Exegesis
Title
Exploring consequences of traumatic experiences in childhood through a graphic novel
Abstract
The traumatic experience has become part of our lives. Current media exposes many forms of violent and sexual imagery to any age of audiences. This imagery can become questions to children in which can be left without answers. It is important for guardians to take a proper action regarding these kinds of issues. This project is titled “What Remains Of Katarina Muroaka”, it is set to explore a child with unanswered questions regarding sexuality and violence and how she manages to understand these topics on her own. This project is an attempt to extend knowledge of people regarding the issue of children facing problems understanding explicit topics. It is attempted to represent the child as an autonomous being in the story thus she becomes a reflection of issues discussed in the course of the story. The thesis is that how the power of visuals will enable audiences to think about the problematic issue of children experiencing understanding of explicit topics and acknowledge them to find a better solution to this problem. Throughout the course of history. Children were presented as mirrors to reflects issues in society. Child as subject gives a noticeable strength in presenting ideas from the creator to audiences. Nowadays in graphic novels, children as symbols of innocence are used to reflect different ideas. For example, Persepolis uses a child to present struggles of Iranian society with strict rules and religious matters. Having the story centered around a child empowers the message within the story. What remains of Katarina Muroaka attempts to explore the complexity of dealing with explicit topics in childhood through the power of graphics in a thoughtful story.
Research Question
“How do graphic novels are utilizing the power of imagery to empower messages within a story where the complexity of childhood is studied when dealing with explicit topics such as sexuality and violence?”
Objectives
1. Attempting to find a well-suited art style to maximize to noise ratio design principle. This principle helps the visual to be more straight-forward. Noise-To-Signal ratio is a method where removal of unnecessary information leads to stronger critical information.
2. This project attempts to raise the awareness of adulthood regarding the issue of children facing violent and sexual topics in their daily lives. It is not an attempt to shock audiences due to violent nature of the story. Violence is utilized as a tool to create more emotions in the book.
3. Presenting the story in the form of the graphic novel is important since it is a very accessible form of media for people.
Introduction:
In the recent years the issue of children being exposed to violence or sexual themes in their daily life has attracted lots of attention to different authorities. Whether something is being done to prevent further damage or not, what remains of Katarina Muroaka is set to give a glimpse of a long term damage on a child who has not received proper attention. Some studies show often parents assume children are not capable of understanding violent/sexual matters therefore it will be dissolved by itself, but they are not aware of the long term damage that carries over coming years. Due to power of media nowadays, many audiences has gained a form of sexual view toward many materials that are being published daily, whether they are representations of violent/sexual matters is not the point but the importance is how people view has changed over the time. A child is a symbol of innocence to people, a symbol which represents a clean slate. Any interfere with this ideology can become shocking for audiences.
Katarina Muroaka has been presented as an autonomous being, a reflection in which reflects upon the damage that she has received. The book is set to raise the awareness of readers and provoke them to think if their children or their society provides enough protection for youth. The book is set to motivate people to prepare for better cares for their children and their society.
Romanticism has though us how important children were to artist in order to reflect ideas to public. They were subjected to present different facts to public. From joy to sadness, all together. A child was a strong object in paints in order to send messages or tell stories to audiences. A child in Katarina Muroaka is utilized in same way, it is not necessarily an event in which represents a nonfiction, but it is more toward representing an idea of how would it be if such thing happened in a tense way in order to enforce the idea that a long term damage can have sever outputs. Thus, this book is not set to shock audiences because of its explicit nature, the explicit nature and the violence are set to present educational aspects to audiences so they can learn and understand the output of violent/sexual damages to children.
In the recent years promoted by photography of Sally Mann, David Hamilton and many other notable artist lots of articles have been published to discuss the idea of child representation in art. How sensitive materials are presented through visual information? In what perspective audiences understand sensitive material? If the impact of visual information increases due to absence of textual content. Visual information provokes mind to think and understand. It requires a relationship to be established between audiences and the piece in order to for the ideas to be communicated. Key idea in this project will be focusing on exploring how current society is affecting on children. The aim is to produce a visual novel representing this idea through the view of a child. A child is more seen as an autonomous being rather than a part of family in my story. It is a reflection of past and or issues that exist in society. The importance of this statement is to assure this story is not set to shock audiences. It is set to acknowledge readers and tells them about the similar issues that exist in society. The problem is to establish a balance link between the academic context and the art style. It is important for the visual style to represent the statement mentioned above in itself. The book features very graphic and violent images but the violence is used as a tool to symbolize different problems or stress on different subjects. Aside of the challenging journey this book is set to represent my writing skills in storytelling and as well overall creativity in creating a whole package which features digital design, art and literature. What remains of Katarina Muraoka is set to be published as an actual hard cover book for final delivery.
Literature Review:
In the recent years promoted by photography of Sally Mann, David Hamilton and many
other notable artist lots of articles have been published to discuss the idea of child representation in art or photography. How sensitive materials are presented through visual information? In what perspective audiences understand sensitive material? Or if the visual information impact increases due to absence of textual content. Visual information provokes mind to think and understand on its own. It requires a relationship to be established between audiences and the piece in order to for the ideas to be communicated. In terms of representing sensitive material in art, Despite of the negativity toward these works it is important to understand that there is a challenge to realize what an artist is trying to acknowledge. Many researches explored factors in which influences the relationship between audiences and work that are reviewed below in order to create a useful methodology.
Regarding children as subjects in arts and photography it appears many critics responded with negativity, As mentioned by Steward (2010. 27) it is safe to question the audience’s personal thoughts on why they have negative views on such works, perhaps the issue rises within audience themselves rather than the artist. Understanding the meaning and context behind representation of children in art requires proper knowledge and social awareness. A huge percentage of people will reject these kinds of works because as a common shared knowledge we view children as innocent beings therefore degrading this nature can result into negative feedback. (Eldeson ,1997) points that many of this issues roots back to parenthood and memories in which the person has carried through their life. Therefore, the artist’s intention can be avoided naturally. When dealing with sensitive material the relationship between the piece and audiences becomes important as this relationship defines how audiences will respond to the art work. Before producing a work, an artist must be aware of audience’s reaction to his work thus artist is able to create a proper framework which results in a lesser negativity. Even though there is no safe way to do this, having a focus group and presenting a part of final delivery can be helpful.
Tabachnick (1993, 5) has done a study regarding power of visual information through symbolization. He examples Maus (A well-known graphic novel based on Holocaust) in which the artist has utilized symbolization through visuals in order to communicate his story and ideas. He discusses an artist does not require to be as direct as possible always. An artist is able to symbolize the idea and then present it to audience. Tabachnick (1993) aims that symbolizing the ideas enable artist to control the relationship between audiences and the work, this control can result into a more positive feedback. According to Tabachnick (1993) a controlled relationship can result in less rejection. However, since his study is very general it is not safe to assume this method will be utilized successfully in all areas but Tabachnick notes this method can be safe ticket for any artist dealing with sensitive material however the issue with this method is that it is important to know where this work will be published. Geographically, people can have different understanding regarding symbols therefore a work should be properly researched and examined before undergoing the process of symbolization. To understand this, holding a research group could be useful as we can realize how people will respond to aa piece of an art work before publishing it. Royal (2007) claims that power of visual information has remained stronger than ever in our era. Study done by Royal shows more than 70% of his interviewers preferred visual information to textual content. Visual information can be effective since textual content are limited and lacking pictures, but to communicate the idea can be challenging due to ethnicity, language and shared common knowledge among people. Establishing a small research group to understand how responses are will be a good utilization of methodology in order to create a proper framework for the production of final delivery.
Children as subject in art roots back to revolution of romanticism in history. Lina (2003) Claims that children are not seen as members of family in art works, they are presented as autonomous beings. As discussed above, controlling the relationship between audiences and art work when sensitive material are presented can result in a better response. Children in among romantic artists are often reflection of the past or memories. Audiences can see themselves in it, however the visual presentation and form of it can result in different responses. it is important to note that reflection or memory are narrow focus points and cannot be generalized when conducting research and preparing production of the work because the nature (styles such as goth) of work can affect the relationship between audience and the work and people may respond other than expected. Gretchen (2002) claims that people take more influence from visual information than textual content due to the nature of visuals being more attractive. Therefore, raising people awareness in regards to social issues through visuals can be an effective approach however approaching to create an impactful graphic novel or a piece of visual can become challenging as an artist should hire a proper research method in order to create a useful framework based on the issue that is to be investigated.
An important issue while presenting sensitive material is misinformation. Misinformation means that audiences will have prejudice over a work. For example, without having a proper look at Sally Mann works, audiences see them as exploitation of parenthood or exploitation for earning money. Misinformation establishes quickly and results in rejection. In order to understand why this happens and what factors are influencing it is important to conduct research based on society we want to present our work to. Gill (1996) study regarding child representation through the history suggests that whilst children are viewed as innocent being it may explain why there are many negative views toward works of for example, Sally Mann and this is not the only reason behind it. Gill (1996) states the reason why children are viewed as innocent being is mainly the result of industrial revolution and raise of education in current societies. This distinguishes a clearer understanding on factors that are causing misinformation and it suggest that misinformation effect may be due to dominant of education in society in which has changed the view toward children toward a more innocent being rather a non-innocence being. Misinformation also can be result other factors in which are associate with the society itself. Joanne (2011) discusses how works Bill Henson were received upon their exhibition in Australia. Rejection, orders to seize the works and general negativity around Henson works were strong. Joanne (2011) discusses misinformation can be rooted back to Australian society itself. We are allowed to question ourselves on why we have to think negatively about his works? Joanne (2011) Claims one the reasons many audiences have sexual views toward sensitive material is dominance of sex in current society, this enforces people thoughts to be more sexual even though themselves might not be. Joanne (2011) argues that negativity or positivity are both product of misinformation in which it is led by people’s way of thinking. For example how Australian society values and understand youth? This is a question which can be answered through research based on geographical location (e.g. Australia).
While all the above researches have provided useful information regarding children as subjects in art it is important to carefully take steps while producing sensitive material since we cannot place our assumption based off the researches done as the responses can vary. Conducting research groups are good ways to identify limitations on our research and understand our position with the work that is being produced but a group cannot be assumed as whole as well. There are other methodology to hire since there are disadvantages to focus group studies as well. For example will artist consider changing and altering his work ? therefore focus group cannot be the best way on its own but it is a start. Most researches has hired the methodology to study the relationship between the work and the audiences. As studies mentioned the effect of miss information is common while presenting sanative material. Therefore, it is advantageous to have a more understanding of the people understanding while constructing the work in order to build it in a way that is meaningful to its audiences. This methodology has a high value of validity. Although no methodology can be trusted fully feature researches are required in order to understand the limitations and weakness of this methodology.
Methodology:
There are a few methodologies which will be utilized in this project. Primary research will be done through few steps. As suggested it is important to narrow the scope of methodology more toward the academic purpose of the project. (Edleson, 1997). A good methodology is interview but the issue will be that obtaining the ethical clearances regarding interviewing people about their ideas regarding sexualising children in current society can be hard. Therefore, this methodology may not be possible.
Another primary source of information is gathering sources that are discussing works of artist who have previously done similar works such as Sally Mann. Having a proper perspective on the relationship between audiences and the product is important. General question is “how does graphic novels are resenting sensitive material?” Power of visuals are important in this context. Therefore, narrowing down the question was an important task for me but unfortunately due to lack of supervisor This task has left without much progress. The question is set to be narrowed down toward an issue. Because the overall context and ideology of project is coming from traumatic experiences but I have already narrowed it down toward the presentation of traumatic experiences in graphic novels. The psychology of the topic is too broad to attend therefore I have tried to focus mostly go toward the representation of this material only in graphic novels. I have looked at many reliable academic sources regarding presentation of visuals and their power in photobooks and graphic novels which is discussed in the literature section of the exegesis. The most important piece of information I have found is the cultural relation of graphic novels towards its publishing area. How people relate to the symbolism inside a particular graphic novel is mostly based off the previous shared common knowledge among people. The best example which is analysed is the MAUS. Where the mouse are Jewish and cats are Nazis. A simple but powerful use of symbolism has helped this book to be powerful enough to its audiences. This research has helped me much in order to finalize my art style as well. This is important because another frame work for methodology comes to use and it is to have study focus group. It is important to see how people will react to this piece on the place that the piece will be published. People always have different understand toward symbols in graphics based on their geographical location and ideas exist in their society. (Gretchen, 2002).
But an issue regarding this methodology will be if the reaction of people will be useful to change some factors in the book. It seems this methodology is more useful for production of a product that can be used or an advertisement.
Focus group study is a chosen method for this project. This method helps to understand what is the level of the awareness of community on the presented piece. Assuming that the group is familiar with graphic novels and the issue of children facing violence and sexuality in their daily lives. It is not important what level of education they have or what particular group they are from because this will cause the outcome to be either limited or not accurate. Focus group will include randomly selected people. Although often it seems study focus is not effective in story writing, it has been effective for this project. Particulary because one of the aims is to assure the book features a related atmosphere and art style. Many of given feedbak have been useful in determining composition, color and a better story arch. The overall story has remained largly unchanged but there are pieces added to it to make it more meaningful.
Analysis:
In the recent years promoted by photography of Sally Mann, David Hamilton and many
other notable artist lots of articles have been published to discuss the idea of child representation in art or photography. How sensitive materials are presented through visual information? In what perspective audiences understand sensitive material? Or if the visual information impact increases due to absence of textual content. Visual information provokes mind to think and understand. It requires a relationship to be established between audiences and the piece in order to for the ideas to be communicated. In terms of representing sensitive material in art, Despite of the negativity toward these works it is important to understand that there is a challenge to realize what an artist is trying to acknowledge. Many researches explored factors in which influences the relationship between audiences and work in which are reviewed below in order to create a useful methodology.
Regarding children as subjects in arts and photography it appears many critics responded with negativity, Steward (2010) claimed that it is safe to question the audience’s personal thoughts on why they have negative views on such works, perhaps the issue rises within audience themselves rather than the artist. Understanding the meaning and context behind representation of children in art requires proper knowledge and social awareness. A huge percentage of people will reject this works because as a common shared knowledge we view children as innocent beings therefore degrading this nature can result into negative feedback. Eldeson (1997) points that many of this issues roots back to parenthood and memories in which the person has carried through their life. Therefore, the artist’s intention can be avoided naturally. When dealing with sensitive material the relationship between the piece and audiences becomes important as this relationship defines how audiences will respond to the art work. This relationship requires understand by artist itself in order to construct a framework in which is understandable for its audiences. Even though there is no safe way to do this, it can be a tool in order to minimize the negativity.
Tabachnick (1993) examined the power of visual information through symbolization. He examples Maus (A well-known graphic novel based on Holocaust) in which artist has utilized symbolization through visuals in order to communicate his story and ideas. He discusses an artist does not require to be as direct as possible always, rather artist is able to symbolizes the idea and then present it to audience. Tabachnick (1993) aims that symbolizing the context can control the relationship between audiences and the work, this control can result into a more positive feedback. According to Tabachnick (1993) a controlled relationship can result in less rejection. However, since his study is very general it is not safe to assume this method will be utilized successfully in all areas but Tabachnick notes this method can be safe ticket for any artist dealing with sensitive material however the issue with this method is that it is important to know where this work will be published. Geographically, people can have different understanding regarding symbols therefore a work should be properly researched and examined before undergoing the process of symbolization. To understanding this, holding a research group to see how people respond a piece of an art work before publishing it can be a helpful methodology to utilize. Royal (2007) claims that power of visual information has remained stronger than ever in our era. Study done by Royal shows more than 70% of his interviewers preferred visual information to textual content. Visual information can be effective since textual content are limited, but to communicate the idea can be challenging due to ethnicity, language and shared common knowledge among people. Establishing a small research group to understand how responses will be being a good utilization in order to position the work correctly for final delivery.
Children as subjects in art roots back to revolution of romanticism in history. Lina (2003) Claims that children are not seen as members of family in art works, they are presented as autonomous beings. As said before controlling the relationship between audiences and art work when sensitive material are presented can result in a better response. Children in romantic’s works are often reflection of the past or memories. Audiences can see themselves in it, however the visual presentation and form of it can result in different responses. However, it is important to note reflection or memory are narrow focus points and cannot be generalized when conducting research and preparing production of the work because the nature of work can affect the relationship between audience and the work and people may respond other than expected. Gretchen (2002) claim the people take more influence from visual information than textual content due to the nature of visual being more attractive. Therefore, raising people awareness in regards to social issues through visuals can be an effective approach however approaching to create an impactful graphic novel can become challenging as an artist should hire a proper research method in order to create a useful framework based on the issue that is to be investigated.
An important issue while presenting sensitive material is misinformation. Misinformation establishes quickly and results in rejected. In order to understand why this happens and what factors are influencing it is important to conduct research based on society in order to highlight the factors. Gill (1996) has done study regarding child representation through the history. He discusses whilst children are viewed as innocent being it may explain why there are many negative views toward works of e.g. Sally Mann and it is an unlikely explanation! Gill (1996) states the reason why children are viewed as innocent is the raise of education in current society. This distinguishes a clearer understanding on factors of misinformation and this suggest that misinformation effect may be due to dominant of education in society in which has changed the view toward children toward a more announces being rather a non- innocence being. Misinformation also can be result other factors in which are associate with the society itself. Joanne (2011) discusses how works Bill Henson were received upon their exhibition in Australia. Rejection, orders to seize the works and general negativity around Henson works were strong. Joanne (2011) discusses misinformation can be rooted back to Australian society itself. We are allowed to question ourselves on why we have to think negatively about his works? Joanne (2011) Claims one the reasons many audiences have sexual views toward sensitive material is dominance of sex in current society, this enforces people thoughts to be more sexual even though themselves might not be. Joanne (2011) argues that negativity or positivity are both product of misinformation in which it is lead by people’s though themselves. For example, how Australian society values and understand youth? This is a question which can be answered through research based on geographical location (e.g. Australia).
While all the above researches have provided useful information regarding children as subjects in art it is important to carefully take steps while producing sensitive material since we cannot place our assumption based off the researches done as the responses can vary. Conducting research groups are good ways to identify limitations on our research and understand our position with the work that is being produced but a group cannot be assumed as whole as well. Most researches has hired the methodology to study the relationship between the work and the audiences. As studies mentioned the effect of miss information is common while presenting sanative material. Therefore, it is advantageous to have a more understanding of the people understanding while constructing the work in order to build it in a way that is meaningful to its audiences. This methodology has a high value of validity. Although no methodology can be trusted fully feature researches are required in order to understand the limitations and weakness of this methodology.
Practical:
Practical
The initial art style of project is inspired by basic printmaking techniques. Domination of black and white was a symbolic choice as well. Black represent Katarina being drawn in her fear. White are silhouettes of characters and objects. The primary use of red variations was due to the fact that not only it is strong but also it represents the idea of violence. In order for red to have a proper context a shade of blue is added in order to insert depth in each page. Art style follows well-known works such as Sin City and From hell. Frank Miller creator of Sin City discusses that domination of black color was the result of utilizing negative and positive space. He continues the technique contributed in creating a relevant atmosphere for the setting. Also, it symbolizes a city and its citizen being part of both dark and light. Moving forward from graphic novels, an influence from Film noir genre was also useful. Especially in terms of textual content and composition of scenes. Each page has been reworked multiple times after getting feedbacks to create a smoother experience.
Discussion:
Romanticism was an era where children came to the attention of the artist. Jean-Jaques Rousseau discusses that children were seen apart from a member of the family. Children were autonomous beings where artist reflected upon them. Social issues, poorness, violence, and other similar problems were reflected audiences through children. Children as a symbol of innocence gave the audience a stronger emotion. This innocence carries over in today’s modern society. With domination of “sex sells” term many forms of medias are either sexualized or presented through a violent nature. These medias are not aged necessarily age restricted. In some cases, explicit materials are not presented in straightforward ways as well. This issue leaves children vulnerable to explicit materials in their daily lives. Building up thoughts in children mind with no proper answer to their questions can lead to severe consequences (Linda, 2003). Linda discusses that education has provided more understanding of children right to society but still the societies around the world are facing different problems in providing a healthier environment for youth. Non-treated children who have experienced trauma (Violent or sexual matters) will have critical problems. This project attempts to subject a child without help and proper care of parents. The child is trying to solve her issue at her which leads to failure. Children are fragile beings. In some cases, guardians assume children are not capable of understanding subjects such as death, sex, violence, etc. Jeffery Edleson (1997) discusses that according to his study children tend to think about topics they do not understand over the course of time which will lead to self- answered questions. Self-answered questions do not necessarily have a negative or positive outcome but as Edelson discusses it can lead to understanding wrong over right. For example Harrison (2013) discusses how explicit language has transformed from being taboo to ordinary among youth in North America. The consequences of this issue (language problem) will become bolder as children grow up. This project attempts to set boundaries between what is considered harmful to children and what is not. It will explore this issue through experiences that have influenced the main character in her past and how she reflects upon them in her daily life. Psychology is an important aspect of the issue. Studying psychology of children when dealing with explicit topics helps to provide enough depth for the accuracy of the story. The issue of children facing violence and sexuality is very broad and sensitive. Contemporary artist such as Sally Mann and David Hamilton have done relevant works. Sally Mann utilizes her children to reflect life and times of a mother with her children. Mann is trying to present her point of view to audiences. Romanticism is a critical source of inspiration for David Hamilton photography. He has photographed children in a sexualized forms. Mann and Hamilton are trying to tell audiences about the violent and sexualized problems children face during their youth. Their different approaches toward their goals cause the audience to have different understandings. Larrson (2011) discusses that due to the domination of sexual views that roots back to media in past years, society tends to overview anything from the sexual point of view and this causes many important factors to losing their original meanings. Gottfried Helnwein is using this very idea of the sexualised point of view to present the issue of children facing explicit material in a different and more effective way. In his paintings, Gottfried relies on items, props, colors to communicate with audiences. Gretchen (2002) studies on how symbols can be a more effective way to communicate a message with audiences other than straightforward imagery. The reason is that symbols are part of people’s life. They can understand them by reflecting back on their past experiences. Therefore strong symbolization sparks a stronger communication within audiences and the piece. This project attempts to use symbolization in its graphic because it is not set to be explicit. Symbolization helps to create a more suitable balance between an explicit and a non- explicit work. The importance of this comes to the factor that this project attempts to acknowledge people regarding the issue. Raising awareness of people regarding this issue can be effective when audience do understand the message in its intended way. It is important to choose a suitable delivery platform for the project. In recent years graphic novels have gained more attention in popular culture. Early versions of graphic novels consisted short stories. In Early 90s graphic novels start to evolve into longer stories with more varied stories. Representing children in graphic novels is mostly inspired by the ideology of children in Romanticism. Children are like mirrors. For example, Persepolis is discussing struggles of young women in a strict society through black and white and deformed figures of police. A child in Persepolis also represent the harms that will carry over when these people grow older. Joanne (2011) is discussing that people have different reactions to the sensitive material. For some these reactions relates to their past and this can be good. Persepolis writer or Sally Mann are noting that putting audiences in an uncomfortable position often will enforce them to think more deeply about what they are seeing. This factor is important since the objective of any work related to children is set to inform people regarding an issue.
Unlike works of David Hamilton or Sally Mann, Persepolis author does not suffer from negativity from the audience. Tabachnick (2003) argues that graphic novels are not reality. audiences understand them different even if they are centering around a sensitive issue. For example, Mouse story focuses on a sensitive issue. Utilizing symbols in Mouse has helped to provide a more healthy imagery. Extensive research on graphic novels has shown graphic novels is a suitable medium for delivering the-the project. Royal (2007) explains that graphic novel is a platform which enables the writer to deliver a more powerful message in a simpler way. Visuals can become powerful enough to speak for themselves. Royal (2007) explains graphic novels strength lies within its imagery. Since textual contents are either lesser or absent choosing a suitable art style adds depth to the story. Graphic novels have become an important part of popular culture. Not only because they are about heroes but also because they are a platform which can present stories in a more thoughtful and emotional way. It is worth to mention that some inspirations roots back to religious topics. The idea of the child as the presentation of a clean-slate has inspired the project. Children are simple and vulnerable to many issues. Demonic possession, whether it is believable or not there are traces of its existence. What remains of Katarina Muroaka also attempts to question audiences if the story tells the truth or it is the result of Katarina’s imagination. It is helpful to include topics in which are inspired by psychology in the story. Gill (1996) discusses that when dealing with sensitive issues reflecting upon key factors that are presenting reality can be helpful. It helps to provide a more understanding story for audiences because some aspects of the story will link to reality. For example, Gill (1996) example how Batman is a more believable hero than other heroes since he does not have any supernatural powers but also no one is capable of doing what he is doing. The psychological aspect of the project delivers a more understandable situation for audiences. In some cases being too far from reality causes readers to lose interest or get drawn to entirely new ideas far from the intended message. As important as it is to study the consequences of children facing violent or sex it is also important to study the nature of graphic novels. Understand graphic novels are crucial to this project since the project requires a proper structure of story arch and imagery. Lastly, this issue is an ongoing issue in many different societies in the world. As Edleson (1997) discusses the root of these problems are mostly the result of problems in parenting. Target audience of this project is not limited to parents. Target audience is an adult. Age of eighteen and above. It is set not to teach but only to raise the awareness of public regarding this issue. Due to the sensitive nature of this project, it is understood that audiences can be limited. It is taken into account that the popularity of graphic novels among people will help to attract more attention. In conclusion, many factors played important roles in forming this project and What Remains of Katarina Muraoka is meant to draw attention toward an issue that cares least among people but it is one of the most important problems that we have in our lives.
Conclusion:
“I like to make people a little uncomfortable. It encourages them to examine who they are and why they think the way they do” Sally Mann (1982). Often during the development of the project, I remember Mann’s quote. Even though my graphic novel is different from many of published graphic novels, it is standing out because it reflects my approach toward the issue in society, this is important as I am telling readers that I have taken the first early steps in providing awareness regarding this issue to people. Early steps will give the opportunity to the audience to determine solutions for this issue. Society tends to ignore issues such as children facing violence in their daily lives. In a smaller scope people can make a difference for their loved ones. Not all the stories end happily. Some writers take endings further to an open-ended state. An ambiguous ending provides space for audiences to think and reflect back on what they read (Arie, 2006). This attempt will make the novel more memorable. It is important to have developed this story because it can be a gateway to further improvements and developments. What Remains of Katarina Muroaka is a graphic novel that not only is unique and memorable but it is also set to deliver an important message to people.
References:
1. Jeffrey L. Edleson. .1997. “Problems with children witnessing domestic violence”. Harrisburg National resource centre on violence http://www.vawnet.org/print- document.php?doc_id=392&find_type=web_desc_AR
2. Christen James, Steward .2000. “The Camera of Sally Mann and the spaces of childhood” Journal of secret spaces of childhood: 24-36
3. Stephan E. Tabachnick .1993. “Of and Memory: Structure of Art Spiegelman’s graphic novel of the Holocaust” word and image Journal of verbal/visual enquiry 9: 2- 12
4. Parker Derek, Royal .2007. “Coloring America: Multi ethnic engagements with graphic narrative” Journal Oxford University Press
5. Austin. Lina M. 2003. “Children of childhood: Nostalgia and the romantic legacy” Journal of studies in Romanticism DOI: 10.2307/25601604: 75-98
6. Schwarz. E Gretchen .2002. “Graphic Novels for Multiple Literacies. International reading association” Journal of adolescent and adult literacy: 262-265
7. Faulkner, Joanne .2011. “Vulnerability and the passing of passing of childhood in Bill Henson works” Journal of innocent in the age of mechanic reproduction: 44-55
References:
1. Litchford, Leslie, “Thoughts on craft: the problem with hierarchies” Museum Blog, May 28,2006 http://museumblogging.com/2006/05/28/thoughts-on-craft-the-problem- with-hierarchies/
2. Eduardo, Paolozzi, 1971. “where do we see graphic novels?” journal of visual information and its history: 28-87
3. Susan, Holtham. 2013. “Tate debate: Should graphic novels be treated differently to art and literature?” Journal of challenges of visual artists http://www.tate.org.uk/context-comment/blogs/tate-debate-should-graphic-novels-be- treated-differently-art-and-literature
4. Elissa, Auther. 2009. String, felt, thread: The hierarchy of art and craft in American art, University of Minnesota, http://www.amazon.com/String-Felt-Thread-Hierarchy- American/dp/0816656096/ref=pd_sim_14_10? ie=UTF8&dpID=41Pzc3qP3zL&dpSrc=sims&preST=_AC_UL160_SR112%2C160_ &refRID=1JTNZCEYZEY1WGZW0RMM
5. Peter. Dormer. 1997. “The culture of craft” Journal of handicraft among past and technology: 44-68
6. Howard, Risatti. 1995. A theory of craft: Functions and aesthetic expression. University of north Carolina http://www.amazon.com/Theory-Craft-Function- Aesthetic-Expression/dp/1469600900
7. Carolyn.. E. Packer. 2015. “The evolution of craft in contemporary art” PDH diss University of Cincinnati Clermont http://scholarship.claremont.edu/scripps_theses/
8. Laura, Gray. 2011. “Rethinking the art-craft hierarchy” Journal of assessing critical
positions in contemporary art: 1-7
9. Leonardo Da Vinci . 1503. Mona Lisa or La Gioconnnda. Wikiiipeeediiia https://en.wikipedia.org/wiki/Leonardo_da_Vinci#/media/File:Mona_Lisa,_by_Leona rdo_da_Vinci,_from_C2RMF_retouched.jpg
10. Michelangelo’s Vatican. 2012. The real enemy of Michelangelo’s Sistine art isn’t use . https://i.guim.co.uk/img/static/sys- images/Arts/Arts_/Pictures/2012/11/7/1352306965168/The-Last-Judgment-by-Mich- 010.jpg? w=620&q=85&auto=format&sharp=10&s=36e4c24a2b67dcbdcedfca5d01f2dbf1
11. Marjen Pastani Persepolis. 2013. Banned book awareness
http://bannedbooks.world.edu/2013/03/23/banned-books-awareness-persepolis/
12. Closionne Handicraft Painting. N/A. Craft Painting.
http://fineartamerica.com/featured/2-cloisonne-handicraft-painting-yingchen.html
13. A for Alan moor. 2006. Alan moor Lost Girls graphic novel.
http://moussemagazine.it/articolo.mm?id=1042
14. A For Alan Moor. 2006. Alan moor From Hell graphic novel.
http://moussemagazine.it/articolo.mm?id=1042
15. Jeffrey L. Edleson. .1997. “Problems with children witnessing domestic violence”. Harrisburg National resource centre on violence http://www.vawnet.org/print- document.php?doc_id=392&find_type=web_desc_AR
16. Christen James, Steward .2000. “The Camera of Sally Mann and the spaces of childhood” Journal of secret spaces of childhood : 24-36
17. Stephan E. Tabachnick .1993. “Of and Memory: Structure of Art Spiegelman’s graphic novel of the Holocaust” word and image Journal of verbal/visual enquiry 9: 2- 12
18. Parker Derek, Royal .2007. “Coloring America: Multi ethnic engagements with graphic narrative” Journal Oxford University Press
19. Austin. Lina M. 2003. “Children of childhood: Nostalgia and the romantic legacy” Journal of studies in Romanticism DOI: 10.2307/25601604 : 75-98
20. Schwarz. E Gretchen .2002. “Graphic Novels for Multiple Literacies. International reading association” Journal of adolescent and adult literacy: 262-265
21. Ventine, Gill .1996. “Angels and devils: moral landscape of childhood” Journal of department of geographical and art studies: 91-104
22. Faulkner, Joanne .2011. “Vulnerability and the passing of passing of childhood in Bill Henson works” Journal of innocent in the age of mechanic reproduction : 44-55
23. Wold, Douglas, 2003, “Reading Comics: How graphic novels work and what they mean” 90-141
24. Versaci, Rocco, 2001. “How comic books can change the way our students see literature: One teacher’s perspective” 61-67
25. Weiner, Stephan .2006. “Faster Than a speeding bullet: The rise of graphic novels and the fall of it” pp 23-98
26. Jodar Romero, Andres. 2006. “The quest for a place in culture: The verbal conical production and the evolution of the comic-book towards graphic novels”
8.