Analysing the picturebook ‘Voices in the Park’, by Anthony Browne will illustrate the use of text, images, and parody; also it is a good example of intertextuality and non-linear.
For example, if I wanted to write about Social Networking sites, I'd need to write different thesis statements depending on my compare/contrast assignment. Sample thesis statement for contrast paper: In terms of social networking sites, Facebook focuses on presenting your daily life to others, whereas MySpace allows you to focus more on demonstrating your personal style.Sample thesis statement for compare/contrast paper: While both Facebook and MySpace allow you to meet other users who have similar interests, only MySpace allows you to demonstrate your personal style. If you want to write a successful compare/contrast essay, you'll need to avoid writing about really obvious differences and similarities. For example:Tell us something we don't know (or might not notice)! It would be better to write about how sensitive both horses and cats are to human needs and emotions. You could also suggest that though both basketball and football require a lot of teamwork, basketball players are expected to be a lot more versatile than football players. You don't have to be a genius to write an interesting compare/contrast essay--you just have to look at ordinary things in a new way! Unless you're being asked to do some research as part of your compare/contrast project, make sure that you choose 2 things that you feel comfortable discussing, at length.Your instructor may ask for multiple similarities and differences--make sure you're prepared to write a well-developed, meaningful essay on a topic that you know well before you get started! There are two primary ways to organize your compare and contrast paper.Chunking: placing all of the information for each individual subject in one place (chunk), and then using similarities as transitions.Here’s a sample outline:Piecing: giving pieces of the information for each individual subject in each paragraph—arranging the information by topic rather than by subject. Here’s a sample outline:
In any case, I suspect that much art in any medium is produced without a primary concern for how it will be received, or by whom. It often doesn’t set out to appeal to a predefined audience but rather build one for itself. The artists’ responsibility lies first and foremost with the work itself, trusting that it will invite the attention of others by the force of its conviction. So it’s really quite unusual to ask “who do you do it for?” Yet it is a question inevitably put to my work in picture books such as The Rabbits, The Lost and The Red Tree, which deal with subjects such as colonisation, bureaucracy, whimsy, depression and loneliness, typically in a strange or unusual manner.
This I Believe is an international organization engaging people in writing and sharing essays describing the core values that guide their daily lives. Over 125,000 of these essays, written by people from all walks of life, have been archived here on our website, heard on public radio, chronicled through our books, and featured in weekly podcasts. The project is based on the popular 1950s radio series of the same name hosted by Edward R. Murrow.
One of the questions I am most frequently asked as a maker of picture books is this: ‘Who do you write and illustrate for?’ It’s a little difficult to answer, as it’s not something I think about much when I’m working alone in a small studio, quite removed from any audience at all. In fact, few things could be more distracting in trying to express an idea well enough to myself than having to consider how readers might react!
My picture book The Lost Thing, published in 2000, began as a small unimportant doodle in a sketchbook, and for me many stories begin this way, quite unexpectedly and without a serious attempt. (Serious attempts of ‘I’m going to write a good story’ all to often end up as miserable failures! Otherwise there would be a lot more of them.) The doodle was of a man apparently talking to a crab on a beach, which came about from looking at a photo of a little blue pebble crab on a nature magazine cover and simply imagining it was enormous, rather than tiny (so the guy was just there to show scale). I do hundreds of little sketches every year, most which I don’t have much response towards, but this one raised many questions. Where did this creature come from, and more importantly, why is the guy talking to it rather than running away… what would I do if I was that guy?
If you have doubts about the way how to write a picture analysis essay, we can say that it is absolutely up to you and depends on your own style of writing. At any rate, what you need is to practice your imagination, and to collect the necessary information. Then your will have value and impact.
I chose to read and comment on Barbara Kiefer’s “Envisioning Experience: The Potential of Picture Books.” Kiefer’s main point in writing this essay was to get the message across that children enjoy picture books that allow them to identify and make connections with the characters or the plots, and that while reading and analyzing the pictures, they gain a better sense of aesthetics and how to interpret them.
6. After completing the first draft of your essay, consult with your friends or classmates regarding your task. Ask them what they think about your essay and the picture. Maybe they will point you to something on the picture that you havent been able to notice yourself. Remember: an advice given by your friends should only help you make your paper more objective and informative. Do not plagiarize!
Rather than talk about the differences between older and younger readers, however, I would prefer to consider what they might actually have in common. In particular, we are all interested in playing. We like to look at things from unusual angles, attempt to seek some child-like revelation in the ordinary, and bring our imagination to the task of questioning everyday experience. Why are things the way they are? How might they be different? As an artist, these ‘childish’ activities are the things that preoccupy me when I draw pictures and make up stories, and they don’t necessitate a consideration for any particular audience. What matters are ideas, feelings and the pictures and words that build them. How can they be playful and subvert our usual expectations? What are the ways that something can be represented to most effectively invite us to think and ask questions about the world we live in?
It is widespread today to post pictures on the internet forums and social networks. Recently, it has become pretty popular to disseminate photos from different parts of the world; photos which describe some important event there, or merely the way of living of the local people. The main goal of this process of dissemination is to convey a given message to wider audience, and also to give more information about a subject. Regrettably, people just post these pictures or share them, without even an attempt to reflect upon their message, background or event which has been captured. As a matter of fact, it is impossible to render the reality in an absolutely perfect way, so every picture, painting, or video shows only one side of it. Therefore, a picture shows the world from one personal point of view. This is your starting point while writing a picture .
It’s not as if the book is a puzzle punctuated by clues, that needs to be solved. Unlike a riddle, there is no clear answer to these questions, which remain open. I myself continue to find new meanings in the words and pictures as I did when producing the story over the course of a year. It could be read as a critique of economic rationalism, for instance, or the transition from childhood to adulthood; about the value of whimsy, our obsession with categories and bureaucracy, about alienation, claustrophobia, altruism, disability, entropy and the possibility of joy in places where this has been extinguished.