{"id":565,"date":"2024-04-14T21:56:02","date_gmt":"2024-04-15T01:56:02","guid":{"rendered":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/?post_type=chapter&#038;p=565"},"modified":"2024-04-17T15:21:20","modified_gmt":"2024-04-17T19:21:20","slug":"colour-and-narrative-lens","status":"publish","type":"chapter","link":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/chapter\/colour-and-narrative-lens\/","title":{"raw":"Colour and Narrative Lens","rendered":"Colour and Narrative Lens"},"content":{"raw":"This lesson discusses directly the process of creating a graphic narrative. Two key components include: the lens or perspective from which the author narrates the story; and the stylistic or aesthetic approach taken. By comparing three stylistic approaches in <em>But I Live<\/em>, along with the alternative narrative presented by Art Spiegelman in <em>Maus<\/em>, we can see how four Holocaust survivors\u2019 stories were told.\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning Objectives<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nStudents will be able to:\r\n<ul>\r\n \t<li>analyze and compare different artistic styles.<\/li>\r\n \t<li>examine how history is represented in a historical narrative.<\/li>\r\n \t<li>connect to the work.<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h2>Guiding Question<\/h2>\r\n<ul>\r\n \t<li>How do we create a historical narrative?<\/li>\r\n \t<li>How does colour influence a narrative?<\/li>\r\n \t<li>How does the author and artist work together to build the narrative?<\/li>\r\n<\/ul>\r\n<h2>Preparation<\/h2>\r\n<ul>\r\n \t<li>Excerpt passages from <em>But I Live <\/em>(one excerpt from each artist, ideally printed in colour)<\/li>\r\n \t<li><a href=\"https:\/\/culture.pl\/en\/gallery\/maus-by-art-spiegelman-image-gallery\"><em>Maus<\/em> image gallery<\/a>, and the means to project it<\/li>\r\n<\/ul>\r\n<h2>Introduction<\/h2>\r\nArt Spiegelman expanded the generic conventions of both graphic novels and memoir by integrating techniques traditionally used in fictional narratives into a true story, and by making the \u201cgraphic novel\u201d a place where truth can be revealed. Art Spiegelman, both the writer and illustrator of <em>Maus<\/em>, broke that barrier by how he presented the characters and shared his father\u2019s story\u2014using animals to represent different ethnicities and highlight the Jewish population is a choice in and of itself. He was also one of the first artists to broach the subject of the Holocaust in a visually accessible form.\r\n\r\nWatch Art Spiegelman\u2019s interview about <em>Maus<\/em>\r\n\r\n[embed]https:\/\/www.youtube.com\/watch?v=HlEsyyTQ_Fs[\/embed]\r\n\r\n&nbsp;\r\n\r\n<strong>Discussion Questions<\/strong>\r\n<ul>\r\n \t<li>How did Spiegelman introduce a new non-fiction medium?<\/li>\r\n \t<li>How has his work inspired more non-fiction graphic works?<\/li>\r\n \t<li>What are some of the stylistic choices he made? Would you make similar or different ones?<\/li>\r\n<\/ul>\r\n<h2>Lesson Activities<\/h2>\r\n<h3>Narrative Art Processes<\/h3>\r\nLooking at the Narrative Art and Visual Storytelling project you can now explore three different artists\u2019 processes.\r\n<ul>\r\n \t<li>Watch the three short films that discuss how each of the But I Live stories were created.<\/li>\r\n<\/ul>\r\n[embed]https:\/\/holocaustgraphicnovels.org\/films\/[\/embed]\r\n<ul>\r\n \t<li>Have excerpts from each of the narratives available for the students to looks at and review. Choose passages where colour and style play a prominent role.<\/li>\r\n \t<li>Give students time to read a narrative and start the class discussion by asking \u201cwhat do you notice?\u201d<\/li>\r\n<\/ul>\r\n<h3>Conclusion<\/h3>\r\nWrap-up by discussing the following prompts:\r\n<ul>\r\n \t<li>What are some of the key stylistic choices the artists made?<\/li>\r\n \t<li>How does colour play a role in narratives art?<\/li>\r\n \t<li>How does the perspective or voice of the narrative change the story?<\/li>\r\n<\/ul>\r\n<h2>Support Materials<\/h2>\r\n<a href=\"https:\/\/culture.pl\/en\/gallery\/maus-by-art-spiegelman-image-gallery\">Culture.pl* - <em>Maus<\/em> image gallery<\/a>\r\n\r\nInterview with Art Spiegelman on Charlie Rose (1996) - <a href=\"https:\/\/www.youtube.com\/watch?v=HlEsyyTQ_Fs\">https:\/\/www.youtube.com\/watch?v=HlEsyyTQ_Fs <\/a>\r\n\r\nBut I Live films (2023) - <a href=\"https:\/\/holocaustgraphicnovels.org\/films\/\">https:\/\/holocaustgraphicnovels.org\/films\/<\/a>\r\n\r\n*Culture.pl is part of the Adam Mickiewicz Institute, a state-run cultural institution under the Polish Minister of Culture and National Heritage.","rendered":"<p>This lesson discusses directly the process of creating a graphic narrative. Two key components include: the lens or perspective from which the author narrates the story; and the stylistic or aesthetic approach taken. By comparing three stylistic approaches in <em>But I Live<\/em>, along with the alternative narrative presented by Art Spiegelman in <em>Maus<\/em>, we can see how four Holocaust survivors\u2019 stories were told.<\/p>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning Objectives<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Students will be able to:<\/p>\n<ul>\n<li>analyze and compare different artistic styles.<\/li>\n<li>examine how history is represented in a historical narrative.<\/li>\n<li>connect to the work.<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h2>Guiding Question<\/h2>\n<ul>\n<li>How do we create a historical narrative?<\/li>\n<li>How does colour influence a narrative?<\/li>\n<li>How does the author and artist work together to build the narrative?<\/li>\n<\/ul>\n<h2>Preparation<\/h2>\n<ul>\n<li>Excerpt passages from <em>But I Live <\/em>(one excerpt from each artist, ideally printed in colour)<\/li>\n<li><a href=\"https:\/\/culture.pl\/en\/gallery\/maus-by-art-spiegelman-image-gallery\"><em>Maus<\/em> image gallery<\/a>, and the means to project it<\/li>\n<\/ul>\n<h2>Introduction<\/h2>\n<p>Art Spiegelman expanded the generic conventions of both graphic novels and memoir by integrating techniques traditionally used in fictional narratives into a true story, and by making the \u201cgraphic novel\u201d a place where truth can be revealed. Art Spiegelman, both the writer and illustrator of <em>Maus<\/em>, broke that barrier by how he presented the characters and shared his father\u2019s story\u2014using animals to represent different ethnicities and highlight the Jewish population is a choice in and of itself. He was also one of the first artists to broach the subject of the Holocaust in a visually accessible form.<\/p>\n<p>Watch Art Spiegelman\u2019s interview about <em>Maus<\/em><\/p>\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"Art Spiegelman interview on &quot;Maus&quot; (1996)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/HlEsyyTQ_Fs?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Discussion Questions<\/strong><\/p>\n<ul>\n<li>How did Spiegelman introduce a new non-fiction medium?<\/li>\n<li>How has his work inspired more non-fiction graphic works?<\/li>\n<li>What are some of the stylistic choices he made? Would you make similar or different ones?<\/li>\n<\/ul>\n<h2>Lesson Activities<\/h2>\n<h3>Narrative Art Processes<\/h3>\n<p>Looking at the Narrative Art and Visual Storytelling project you can now explore three different artists\u2019 processes.<\/p>\n<ul>\n<li>Watch the three short films that discuss how each of the But I Live stories were created.<\/li>\n<\/ul>\n<p><a href=\"https:\/\/holocaustgraphicnovels.org\/films\/\">https:\/\/holocaustgraphicnovels.org\/films\/<\/a><\/p>\n<ul>\n<li>Have excerpts from each of the narratives available for the students to looks at and review. Choose passages where colour and style play a prominent role.<\/li>\n<li>Give students time to read a narrative and start the class discussion by asking \u201cwhat do you notice?\u201d<\/li>\n<\/ul>\n<h3>Conclusion<\/h3>\n<p>Wrap-up by discussing the following prompts:<\/p>\n<ul>\n<li>What are some of the key stylistic choices the artists made?<\/li>\n<li>How does colour play a role in narratives art?<\/li>\n<li>How does the perspective or voice of the narrative change the story?<\/li>\n<\/ul>\n<h2>Support Materials<\/h2>\n<p><a href=\"https:\/\/culture.pl\/en\/gallery\/maus-by-art-spiegelman-image-gallery\">Culture.pl* &#8211; <em>Maus<\/em> image gallery<\/a><\/p>\n<p>Interview with Art Spiegelman on Charlie Rose (1996) &#8211; <a href=\"https:\/\/www.youtube.com\/watch?v=HlEsyyTQ_Fs\">https:\/\/www.youtube.com\/watch?v=HlEsyyTQ_Fs <\/a><\/p>\n<p>But I Live films (2023) &#8211; <a href=\"https:\/\/holocaustgraphicnovels.org\/films\/\">https:\/\/holocaustgraphicnovels.org\/films\/<\/a><\/p>\n<p>*Culture.pl is part of the Adam Mickiewicz Institute, a state-run cultural institution under the Polish Minister of Culture and National Heritage.<\/p>\n","protected":false},"author":1929,"menu_order":3,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-565","chapter","type-chapter","status-publish","hentry"],"part":369,"_links":{"self":[{"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/pressbooks\/v2\/chapters\/565","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/wp\/v2\/users\/1929"}],"version-history":[{"count":3,"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/pressbooks\/v2\/chapters\/565\/revisions"}],"predecessor-version":[{"id":651,"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/pressbooks\/v2\/chapters\/565\/revisions\/651"}],"part":[{"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/pressbooks\/v2\/parts\/369"}],"metadata":[{"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/pressbooks\/v2\/chapters\/565\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/wp\/v2\/media?parent=565"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/pressbooks\/v2\/chapter-type?post=565"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/wp\/v2\/contributor?post=565"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/butiliveresource\/wp-json\/wp\/v2\/license?post=565"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}