, Moment-to-moment (Figure 2.23a)
, Action-to-action: follows a series of actions of the same subject (Figure 2.23b)
, Scene-to-scene: transports the reader over time and space
, The sale of picture postcards, pinups, "art studies," or any other reproduction of nude or seminude figures is prohibited
, Nudity with meretricious purpose and salacious postures shall not be permitted in the advertising of any product; clothed figures shall never be presented in such a way as to be offensive or contrary to good taste or morals
, To the best of his ability, each publisher shall ascertain that all statements made in advertisements conform to fact and avoid misrepresentation
, Advertisements for medical, health, or toiletry products endorsed by the American Medical Association
, Using crowdsourcing for TREC relevance assessment, Information Processing & Management, vol.48, issue.6, pp.1053-1066, 2012.
, Human factors in crowdsourcing, Proceedings of the VLDB Endowment, vol.9, pp.1615-1618, 2016.
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, Japanese Manga Book Market Rises to Record 282 Billion Yen, International Journal of Ubiquitous Computing, vol.1, issue.1, pp.1-11, 2010.
, Large stakes and big mistakes, Review of Economic Studies, vol.76, issue.2, pp.451-469, 2005.
, Crowd Truth: Harnessing disagreement in crowdsourcing a relation extraction gold standard, ACM WebSci-13, vol.34, pp.555-596, 2008.
, Fun Home-A Family Tragicomic, 2006.
, Crowdsourcing Predictors of Behavioural Outcomes, Proceedings of Workshop on Multi-Relational Data Mining, vol.43, pp.176-185, 2002.
, Crowdsourcing as a Model for Problem Solving: An Introduction and Cases. Convergence: The International Journal of Research into Bibliography New Media Technologies, vol.14, pp.75-90, 2008.
, Moving the crowd at threadless: Motivations for participation in a crowdsourcing application, Information, Communication & Society, vol.13, issue.8, pp.1122-1145, 2010.
, Managing unexpected publics online: The challenge of targeting specific groups with the wide-reaching tool of the internet, International Journal of Communication, vol.6, issue.0, p.20, 2012.
, Using crowdsourcing in government, 2013.
, Identifying and eliminating mislabeled training instances, Proceedings of the 13th National Conference on Artificial Intelligence, pp.799-805, 1996.
, The History of Webcomics, 2006.
, Incremental algorithms for hierarchical classification, The Journal of Machine Learning Research, vol.7, pp.31-54, 2006.
, A Survey of General-Purpose Crowdsourcing Techniques, IEEE Transactions on Knowledge and Data Engineering, issue.9, p.28, 2016.
, Color + Design Blog / The Colors of Good vs. Evil: Comic Book Color Palettes, 2011.
, EPUB Region-Based Navigation 1, 2015.
, EPUB Multiple-Rendition Publications 1, 2015.
, Notes from the Transcription Desk: Modes of engagement between the community and the resource of the Letters of 1916, Mechanical Cheat: Spamming Schemes and Adversarial Techniques on Crowdsourcing Platforms, pp.26-30, 2012.
, Efficiently learning the accuracy of labeling sources for selective sampling, Proceedings of the 15th ACM SIGKDD International Conference on Knowledge Discovery and Data Mining, KDD '09, pp.259-268, 2009.
, The Comic Books that Corrupted our Kids, 2013.
, Cover Your Eyes: the Graphic Horrors of 1950s Comics, 2013.
, Crowd-sourcing scoping study: Engaging the crowd with humanities research. Crowd-sourcing scoping study, Digital Humanities 2016: Conference Abstracts, pp.178-180, 2012.
, Txteagle: Mobile crowdsourcing, Proceedings of the 3rd International Conference on Internationalization, Design and Global Development, IDGD '09, pp.447-456, 2009.
DOI : 10.1007/978-3-642-02767-3_50
URL : https://link.springer.com/content/pdf/10.1007%2F978-3-642-02767-3_50.pdf
, Comics and Sequential Art: Principles and Practices from the Legendary Cartoonist, 1978.
, The Dreamer, 1986.
, Graphic Storytelling and Visual Narrative, Expressive Anatomy for Comics and Narrative: Principles and Practices from the Legendary Cartoonist. W. W. Norton & Company, 2008.
, Charter Proposal: Advanced/Hybrid Layouts, 2012.
, EPUB Canonical Fragment Identifiers 1.1, 2016.
, EPUB Content Documents 3, 2014.
, Open Annotation in EPUB-Editors Draft, 2014.
, EPUB Open Container Format (OCF) 3.0.1, 2014.
, EPUB Publications 3.0.1. Retrieved from, 2014.
, EPUB 3 Structural Semantics Vocabulary, Forbes, 2011.
, Acquiring high quality nonexpert knowledge from on-demand workforce, Proceedings of the 2009 Workshop on The People's Web Meets NLP: Collaboratively Constructed Semantic Resources, People's Web '09, pp.51-56, 2009.
, Guest editorial: Dear Manga, You Are Broken, 2010.
, Functional requirements for bibliographic records : final report / IFLA Study Group on the Functional Requirements for Bibliographic Records. final report viii, 1998.
, Estimating upper and lower bounds on the performance of word-sense disambiguation programs, Proceedings of the 30th annual meeting on Association for Computational Linguistics, pp.249-256, 1992.
, Superhero Entertainments. Coursera MOOC, 2016.
, Crowdsourcing document relevance assessment with mechanical turk, Proceedings of the NAACL HLT 2010 Workshop on Creating Speech and Language Data with Amazon's Mechanical Turk, CSLDAMT '10, pp.172-179, 2010.
, MediaMaking: Mass Media in a Popular Culture, First Serie, 2005.
, Analyzing costs and accuracy of validation mechanisms for crowdsourcing platforms, Mathematical and Computer Modelling, vol.57, pp.2918-2932, 2013.
, The Rise of Crowdsourcing. Wired, vol.14, pp.1-4, 2006.
, Data quality from crowdsourcing: A study of annotation selection criteria, HLT '09 Proceedings of the NAACL HLT 2009 Workshop on Active Learning for Natural Language Processing, HLT '09, pp.27-35, 2009.
, An Introduction to Publishing in Japan, MIR '08 Proceedings of the 1st ACM international conference on Multimedia information retrieval, pp.39-43, 2008.
, Men of Tomorrow: Geeks, Gangsters and the Birth of the Comic Book, 2005.
, EPUB 3 FixedLayout Documents, 2012.
, On the evaluation of the quality of relevance assessments collected through crowdsourcing, Proceedings of SIGIR Workshop on Future of IR Evaluation, 2009.
, A new measure of rank correlation, Biometrika, vol.30, issue.1-2, pp.81-93, 1938.
, Gold standard datasets for evaluating word sense disambiguation programs, Computer Speech & Language, vol.12, issue.4, pp.453-472, 1998.
, Sulla determinazione empirica di una legge di distribuzione. Giornale dell'Istituto Italiano degli Attuari, vol.4, pp.83-91, 1933.
, Crowd IQ: measuring the intelligence of crowdsourcing platforms, WebSci '12 Proceedings of the 4th Annual ACM Web Science Conference, pp.151-160, 2012.
, Web Comics: Page Clickers to Page Turners, 2005.
, Fans lift J-culture over language barrier. The Japan Times, 2006.
, New service is all in a day's SMS. BBC News, 2009.
, 500 Manga Heroes & Villains. Barron's Educational Series, 2006.
, Understanding comics-The invisible art, 1993.
, Reinventing comics. William Morrow Paperbacks, 1986.
, Memory-based stochastic optimization, Proceedings of Neural Information Processing Systems, vol.8, pp.1066-1072, 1995.
, Noisy information value in utility-based decision making, Proceedings of the First International Workshop on Utility-based Data Mining, pp.34-38, 2005.
DOI : 10.1145/1089827.1089831
, Annotation automatique des figures de comparaison dans les textes littraires. Doctoral dissertation, 2016.
, Skierarchy: Extending the power of crowdsourcing using a hierarchy of domain experts, crowd and machine learning, Proceedings of the 21st Text REtrieval Conference (TREC 2012), 2012.
, Overview of the CLEF 2009 large-scale visual concept detection and annotation task, Multilingual Information Access Evaluation II. Multimedia Experiments Lecture Notes in Computer Science-10th Workshop of the Cross-Language Evaluation Forum, vol.6242, pp.94-109, 2009.
, How reliable are annotations via crowdsourcing? a study about inter-annotator agreement for multi-label image annotation, Proceedings of the 11th ACM ICMIR '10, pp.557-566, 2009.
, , 2012.
, Senate Subcommittee on Juvenile Delinquency: Wertham Versus Gaines On Decency Standards
, 2015 : lanne de la rationalisation, Association des Critiques et Journalistes de Bande Dessines, 2015.
, Robust frame and text extraction from comic books, Graphics Recognition. New Trends and Bibliography Challenges Lecture Notes in Computer Science, vol.7423, pp.129-138, 2013.
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, New York Times Magazine, 2009.
, Holy Starches Batman!! We are Getting Walloped!": Crowdsourcing Comic Book Transcriptions, ASSETS '16 Proceedings of the 18th International ACM SIGACCESS Conference on Computers and Accessibility, pp.289-290, 2016.
, Rules of crowdsourcing: Models, issues, and systems of control, Information Systems Management, vol.30, issue.1, pp.2-20, 2013.
, Crowdsourcing critical success factor model, 2010.
, Get another label? improving data quality and data mining using multiple, noisy labelers, Proceedings of the 14th ACM SIGKDD international conference on Knowledge discovery and data mining, pp.614-622, 2008.
, Cheap and fast-but is it good? evaluating non-expert annotations for natural language tasks, Proceedings of the Conference on Empirical Methods in Natural Language Processing, EMNLP '08, pp.254-263, 2008.
, Publishers Look to Digital Comics, pp.2007-2008, 2006.
, The Wisdom of Crowds, Maus. Pantheon Books, 2004.
, Collecting comic books: a study of the fan and curatorial consumption, Theorizing Fandom: Fans, Subculture and Identity, p.257, 1998.
, Why Manga Publishing Is Dying (And How It Could Get Better, 2012.
, Manga Content Extraction Method for Automatic Mobile Comic Content Creation, Proceedings of the 2013 ICACSIS, pp.321-328, 2013.
, The Worlds Of Books, 2012.
, Labeling images with a computer game, Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, CHI '04, pp.319-326, 2004.
, Comic Book Markup Language: An Introduction and Rationale, Digital Humanities Quarterly, vol.6, issue.1, 2012.
, Introducing HistoGraph 2: Exploration of Cultural Heritage Documents Based on Co-Occurrence Graphs, Digital Humanities 2016: Conference Abstracts, pp.400-402, 2016.
, Fun Home: A Family Tragicomic,' by Alison Bechdel-The New York Times Book Review. The New York Times, 2006.
, Understanding understandings of comics: Reading and collecting as media oriented practices, Participations: Journal of Audiences & Reception Studies, vol.9, issue.2, pp.180-199, 2012.
, Building a definition for comics, p.20
, The Big Triangle" illustrates the evolution of graphic representation from photographic resemblance (left) to iconic abstraction (4th tile from left to right), all the way to full meaning (right), i.e., words. Source: Scott McCloud, Understanding Comics, pp.52-53, 1993.
, The Mortuary Chapel of Menna, superintendent of the estates of the king and of Amen, at the middle of the 18th dynasty, Various stages in the production of grains
, Die Reliefs des Ersten Dakischen Krieges, Trajan's Column-Battle scene between the Roman and Dacian armies Attributed to Apollodorus of Damascus-Conrad Cichorius
, The messengers with Guy, with portrayal of medieval agriculture in the border, Credit: Wikipedia, CC BY-SA 3.0
, Life of Raymond Lull"-14th century manuscript featuring elements such as panels and speech areas similar to speech balloons. By Thomas le Myésier-Karlsruhe, Badische Landesbibliothek, Cod. St. Peter perg. 92, fol. 1v. Manuscript, reproduced in "An illustrated history of the Knights Templar
, Mural painting at Voronet¸MonasteryVoronet¸Voronet¸Monastery (Romania)-15th century, featuring sequences of panels, p.25
, The first appearance of Captain America in Captain America Comics #1, Cover art by Joe Simon (inks and pencils) and Jack Kirby (pencils), p.29, 1937.
, one of the many comics which reflected Cold War paranoia in 1950s America. Credit: Wikisource, Public Domain, 1952.
, EC Comics), art by Johnny Craig. The (in)famous issue used by Sen. Kefauver during the Senate hearing on comics, Crime SuspenStories #22, 1954.
, DC Comics), featuring the first appearance of The Flash. Art by C. Infantino (pencils) and J. Kubert (inks) Source: "Showcase #4" at The Grand Comics Database, Cover of Showcase #4, 1956.
, Their success greately contributed to the Silver Age of superheroes. a The Brave and the Bold #28, Teams of superheroes were instrumental in DC's and Marvel's efforts to relaunch the genre, 1960.
, The flagship magazine of the "comix" underground movement with its own "seal" reading Fair warning: For Adult Intellectuals Only, an irony to CCA's seal of approval, Covers of some of the most important underground "comix". Although short lived, most of them played an important role in the development of the movement and subsequent evolution of comics. a Mr. Natural visits the City-The famous cover of Zap Comix #1, p.36, 1968.
, Humans who look like animals"-the main allegory driving graphic storytelling in Maus. In these panels the author draws attention on the absurdity of categorising people and creating racial-based stereotypes. In the end, he acknowledges that "the metaphor self-destructs, Source: Maus, Art Spiegelman
, Towards the end of Book One, Bruce Wayne finally embraces his identity as Batman, with repercussions in both the story and its artistic delivery. From this point on, Batman is committed to his mission of defending Gotham at all cost, even if this transforms him into a near-villain. The brutality of his actions is enhanced by the rugged "big-foot" drawing style adopted by the artist. Source: The Dark Knight Returns, Frank Miller, The cover of Book Two of The Dark Knight Returns series, p.78, 1986.
, Notice the modern, dynamic and vividly coloured drawings depicting the characters in cinematic postures. Credit: Wikipedia, Fair use, The cover of Ultimates #13, art by Brian Hitch
, An illustrative page of Allison Bechdel's graphic style and original use of photographic art in Fun Home. Source: Fun Home, Allison Bechdel, p.102, 2006.
, The type of the panel border supports the action within. a The jagged, irregular border implies an emotionally intense action. b Border-less panels suggest an open, vast or limitless space. c The border can sometime be a structure (window, door, portal) and confines the characters-the opposite effect of border-less panels. d Wavy borders are used to depict thoughts, memories, imaginary or future actions. Source: Comics and Sequential Art, Will Eisner, pp.48-49, 1985.
, In this sequence of panels from The Spirit story "Fluid X", we experience an intense emotional moment through the eyes of the character. Source: Comics and Sequential Art, Will Eisner, p.46, 1985.
, One of the best illustrations of the concept of "ellipsis" and the engagement it demands from the reader, for it is the reader who "drops the axe", and decides who screams and why. Source: Scott McCloud, Understanding Comics
, The six types of transitions between adjacent panels. Source: Scott McCloud, Understanding Comics, p.48, 1993.
, A wonderfully complex page from the graphic novella The Dreamer, an account of Will Eisner from the early years of American comic books. The page seeks to find the balance between its freedom as a meta-panel with its seemingly borderless panels and the dissimulated references (the window, the wall, even the panels drew by Eyron) to the structural and artistic limits of the panel. Source: Will Eisner, The Dreamer, p.23, 1986.
, A wonderfully built allegory of both the complicated origins of Maus-paternity and maternity fuel Spiegelman's artistic endeavour-as well as a reminder of the limits of panels and the comics medium. Source: Maus, Art Spiegelman, The last tier from Prisoner on the Hell Planet-the comic story enclosed in Maus, Art Spiegelman, p.51, 2011.
, The catalyst page in Frank Miller's Book One of The Dark Knight Returns. The bat breaking through the window symbolises the end of Bruce Wayne's struggle to accept his role as the Batman, protector of the law
, Copyright 1905 American Journal-Examiner-marked at top right portion of page. Source: Frederick Burr Opper, The Happy Hooligan, p.53, 1905.
, Notice word telegraphing and the special styling of the letter "S" resembling that used by the Nazi SS. Source: Maus, Art Spiegelman, p.176, 2011.
, A few of the most common types of balloons: speech, thought, caption, scream, p.55
, the android's speech balloon has a different styling: the straighter shape, the metallic colour and the particular type of border are all suggestive of its mechanical nature, this panel from The Avengers #32, p.56, 2000.
, The abstraction process of a drawing, from photographic realism to a simple, commonly understood representation of a human face, Source: Scott McCloud, Understanding Comics, p.56
, A micro-dictionary of common gestures and postures. Source: Comics and Sequential Art, p.57
, Depending on the message the artist wants to convey, a single representative posture is selected out of a sequence of continuous movements, Source: Comics and Sequential Art, p.58
, It describes two of the characters overlooking a street in Istanbul. The city is referenced both by name (in the dialogue), but also through a series of cultural cues (the streets, the landscape etc.) Source: "P'gell from Paris, Spirit #21, Retrieved: Digital Comics Museum
, Retrieved: Digital Comics Museum, Fair use, Onomatopoeia describing the sound of an alarm ringing. Source, 1952.
, Retrieved: Digital Comics Museum, Fair use. b Moving camera perspective, Different uses of motion lines. a Fixed camera perspective-Simple motion lines, p.60, 1950.
, Digital comics sales in North America, p.76, 2009.
,
, Donald Duck), later featuring in several other stories that satirise famous comics and important moments in comics history. Source: "The Enchanter's Apprentice, Adventure into Fear #19, 1953.
, 84 Customisation of the <teiHeader> element, containing a definition of both the list of characters (<castList>) and the description of panel-to-panel transitions typology (interpGrp) used by the @ana attribute of the <cbml:panel> element. 85 of Maus. Notice the bibliographic particularities of this publication, i.e. serialisation, progressive publishing and composition (blue), multiple copyright (green). In the bottom half, notice the multiple data and classifications made by the US Library of Congress Cataloguing (blue). Source: Maus, Art Spiegelman [Spiegelman, The Grumly Murder" in The Spirit #21, Will Eisner, vol.87, 1950.
, The Superman strips ran from 1939-1966 and at their peak were published in almost 400 newspapers, with a readership of approximately 20 millions. Source: The Speeding Bullet, Fair use. b Cover of Action Comics #1, Superman" stories moved from newspaper strips (a), to series of stories in comic books (b), 1938.
, Superman magazine was renamed The Adventures of Superman, with its "first" issue continuing from #424, while a brand new series used the Superman title, after 228 monthly issues, it was returned to its initial title and numbering. Source: Wikipedia, Fair use, p.88, 1986.
, Group 1 Entities in the FRBR model
, A description of Art Spiegelman's "Prisoner on Planet Hell" using FRBR, p.98
, The high-level structure of a typical EPUB package (a) and of the META-INf/container.xml document (b). Within, notice the reference to OEBPS/content.opf, the Open Package document
, All these elements come together in the OEBPS/package.opf document (b), in which we distinguish three parts: the metadata (orange), the manifest (green-a list of all the content documents in the package) and the spine (blue-the rendering order of the final content documents)
, The following example shows two Renditions of The Sandman bundled in the same container, one optimised for screens 1920 pixels or wider. The Default Rendition will be used for screen sizes smaller than 1920 pixels by default. Credit, 2015.
, Note that it is not necessary to state that the Default Rendition is reflowable, since Renditions are reflowable by default, 2015.
, The following example shows a multilingual EPUB Publication, with English, French and Spanish Renditions of the content, vol.Credit, p.109, 2015.
, The following example shows an EPUB Publication with an image-based Rendition and a text-based serialisation available, p.109, 2015.
, The following example shows the rendition:label attribute being used to provide a human-readable name for a Rendition, p.110, 2015.
, The following example shows a multilingual EPUB Publication with each language in a separate Rendition, p.111
, 112 screen, using a semitransparent letterboxing effect to obscure the surrounding areas, Source: Clues Tome 1-Sur les traces du passé, 2008.
, The highest level of the region-based nav element inside the Data Navigation Document corresponding to the previous example
, Notice how both regions (left and right) are starting from the top-left corner of their pages (0, 0) and extend 100% of the width and 50% of the height of each page, Credit: Stan Shaw, 2014.
, the navigation between two adjacent navigation units is triggered by one or more userperformed actions and results in at least one (i.e. the page turn) navigation effect
, Preview Publication-The following example shows a minimally complete metadata section, where the Publication is identified as a preview, metadata links back to the source publication and a link to acquire it has also been included
, UML diagram of the scribe database, illustrating the collections used in a typical scribe crowdsourcing platform
, Data flow diagram of the Comics++ crowdsourcing platform, illustrating the interplay between workflows, tasks, subjects and generated classifications (annotations)
, The file structure of the Comics++ crowdsourcing platform, p.194
, A typical configuration of the project.json file, in which the most important fields are title, forum
, The outline of the mark.json file, composed of a header (green) and the tasks section (blue)
, The task requiring a participant to identify special types of pages (a) and the corresponding code (b), The task requiring a participant to identify panels with special borders (a) and the corresponding code (b)
, The task requiring a participant to transcribe the characters (a) and the corresponding code (b)
, The task requiring a participant to transcribe onomatopoeia (a) and the corresponding code (b)
, The task requiring a participant to transcribe places (a) and the corresponding code (b)
, A snippet of a typical subjects CSV file, listing the individual subjects (i.e. pages) of a subjects group (i.e. comic book)
, The home screen of the Comics++ crowdsourcing platform, featuring a simple design based on concepts drawn from Material and Bootstrap, p.205
, A typical screen of the mark workflow in Comics++. The main areas are: the main menu (blue), the content pane (purple), the toggle bar (red), the question pane (green), the extras (yellow)
, The main areas are: the main menu (blue), the central pane (purple), the annotation pane (green), the extras (yellow), A typical screen of the mark workflow in Comics++
, The colour palettes of our crowdsourcing platforms Comics++ (a) and (Dis)Similitudes (b), based on Material Design principles, p.208
, Page structure-Distribution of task accomplishment times, for correctly and misclassified splash-pages
, Total counts for each type of marked element
, The page distribution of marked elements, for each of the stories: a) Dash Dillon, b) Nightro, c) Truant Toy, d) Shrinking Horror, p.219
, Daily cumulative number of contributed marks
, Distribution of transcribed elements
, The page distribution of transcribed elements, for each of the stories: a) Dash Dillon, b) Nightro, c) Truant Toy, d) Shrinking Horror, p.222
, Daily numbers of contributed transcriptions
, Distribution of marked elements
, Configuration of the "production" and "test" environments of the mongoid.yml file for the Comics++ scribeAPI project
, Two stages of the Actialuna mobile prototype of Comics++: a) page structure annotation step and b narrative elements annotation, p.244
, A list of other worldwide GLAM institutions dedicated to comics, p.12
, A selection of comic book-specific attributes corresponding to Group 1 (upper) and 2 (lower) Entities in the FRBR model, p.97, 1998.
, (*) indicates special panels whose positions were correctly identified, but were assigned to the wrong type, Special panels by story-annotated vs. actual vs. correct
, Special panels by type-annotated vs. actual vs. correct. (*) indicates special panels whose positions were correctly identified, but were assigned to the wrong type
, Page structure markings for pages in each comic
, Distribution of marked elements for each story
, Distribution of transcribed elements for each story, p.222
, Transcribed elements: completed vs. bad flags
, Examples of annotated characters
, 227 7.10. Participants' choice of authentication modalities