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Graphic Novels: Exploring Visual Culture and Multimodal Literacy in Preservice Art Teacher Education

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Title: Graphic Novels: Exploring Visual Culture and Multimodal Literacy in Preservice Art Teacher Education
Language: English
Authors: Kwon, Hyunji (ORCID 0000-0001-6395-6980)
Source: Art Education. Mar 2020 73(2):33-42.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 10
Publication Date: 2020
Document Type: Journal Articles
Reports - Descriptive
Education Level: Higher Education
Postsecondary Education
Elementary Secondary Education
Descriptors: Cartoons, Novels, Preservice Teacher Education, Art Teachers, Art Education, Elementary Secondary Education, Popular Culture, Multiple Literacies, Student Projects, Art Activities
DOI: 10.1080/00043125.2019.1695479
ISSN: 0004-3125
Abstract: Despite the dramatic increase in the number of graphic novels created and published, and the growing popularity of graphic novels among students, some teachers think that certain sexual and violent imagery in graphic novels renders them unsuitable for teaching (Weiner, 2003). Additionally, the lack of cultural diversity and the depiction of stereotypes regarding gender, race, class, disability, and other social categories in certain graphic novels have prevented some teachers from using them (Ogier & Ghosh, 2018). With such concerns in mind, the author discusses the graphic novel project she created for preservice art teachers by including descriptions of classroom instruction and examples of the graphic novels used for the project. The author then suggests modifications for this project to be implemented at the K-12 levels.
Abstractor: ERIC
Entry Date: 2020
Accession Number: EJ1243876
Database: ERIC
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  Value: <anid>AN0141750945;are01mar.20;2020Feb18.02:20;v2.2.500</anid> <title id="AN0141750945-1">Graphic Novels: Exploring Visual Culture and Multimodal Literacy in Preservice Art Teacher Education </title> <p>Graph</p> <p>Growing up in South Korea in the 1990s, the influence of manga (Japanese graphic novels that are often made into animated series) was immense. Manga rental shops were common, and my friends and I drew manga, exchanged feedback, and even mailed our manga samples to professional graphic novelists! Beyond these childhood experiences, I have researched and used graphic novels in my secondary art methods courses for preservice art teachers at a large southeastern state university in the United States. I have found that the graphic novel provides an innovative, educational, and entertaining way to engage in art education both as an element of popular visual culture and through the multimodal literacy surrounding its creation.</p> <p>A graphic novel is a visual novel composed of comic-strip panels. More specifically, "graphic" denotes its use of cartoon drawings, and "novel" describes its depiction of fictional or nonfictional stories. The term was introduced in the late 1970s to define a longer and more novel-like version of comics ([<reflink idref="bib20" id="ref1">20</reflink>]). Drawing on the connotation that comics have of being funny, art educator [<reflink idref="bib18" id="ref2">18</reflink>] preferred the term "cartoon" while [<reflink idref="bib9" id="ref3">9</reflink>] emphasized that graphic novels contain more serious subject matter, social criticism, and personal reflection than comics.</p> <p>Despite the dramatic increase in the number of graphic novels created and published, and the growing popularity of graphic novels among students, some teachers think that certain sexual and violent imagery in graphic novels renders them unsuitable for teaching ([<reflink idref="bib20" id="ref4">20</reflink>]). Additionally, the lack of cultural diversity and the depiction of stereotypes regarding gender, race, class, disability, and other social categories in certain graphic novels have prevented some teachers from using them ([<reflink idref="bib13" id="ref5">13</reflink>]). With such concerns in mind, I will discuss the graphic novel project I created for preservice art teachers by including descriptions of classroom instruction and examples of the graphic novels used for the project. Additionally, I will suggest modifications for this project to be implemented at the K–12 levels.</p> <hd id="AN0141750945-2">The Graphic Novel in Popular Visual Culture</hd> <p>Technological advancements and the expansion of the middle class in the early 20th century enabled the rise of popular visual culture ([<reflink idref="bib17" id="ref6">17</reflink>]). Beginning in the 1950s, graphic novels, along with photography, film, newspapers, and magazines, grew in popularity. However, just as a lack of "cultural sophistication" was used to criticize non–high art forms ([<reflink idref="bib17" id="ref7">17</reflink>], p. 102), historically, the graphic novel has not been valued as art or literature ([<reflink idref="bib19" id="ref8">19</reflink>]). Due to its presumably childish content and its printing on mass-produced, cheap paper, graphic novels became considered a frivolous material ([<reflink idref="bib13" id="ref9">13</reflink>]). In extreme cases, graphic novels have been blamed for juvenile delinquency, poor literacy acquisition, and even criminal behavior ([<reflink idref="bib21" id="ref10">21</reflink>]).</p> <p>Historically, the graphic novel has not been valued as art or literature</p> <p>([<reflink idref="bib19" id="ref11">19</reflink>]).</p> <p>However, as the introduction of cultural studies in the 1960s drew attention to the pedagogical insights of popular visual culture ([<reflink idref="bib17" id="ref12">17</reflink>]), visual culture was also introduced to the field of art education in the 1960s ([<reflink idref="bib11" id="ref13">11</reflink>]). For example, the rise of unconventional and independently published magazines, called "zines," since the 1970s has led to their educational use since the 2000s. Art education researchers have used zines as a creative and expressive means to connect communities of disability ([<reflink idref="bib8" id="ref14">8</reflink>]), a unique and imaginative way to reflect preservice art teachers' learning experiences ([<reflink idref="bib10" id="ref15">10</reflink>]), and an artistic and relatable method to teach art history content in high school ([<reflink idref="bib1" id="ref16">1</reflink>]). With its wide use of graphic novels, zines have contributed to extensive engagement with graphic novels as an element of visual culture in art education ([<reflink idref="bib4" id="ref17">4</reflink>]).</p> <p>As art education researchers have continued to explore the place of popular visual culture in the art classroom, [<reflink idref="bib22" id="ref18">22</reflink>] discussed how the aspects of appropriation, construction, and reproduction in manga culture could enable less restrictive art education with manga's playful connection to contemporary art, visual culture, and students' lives. Therefore, the graphic novel has become a meaningful popular visual culture item with which art educators can engage.</p> <hd id="AN0141750945-3">Graphic Novels and Multimodal Literacy</hd> <p>Since the introduction of the graphic novel to art education classrooms, art educators have emphasized the graphic novel's visual elements, design principles, and role in increasing visual literacy ([<reflink idref="bib4" id="ref19">4</reflink>]). Subsequently, educators have extended such discussions to multimodal literacy by focusing on how the graphic novel is a blend of art, literature, and culture. The term "multimodal literacy" refers to the ability to create and comprehend semiotic resources (language, image, and gesture) by employing sensory modalities (linguistic, audiovisual, gestural, and spatial) ([<reflink idref="bib14" id="ref20">14</reflink>]).</p> <p>As graphic novels involve a perceptual system of sight, a communicative mode of language, and an engagement with culture, their messages are not only communicated via their words and images but also extracted from how they interact with each other in visual cultural contexts that are "invariably multimodal" ([<reflink idref="bib6" id="ref21">6</reflink>], p. 255). [<reflink idref="bib14" id="ref22">14</reflink>] further noted that reading a graphic novel requires the analysis of "sociocultural aspects of textual content and cultural contexts" (p. 314). Therefore, in reading graphic novels, an understanding of the interactions between sign systems and their sociocultural contexts can increase a reader's ability to utilize multiple modes of meaning-making, which is multimodal literacy.</p> <p>In reading graphic novels, an understanding of the interactions between sign systems and their sociocultural contexts can increase a reader's ability to utilize multiple modes of meaning-making.</p> <hd id="AN0141750945-4">The Graphic Novel in Preservice Art Teacher Education</hd> <p>My secondary art methods course is a class in which both undergraduate and graduate art education majors explore the development and teaching of art curriculum in secondary schools. This course comprises readings, lectures, discussions, 12 art projects (including three graphic novel projects), the development of a socially responsive art unit plan, and 30 hours of practicum. I conducted the following graphic novel project with five undergraduate and two graduate students (six White and one mixed race; ages ranged from 20s to 30s).[<reflink idref="bib1" id="ref23">1</reflink>] Each graphic novel project was done in a simplified format called a "graphic novella" ([<reflink idref="bib9" id="ref24">9</reflink>], p. 15), which contains six to eight panels on one side of letter-sized paper and takes approximately 6 hours to complete. Despite their familiarity with the graphic novel, the majority of my students were concerned with their lack of cartoon-drawing experience. To help them practice working with the medium, for the first two projects, I adapted [<reflink idref="bib9" id="ref25">9</reflink>] approach to teaching graphic novels to 10th-graders, altering it by using different examples and shifting the issues examined.</p> <hd id="AN0141750945-5">Project 1: Autobiographical Voice and Popular Visual Culture</hd> <p>For the first project, students created a visual review of two graphic novels in the form of a graphic novella. I required students to read and write reviews of a few chapters of Rachel [<reflink idref="bib3" id="ref26">3</reflink>] "<emph>What's So Great About Art, Anyway?" A Teacher's Odyssey</emph> and [<reflink idref="bib5" id="ref27">5</reflink>]<emph>Burma Chronicles</emph>. In the first graphic novel, Branham uses a practical and humorous art style and a personal voice to explore her successes and difficulties as a new high school art teacher in Massachusetts (Figure 1).</p> <p>Graph: Figure 1. [<reflink idref="bib3" id="ref28">3</reflink>]. "What's so great about art, anyway?" A teacher's odyssey (part of page 89). New York, NY: Teachers College Press. Used with permission.</p> <p>In the second graphic novel, Canadian artist Delisle uses a simple drawing style and minimal text to depict his life in Myanmar in 2005. Through this work, Delisle demonstrates sociopolitical attentiveness as he explores issues involving Myanmar's military dictatorship, the power imbalances between Western and non-Western countries, and gender biases against stay-at-home fathers (Figure 2). I selected these graphic novels based on their artistic approaches, their inclusion of cultural diversity and social awareness, and the appropriateness of their content.</p> <p>Graph: Figure 2. [<reflink idref="bib5" id="ref29">5</reflink>]. Burma chronicles (part of page 72). Montreal, Canada: Drawn and Quarterly. Used with permission.</p> <p>Following lectures and discussions on these graphic novels, with various preprinted panel layouts provided, students chose either Branham or Delisle's graphic novel to review based on each work's style and substance. They undertook different approaches in their responses: Some students wrote an entire storyline first, narrowed it down to five to eight events, and then developed characters and scenes while others chose a panel layout first, drew rough characters and scenes, and then came up with specific images and text. Instead of attempting a formal evaluation of the graphic novels they read, most students used a personal voice to connect to the authors, recollecting their own memories and critically engaging with the graphic novels' sociocultural contexts.</p> <p>The autobiographical voice used by students in their graphic novellas engendered their explicit examination of the graphic novels' contents and their life experiences. According to [<reflink idref="bib12" id="ref30">12</reflink>], this kind of "life writing" in a graphic novel format is prevalent because an image–text hybrid affords an effective opportunity to deal with the "uncertainty and disorder inherent in a life story" (p. 279). For example, in my student Like's graphic novella, a review of Branham, she discusses simultaneously conforming to the societal obstacles attached to "what actually happens to art teachers" while also resisting them through "what should happen to art teachers" (Figure 3).</p> <p>Graph: Figure 3. Like, T. (2018). Review of Rachel Branham's "What's so great about art, anyway?" (part) [Graphic novella]. Used with permission.</p> <p>In my student Brutto's graphic novella, a review of Delisle, he articulates and resists the social practices of "surveillance systems," as seen in developing countries and his everyday life in the United States (Figure 4).</p> <p>Graph: Figure 4. Brutto, N. (2018). Review of Guy Delisle's Burma chronicles (part) [Graphic novella]. Used with permission.</p> <p>Thus, not only do students connect the graphic novels to their own experiences, but through their delivery and subversion of dominant sociocultural messages, they also demonstrate [<reflink idref="bib7" id="ref31">7</reflink>] notion of "transgressive pleasure" (p. 234), or the fusion of the conformist and transgressive nature of popular visual culture.</p> <hd id="AN0141750945-6">Projects 2 and 3: Critical Thinking and Multimodal Literacy</hd> <p>After the group critique of the first graphic novellas, for the second project students created a graphic novella that summarized a graphic novel that they read for class by appropriating the artist's style and substance. Similar to the first project, students read and wrote a review of a few chapters of Art [<reflink idref="bib16" id="ref32">16</reflink>]<emph>Maus: A Survivor's Tale, My Father Bleeds History</emph>. As a son of a Polish Jew and Holocaust survivor, Spiegelman's ghastly depiction of the Holocaust draws attention to the trauma of the Holocaust as well as to the graphic novel as a powerful art medium. I selected <emph>Maus</emph> because of Spiegelman's in-depth exploration of sociohistorical injustices, which I theorized could influence my students' multimodal literacy as well as their understanding of socially responsive art. Following a lecture, discussions, and watching a video clip where Spiegelman explains his steps to create <emph>Maus</emph>, students were asked to summarize and alter the original panels.</p> <p>Although I expected the products to be similar, the students' graphic novellas were significantly different. Specifically, the timelines (past, present–past, present–past–present) and perspectives (Spiegelman, both Spiegelman and his dad, or a third person) varied. Unlike film or video, in which the images of a narrative are seamlessly connected, the graphic novel's portrayal of a story via fragmented frames makes the narrative disconnected, which is called the "notion of gaps" ([<reflink idref="bib12" id="ref33">12</reflink>], p. 281). The notion of gaps works to construct (and deconstruct) a sense of time and perspective because the past, present, and future (as well as multiple perspectives) can be displayed on one page at the same time. Thus, while recreating <emph>Maus</emph>, students engaged with various dimensions of time and perspective to convey its contents.</p> <p>The notion of gaps granted students an active role in retelling <emph>Maus</emph>'s story, as they had to contextually analyze <emph>Maus</emph> in sociocultural terms to comprehend and discuss its complicated characters, relationships, and multilayered trauma. These efforts can be seen in my students' works: Green's comment, "They took us as we were and made us what we were not," reflects her understanding of the process of depriving a group of people of human qualities solely due to their ethno-religion (Figure 5).</p> <p>Graph: Figure 5. Green, S. (pseudonym). (2018). Re-creation of Art Spiegelman's Maus (part) [Graphic novella]. Used with permission.</p> <p>Another student, Like, comments in her work that "He mentions death briefly, focusing on who they were, not how they died," which shows her willingness to reverse the damage done by dehumanization and restore agency to the deceased (Figure 6).</p> <p>Graph: Figure 6. Like, T. (2018). Re-creation of Art Spiegelman's Maus (part) [Graphic novella]. Used with permission.</p> <p>The notion of gaps, as applied to graphic novels, helps students develop multimodal literacy through their critical analysis of the invariably multimodal and sociocultural contexts of the images and words they encounter.</p> <p>After a group critique of the second project, students created socially responsive graphic novellas that were congruent with the themes of their unit plans, which involved bullying, pollution, animal cruelty, feminism, drug abuse, homelessness, and mental health. They did not read additional graphic novels but were asked to embrace their critical thinking so that their graphic novellas could be used as socially engaged education resources in the future.</p> <p>From this project, I noticed distinct features that were different from their previous projects: the diversity of layout designs and image–text combinations, as well as elaboration on lived experiences supported by the critical analysis of a sociopolitical issue. Through "doubled narration" ([<reflink idref="bib12" id="ref34">12</reflink>], p. 280), students used the graphic novel's hybrid image–narrative format to deploy multiple strategies that produced numerous and complex narrations, delivering layered and effective sociopolitical messages. In my student's work, Shampy's portrayal of pharmacy bottles, a clock, and a wall as big as or bigger than her denotes the struggle of a person with anxiety and depression (Figure 7).</p> <p>PHOTO (COLOR): Figure 7. Shampy. M. (2018). Mental health (part) [Graphic novella]. Used with permission.</p> <p>Sentences, written in massive size or uppercase, read, "Sometimes I have a really good day" and "Not all illness or disability is VISIBLE," prompting readers to respond in empathetic and sociocultural terms. In another example, Like's use of the cemetery in the largest panel emphasizes both men's suicide-related deaths and the future decline of female-only feminism (Figure 8).</p> <p>PHOTO (COLOR): Figure 8. Like, T. (2018). Is feminism for men? [Graphic novella]. Used with permission.</p> <p>Just as [<reflink idref="bib6" id="ref35">6</reflink>] suggested that the context of the "lived experience of those who view and interpret [visual culture]" is central to multimodal literacy (p. 254), students' graphic novellas reveal a close correlation between the critical analysis of lived experience and multimodal literacy, as expressed through the notion of gaps and doubled narration.</p> <p>Students' graphic novellas reveal a close correlation between the critical analysis of lived experience and multimodal literacy, as expressed through the notion of gaps and doubled narration.</p> <hd id="AN0141750945-7">Further Discussion</hd> <p>The ever-growing popularity of visual culture provides students with easy access to the graphic novel. My research, practice, and analysis led to the following findings and suggested modifications to allow this project to be applied at different grade levels: First, just as [<reflink idref="bib9" id="ref36">9</reflink>] 10th-grade students created graphic novellas, my students considered the appropriation of the graphic novel an effective way to learn narrative construction and image composition. While the diverse levels of drawing skills among students can be challenging, having an option to choose and imitate an artist's style enabled students to create graphic novellas with a great deal of variety. With younger age groups, a slightly different approach can be implemented in which students are asked to copy themes and images from comic books and create a graphic novella (one to six panels) with a specific plot, such as a person's adventure, a shipwreck, a rescue, and so on ([<reflink idref="bib15" id="ref37">15</reflink>]).</p> <p>Second, students reflected that the graphic novel provides a comfortable space to incorporate their voices and lived experiences. [<reflink idref="bib9" id="ref38">9</reflink>] 10th-grade students also created a collaborative graphic novel that consisted of many personal narratives. [<reflink idref="bib2" id="ref39">2</reflink>] facilitated a comic project with 4th- to 8th-graders regarding the lives of urban youth in New York City, and his approach (writing a script and creating an eight-page booklet) helped most participants include themselves in the stories. Additionally, one of my students led a project with preK children, and her approach to create three-panel graphic novellas about their life stories with a story template (beginning, middle/problem, ending/resolution) was a success. While younger students preferred one to three panels and older students can create longer works, the appropriation of an artist's style and variations in storylines can diversify the project's outcomes and increase multimodal literacy. I have provided a list of graphic novels appropriate for different grade levels (Table 1).[<reflink idref="bib2" id="ref40">2</reflink>],[<reflink idref="bib3" id="ref41">3</reflink>]</p> <p>Table 1. A list of graphic novels appropriate for different grade levels.</p> <p> <ephtml> <table><tbody><tr><td><bold>Elementary School or Higher</bold></td></tr><tr><td><list list-type="Bullet"><list-item><p>• Cece Bell (2014), <italic>El Deafo</italic>: Author's experience as a little girl wearing a hearing aid.</p></list-item><list-item><p>• Raina Telgemeier (2010), <italic>Smile</italic>: A girl who lost her two front teeth is going through dental surgeries, problems with friends, and boy confusion.</p></list-item><list-item><p>• Shaun Tan (2007), <italic>The Arrival</italic>: A completely wordless rendering of the immigrant experience.</p></list-item></list><italic>The drawing style may be difficult to imitate. Includes one scene with skulls and skeletons.</italic></td></tr><tr><td><bold>Middle School or Higher</bold></td></tr><tr><td><list list-type="Bullet"><list-item><p>• Gene Luen Yang (2006), <italic>American Born Chinese</italic>: Asian American boy's daily life of insecurity and subtle racism in a White-majority school interwoven with Sun Wukong's Monkey King (or <italic>Journey to the West</italic>).</p></list-item><list-item><p>• Marjane Satrapi (2003), <italic>Persepolis: The Story of a Childhood</italic>: An Iranian girl's observation of changes in people during the Iranian Cultural Revolution.</p></list-item><list-item><p>• <xref ref-type="bibr" rid="bibr5">Guy Delisle (2007)</xref>, <italic>Burma Chronicles</italic>: Author's observation of the isolation and social control of Myanmar through his wordless vignettes and humor.</p></list-item><list-item><p>• Art <xref ref-type="bibr" rid="bibr16">Spiegelman (1991)</xref>, <italic>Maus</italic>: A son's account of understanding his Holocaust-survivor father.</p></list-item></list><italic>All of the graphic novels above include scenes depicting violence or murder.</italic></td></tr><tr><td><bold>High School or Higher</bold></td></tr><tr><td><list list-type="Bullet"><list-item><p>• Danica Novgorodoff (2014), <italic>The Undertaking of Lily Chen</italic>: A fantastical journey of a Chinese man looking for a corpse bride for his deceased brother. Includes minor sexual scenes.</p></list-item><list-item><p>• Daniel Clowes (2014), <italic>Ghost World</italic>: Two girls' growth from adolescence to adulthood with cynical resistance to societal expectations. Includes a minor sexual scene. (Original work published in 1993)</p></list-item><list-item><p>• Jeremy Love (2009), <italic>Bayou</italic>: A young girl witnesses painful racism as a part of U.S. history. Includes violent scenes, such as murder and execution.</p></list-item><list-item><p>• Craig Thompson (2005), <italic>Blankets</italic>: A boy grows up in a Christian family with sexual awakening, love, and pain.</p></list-item><list-item><p>• Bryan Talbot (1995), <italic>The Tale of One Bad Rat</italic>: A girl who has run away from her sexually abusive father begins living a fantasy life through the books of Beatrix Potter.</p></list-item></list><italic>All of the graphic novels above include profanity and sexual content, while</italic> Bayou <italic>includes scenes depicting murder.</italic></td></tr></tbody></table> </ephtml> </p> <p>Reading and creating graphic novels helps students extrapolate meaning based on how sign systems interact with each other and the sociocultural context in which the content is situated. The integration of popular visual culture in the art classroom and students' engagement with lived experience, critical thinking, and multimodal literacy are mutually inclusive and reinforcing. Furthermore, the inclusion of graphic novels in art education can deconstruct the hierarchy between high and low art, subvert social inequalities, and connect students' lives to art curricula as "affective investments" ([<reflink idref="bib7" id="ref42">7</reflink>], p. 240). As one of my students said, "Now I see what a great tool the graphic novel is in [an] art curriculum"; as shown through this project, the graphic novel can be used as both a familiar and an innovative educational resource in art education classrooms (Figure 9).</p> <p>Graph: Figure 9. Brutto, N. (2018). Review on Guy Delisle's Burma chronicles (part) [Graphic novella]. Used with permission.</p> <hd id="AN0141750945-8">ORCID</hd> <p>Hyunji Kwon</p> <p>PHOTO (COLOR) <ulink href="http://orcid.org/0000-0001-6395-6980">http://orcid.org/0000-0001-6395-6980</ulink></p> <ref id="AN0141750945-9"> <title> Endnotes </title> <blist> <bibl id="bib1" idref="ref16" type="bt">1</bibl> <bibtext> When I assigned the graphic novel project, writing an academic journal article was not my plan, and thus, my students did not know that their graphic novels might be used for publication. Only after I learned more from my students' works regarding how the graphic novel functions to fill the notion of gaps and provide doubled narration did I decide to work on this article.</bibtext> </blist> <blist> <bibl id="bib2" idref="ref39" type="bt">2</bibl> <bibtext> More examples of my students' graphic novellas are available on request.</bibtext> </blist> <blist> <bibl id="bib3" idref="ref26" type="bt">3</bibl> <bibtext> This list is incomplete, and teachers may use it differently for various grade levels. When selecting graphic novels, I encourage teachers to thoroughly read each graphic novel under consideration and then distribute copies of a few chapters of several graphic novels for students to read. Doing so may prevent unnecessary encounters with inappropriate content and increase students' choice in terms of the style and substance of the artists they might imitate in their own projects. If possible, working with other disciplines (English, social studies) can be beneficial. Additional resources include: The Young Adult Library Service Association's list of graphic novels for teens and the Comic Book Legal Defense Fund's web page for using graphic novels in education.</bibtext> </blist> </ref> <ref id="AN0141750945-10"> <title> References </title> <blist> <bibtext> Belleville, R. (2014). Blogging, zines, and narratives: New dialogues in art history. Art Education, 67 (2), 14 – 18.</bibtext> </blist> <blist> <bibtext> Bitz, M. (2004). The comic book project: The lives of urban youth. Art Education, 57 (2), 33 – 39.</bibtext> </blist> <blist> <bibtext> Branham, R. (2016). "What's so great about art, anyway?" A teacher's odyssey. (Teaching for social justice). New York, NY : Teachers College Press.</bibtext> </blist> <blist> <bibl id="bib4" idref="ref17" type="bt">4</bibl> <bibtext> Congdon, K. G., & Blandy, D. (2003). Zinesters in the classroom: Using zines to teach about postmodernism and the communication of ideas. Art Education, 56 (3), 44 – 52.</bibtext> </blist> <blist> <bibl id="bib5" idref="ref27" type="bt">5</bibl> <bibtext> Delisle, G. (2007). Burma chronicles. Montreal, Canada : Drawn and Quarterly.</bibtext> </blist> <blist> <bibl id="bib6" idref="ref21" type="bt">6</bibl> <bibtext> Duncum, P. (2004). Visual culture isn't just visual: Multiliteracy, multimodality and meaning. Studies in Art Education, 45 (3), 252 – 264.</bibtext> </blist> <blist> <bibl id="bib7" idref="ref31" type="bt">7</bibl> <bibtext> Duncum, P. (2009). Toward a playful pedagogy: Popular culture and the pleasures of transgression. Studies in Art Education, 50 (3), 232 – 244.</bibtext> </blist> <blist> <bibl id="bib8" idref="ref14" type="bt">8</bibl> <bibtext> Eisenhauer, J. (2010). Writing Dora: Creating community through autobiographical zines about mental illness. Journal of Cultural Research in Art Education, 28, 25 – 38.</bibtext> </blist> <blist> <bibl id="bib9" idref="ref3" type="bt">9</bibl> <bibtext> Graham, M.A. (2008). Graphic novels as contemporary art? The perplexing question of content in the high school art classroom. Art Education, 61 (2), 10 – 16.</bibtext> </blist> <blist> <bibtext> Klein, S. (2010). Creating zines in preservice art teacher education. Art Education, 63 (1), 40 – 46.</bibtext> </blist> <blist> <bibtext> Lanier, V. (1968). Talking about art: An experimental course in high school art appreciation. Studies in Art Education, 9 (3), 32 – 44.</bibtext> </blist> <blist> <bibtext> McNicol, S. (2018). Telling migrant women's life stories as comics. Journal of Graphic Novels and Comics, 9 (4), 279 – 292.</bibtext> </blist> <blist> <bibtext> Ogier, S., & Ghosh, K. (2018). Exploring student teachers' capacity for creativity through the interdisciplinary use of comics in the primary classroom. 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Studies in Art Education, 44 (3), 214 – 229.</bibtext> </blist> </ref> <aug> <p>By Hyunji Kwon</p> <p>Reported by Author</p> <p></p> <p>Hyunji Kwon, Assistant Professor, Art Education, School of Visual Art and Design and Affiliated Faculty, Women's and Gender Studies, University of South Carolina in Columbia.</p> </aug> <nolink nlid="nl1" bibid="bib20" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib18" firstref="ref2"></nolink> <nolink nlid="nl3" bibid="bib13" firstref="ref5"></nolink> <nolink nlid="nl4" bibid="bib17" firstref="ref6"></nolink> <nolink nlid="nl5" bibid="bib19" firstref="ref8"></nolink> <nolink nlid="nl6" bibid="bib21" firstref="ref10"></nolink> <nolink nlid="nl7" bibid="bib11" firstref="ref13"></nolink> <nolink nlid="nl8" bibid="bib10" firstref="ref15"></nolink> <nolink nlid="nl9" bibid="bib22" firstref="ref18"></nolink> <nolink nlid="nl10" bibid="bib14" firstref="ref20"></nolink> <nolink nlid="nl11" bibid="bib12" firstref="ref30"></nolink> <nolink nlid="nl12" bibid="bib16" firstref="ref32"></nolink> <nolink nlid="nl13" bibid="bib15" firstref="ref37"></nolink>
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  Data: Graphic Novels: Exploring Visual Culture and Multimodal Literacy in Preservice Art Teacher Education
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  Data: <searchLink fieldCode="AR" term="%22Kwon%2C+Hyunji%22">Kwon, Hyunji</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0001-6395-6980">0000-0001-6395-6980</externalLink>)
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  Data: <searchLink fieldCode="SO" term="%22Art+Education%22"><i>Art Education</i></searchLink>. Mar 2020 73(2):33-42.
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  Data: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
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  Data: 10
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  Data: 2020
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  Data: Journal Articles<br />Reports - Descriptive
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  Data: <searchLink fieldCode="DE" term="%22Cartoons%22">Cartoons</searchLink><br /><searchLink fieldCode="DE" term="%22Novels%22">Novels</searchLink><br /><searchLink fieldCode="DE" term="%22Preservice+Teacher+Education%22">Preservice Teacher Education</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Teachers%22">Art Teachers</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Education%22">Art Education</searchLink><br /><searchLink fieldCode="DE" term="%22Elementary+Secondary+Education%22">Elementary Secondary Education</searchLink><br /><searchLink fieldCode="DE" term="%22Popular+Culture%22">Popular Culture</searchLink><br /><searchLink fieldCode="DE" term="%22Multiple+Literacies%22">Multiple Literacies</searchLink><br /><searchLink fieldCode="DE" term="%22Student+Projects%22">Student Projects</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Activities%22">Art Activities</searchLink>
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  Data: 10.1080/00043125.2019.1695479
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  Data: 0004-3125
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  Data: Despite the dramatic increase in the number of graphic novels created and published, and the growing popularity of graphic novels among students, some teachers think that certain sexual and violent imagery in graphic novels renders them unsuitable for teaching (Weiner, 2003). Additionally, the lack of cultural diversity and the depiction of stereotypes regarding gender, race, class, disability, and other social categories in certain graphic novels have prevented some teachers from using them (Ogier & Ghosh, 2018). With such concerns in mind, the author discusses the graphic novel project she created for preservice art teachers by including descriptions of classroom instruction and examples of the graphic novels used for the project. The author then suggests modifications for this project to be implemented at the K-12 levels.
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