Context of Practice Proposal Form - Finalised.

SUBJECTS OF CONTEXTUAL RESEARCH ALREADY UNDERTAKEN

1. What was your subject research at Level 4?

"With reference to specific examples, to what extent cab it be argued that, with ever improving technologies, visual style is more important than narrative substance in contemporary film making."

2. What was your subject research at Level 5?

"An investigation into the use and representation of Sexism in Sin City."

AIM AND/OR OBJECTIVES OF YOUR PROPOSED COP3 PROJECT

3. What research needs to be undertaken into the general and specific contexts of your practice?

Questions I wish to investigate are:
- Are comics sexist?
- Has the sexism in comics improved with social views on sexism from 1939 to 2014?
- Is any sexualistion of characters in personality, costumes, and physicality displayed fairly between genders?
- Are genders degraded in comics, or empowered? displayed through physically, mentality, or other characters opinions on them?

I believe this question is entirely researchable through nearly a decade of comics and comic inspired movies. I can interview comic fans, artists, and even movie goers about their opinions on this topic for primary research at comic conventions. I can use secondary research in 'making of the movie books', DVD extras and interviews in magazines. I can also look at the introduction to some graphic novels, talks and panels with comic artists and writers, and also use theoretical and contextual books to investigate theories like the Male and Female Gaze, Sigmund Frued's psychoanalytic theory, and Scopophilia 'the theory of 'a pleasure of looking."

For my practical, I will look at different types of media such as comic, film, photography and sculpture that relate to this theme to influence my practical piece.

4. What approaches will you take and what processes, methods, materials and tools are to be involved in research into your practice?

I will constantly reflect on my drawing ability in effort to improve it. This will include continuing to show my work to industry professionals at comic conventions and take their critique's to improve it.

I will also use multiple SWOT analysis on each of my work to find weakness's and improve them.

I will start attending Life Drawing Class to improve my art on a weekly basis.

5. What preparation or investigation do you need to undertake for your creative practice to take place?

I need to plan and book tickets to desired conventions I wish to attend, and plan how to get there. I also need to think clearly about what questions to ask the public and practitioners when interviewing and using questionnaires.
At these conventions, I must research the artists and figure out who's opinions I wish to look for, who I think could give the best opinion for my work and questions.

1. When looking at my practical, I wish to make a comic. So the best way I feel to do this is to start with the character. I would study characters in all media to help form the character I would create including body type & build, costume, weaponry if necessary and accessories.

2. With the script, I will look at comics and film with themes like this and impressive scripts and analyse why these scripts are impressive and what it is I like about them.

3. I would then look at storyboards, composition of shots and lighting in film and page layout in comics and look into why I think these work in a particularly good way or bad way and how I may take inspiration from these.

6. What research do you need to undertake regarding who your creativity is for?

The work I will create, written and practical, would be aimed at an audience of comic fans, publishers artists and writers. It may also be aimed at people not working in the industry and who hope to, or perhaps people who have been fans and been put off by the level of sexism found in the comic industry, and show people that this could be changed, comics could exist without this and characters may be more likable when not being shown this particular way.

I would still be positive that plot and story are key to the success of the comics, but elements of sexism or lack off could be challenged and focused in parts of these stories.

7. Perceived problems or difficulties 

Interviewing. Previously when interviewing people at conventions it can be hard for people to find the time to see you, especially when they are there for/ and could be making money doing something else. The best way to avoid this is to see them early in the day and ask when suits them, therefore booking a time of the weekend they can dedicate 10 minutes to you.

It can also be difficult to send out efficient questionnaires. I have thought about different ways of doing this:
1. Asking members of the que (fans) at comic conventions whilst they are not doing anything they are more likely to be willing to take part in the questionnaire. This could be in form of handing out pen and paper and a collection box at the exit of the conventions or in quick questions asked with a camera to record answers quickly. Like mix of interviewing and a questionnaire to gather results form lots of people.

2. Sending out a survey monkey to as many people as possible, with a given deadline.

3. Give out these questionnaires at places like Travelling man and Forbidden Planet and other comic shops around Leeds to directly target comic fans who have a good  understanding of comics and have read enough to give an informed opinion.

SOURCES

8. Primary Sources of Information

Description & Location - List at least 3

London Super Comic Convention 2014.
London MCM Comic Convention 2014.
Leeds Thought Bubble Convention 2014.
Leeds International Film Festival 2014.

9. SECONDARY SOURCES OF INFORMATION

List at least 10 ( in Havard Reference format )

Miller, F. (1996) Sin City: That Yellow Bastard, Oregon, Dark Horse Comics.

Sin City: 2 Disc Collectors Edition – Disc 1, Trench coats and fishnets: the costumes of Sin City. (2005), Directed by Robert Rodriguez, and Frank Miller, [Film] Troublemaker Studios and Miramax/Dimension Home Entertainment.

Proctor, N. (2005) The Making of Sin City, United States of America, Troublemaker Publishing.

Kominsky Crumb, A. (2010) Graphic Women. Life narrative & contemporary comics New York. Columbia University Press.

Mandrid, M. (2009) The Supergirls, United State of America, E.A.P.

Rundle, L. (2004) Girls Who Bite Back, Toronto, Sumach Press.

Mulvey, L. (1989) Visual and other pleasures, Hampshire and New York, Palgrave.

Branzino, A. (1545) Venus, Cupid, Fully of Time.

Gloeckner, P. (2000) Minnie’s 3^rd Love, or Nightmare on Polk Street. In: A Childs Life and Other Stories, Frog books/North Atlantic books.

Kominsky Crumb, A. (1990)The Young Bunch In: Love that Bunch. Fantagraphics Books

Brand, R. (2014) http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CCMQFjAA&url=http%3A%2F%2Fwww.youtube.com%2F&ei=Cmw2VOC8NoP3Os3egYgD&usg=AFQjCNGSle0TFsQ2TAB0ZyJ8XkUguVQKpA&sig2=so3OGmPAYlm-60e2TuprQg&bvm=bv.76943099,d.ZWU (Accessed on 8th of October 2014) Russell Brand 2014,

Campbell, B. (2002) Danger Girl: The Ultimate Collection, Wildstorm.