By Thierry Groensteen
Title note: unique identify Bande dessinée et narration
This ebook is the follow-up to Thierry Groensteen's ground-breaking The process of Comics, within which the best French-language comics theorist got down to examine how the medium features, introducing the primary of iconic unity, and exhibiting the platforms that underlie the articulation among panels at 3 degrees: web page structure, linear series, and non-sequential hyperlinks woven throughout the comedian publication as a complete.
He now develops that evaluation extra, utilizing examples from a truly wide variety of comics, together with the paintings of yankee artists akin to Chris Ware and Robert Crumb. He checks out his theoretical framework by means of bringing it up opposed to situations that problem it, reminiscent of summary comics, electronic comics and sh-jo manga, and provides insightful reflections on those techniques.
In addition, he contains long chapters on 3 parts no longer lined within the first ebook.
• First, he explores the function of the narrator, either verbal and visible, and the actual concerns that come up out of narration in autobiographical comics.
• moment, Groensteen tackles the query of rhythm in comics, and the ability verified by means of virtuoso artists in intertwining diverse rhythms over and above the elemental beat supplied through the discontinuity of the panels. And 3rd he resets the connection of comics to modern artwork, conditioned through cultural heritage and aesthetic traditions yet evolving lately as comics artists circulate onto avant-garde terrain.
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Additional resources for Comics and Narration
The German writer and critic may have defended the idea that painting should restrict its ambition to the representation, through bodies, of a single moment of an action, but he goes on to add: All bodies, however, exist not only in space but also in time. They continue, and, at any moment of their continuance, may assume a different appearance and stand in different relations. 33 It is difficult for us not to read retrospectively into these lines an appropriate description of the narrative mechanism of traditional comics.
16 Personally, I believe this arrangement both reveals the logical connectedness of the scene and enriches its meaning. In fact, though, this is simply an episode extracted from a story that was already familiar (Poussin’s subjects were mainly taken from mythological or Old or New Testament sources). The story is not recounted—it is evoked, and this evocation is readily comprehensible only because the subject matter is already well-known. The spectator is at liberty to use the image as a starting point for summoning up the story as a whole, by recalling from memory the episodes that come before and after it.
But in the example of the Marmaduke strip quoted above, it is clear that it is the observation made by the little girl, a verbal utterance, therefore, that enables Morgan to extend the panel into a sequence—the image itself is static and does not invite this treatment. In the time of Nicolas Poussin, history painting was the most prestigious of all genres. ” The emotions attributed to each of these characters are translated into postures, gestures, and facial expressions. ”16 Personally, I believe this arrangement both reveals the logical connectedness of the scene and enriches its meaning.