways that are relatively less constrained by layouts, while American and European comics use the page as a unit to group and segment spatial information. Such results indicate a partial correspondence between layout and meaning, but with different cultural constraints
Linguistic Typology of Motion Events in Visual Narratives - Data and Publication
No full textLanguages use different strategies to encode motion. Some use particles or “satellites” to describe a path of motion (Satellite-framed or S-languages like English), while others typically use the main verb to convey the path information (Verb-framed or V-languages like French). We here ask: might this linguistic variation lead to differences in the way paths are depicted in visual narratives like comics? We analyzed a corpus of 85 comics originally created by speakers of S-languages (comics from the United States, China, Germany) and V-languages (France, Japan, Korea) for both their depictions of path segments (source, route, and goal) and the visual cues signaling these paths and manner information (e.g., motion lines and postures). Panels from S-languages depicted more path segments overall, especially routes, than those from V-languages, but panels from V-languages more often isolated path segments into their own panels. Additionally, comics from S-languages depicted more motion cues than those from V-languages, and this linguistic typology also interacted with panel framing. Despite these differences across typological groups, analysis of individual countries’ comics showed more nuanced variation than a simple S-V dichotomy. These findings suggest a possible influence of spoken language structure on depicting motion events in visual narratives and their sequencing
Running through the Who, Where, and When - Data and Publication
No full textUnderstanding visual narratives requires readers to track dimensions of time, spatial location, and characters across a sequence. Previous work has found situational changes across adjacent panels differ cross-culturally, but few works have examined such situational dimensions across extended sequences. We therefore investigated situational ‘runs’—uninterrupted sequences of the situational dimensions (time, space, characters)—in a corpus of 300+ annotated comics from the United States, Europe, and Asia. We compared runs’ proportion and average lengths and found that across books, semantic information changed frequently and run length correlated with proportion. Yet, cross-cultural patterns arose, with American and European comics using more continuous runs than Asian comics. American and European comics also used more and longer temporal and character continuity, while Asian comics used more spatial continuity. These findings raise questions about comprehenders’ processing strategies of visual narratives across cultures and how general frameworks of visual narrative comprehension account for variations in situational (dis)continuity
TINTIN Corpus: Framing and Backgrounds
No full textThis is data from the TINTIN Corpus related to the framing and backgrounds of panels in a global corpus of comics
TINTIN Corpus: Flow data and preprint
No full textThis subset of the TINTIN Corpus involves annotation data of comics related to layout and internal compositional structure related to Flow Directions and Flow Cues
TINTIN Corpus: Spatial structure data and preprint
No full textThis subset of the TINTIN Corpus involves annotation data of comics related to spatial structure, including situational changes (time, space, characters) and spatial segments, along with annotations of framing, backgrounds, and properties of layout
TINTIN Corpus: POV data and preprint
No full textThis subset of the TINTIN Corpus includes data related to perspective taking and POV construction
The Visual Language Research Corpus (VLRC) Project
No full textThe Visual Language Research Corpus (VLRC) is comprised of annotations of a corpus of comics analyzing the structures in visual languages of the world. The VLRC includes ~36,000 coded panels from 300+ comics from Europe, Asia, and the United States, spanning across 80 decades of publication dates (1940-present), and various genres (e.g., superhero, indy, etc.). It also includes annotation of the entire run of the Calvin & Hobbes comic strip. Comics have been analyzed for a variety of properties, including panel framing, situational relations between panels, external compositional structure (page layout), multimodality, and a variety of other structures
TINTIN Corpus: Panels – data and preprint
No full textPanels are a fundamental unit of comics, yet basic data about their usage in comics from around the world has yet to be analyzed
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