VIETNAMESE COMICS – FROM TRAINING TO APPROACH AND ORIENTATION

Dr. Pham Minh Phong

Abstract


Comics is the creation of artists and writers, in other words a combination of visual arts and literature; however, sometimes merely drawings can make viewers understand the development of the story as well as the actions of the characters. Therefore, the role of the artists in composing comics is very important. They not only are the creators but also have the ability to understand thoroughly the literary field. It was not until the last years of the twentieth century that Vietnamese comics did develop. On the one hand, it approached comic books from other countries around the world, and on the other hand, it was developed by the needs of real life. Therefore, during the war against the French colonialism, comics was illustrative and propagandic. However, it has gradually become a cultural phenomenon attracting a team of artists specializing in creating comics, especially young artists in recent years. Accompanying that development is the increase of readers as well as audiences, not only children but also all genders, all ages and all sections of society. The content of this study refers to the training of comic artists as well as the need for timely orientations to promote the strengths of the comic genre. At present, there is a great need for attention in training, approaching orientation and creative team to respond to the social environment in the modern development of audiovisual culture in Vietnam.


Keywords


Vietnam, artists, Art, comics, training.

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References


Hoang Phe (Editor) (2012), Tu dien tieng Viet, Encyclopedias Publishing House, Hanoi.

Annie Baron - Carvais (2006), Tu hinh anh den truyen tranh, Fine Arts Information, Ho Chi Minh City. (Documents of the training course on drawing comics organized by ACCU and Kim Dong Publishing House in 1991).

Ekawa Yukhde (2006), 7 chang Samurai cua truyen Manga, Art Information, Ho Chi Minh City, No. 9 -10.

To Ngoc Thanh (1998), Tranh truyen Viet Nam, Fine Arts Magazine No. 2, p. 39, 61.


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