Download e-book for kindle: Comics and Narration by Thierry Groensteen

By Thierry Groensteen

ISBN-10: 1621039390

ISBN-13: 9781621039396

Title note: unique identify Bande dessinée et narration
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This ebook is the follow-up to Thierry Groensteen's ground-breaking The approach of Comics, during which the prime French-language comics theorist got down to examine how the medium services, introducing the primary of iconic unity, and exhibiting the structures that underlie the articulation among panels at 3 degrees: web page format, linear series, and non-sequential hyperlinks woven during the comedian ebook as a complete.

He now develops that evaluation extra, utilizing examples from a really wide variety of comics, together with the paintings of yank artists resembling Chris Ware and Robert Crumb. He exams out his theoretical framework by means of bringing it up opposed to situations that problem it, equivalent to summary comics, electronic comics and sh-jo manga, and gives insightful reflections on those techniques.

In addition, he comprises long chapters on 3 parts no longer lined within the first ebook.
• First, he explores the position 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 proven via virtuoso artists in intertwining diversified rhythms over and above the fundamental beat supplied via the discontinuity of the panels. And 3rd he resets the connection of comics to modern paintings, conditioned by way of cultural historical past and aesthetic traditions yet evolving lately as comics artists circulate onto avant-garde terrain.

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Sample text

This apparent continuity renders the interpretation of incompatible data highly problematic. The reader can only resolve the paradox by separating out what belongs to “reality” and what belongs to the phantasmatic scenarios engendered by Jimmy’s fertile and somewhat obsessive brain. Let us consider only the two images on the top right-hand side of the page: Jimmy makes successive appearances, identically dressed and adopting the same posture, first as an adult and then as a child. If, on the basis of what we see, we try to work out what has intervened, we would be forced to conclude that Jimmy has suddenly and inexplicably got younger, about a quarter of a century younger, in fact.

The defining quality of a narrative—forgive me for bringing up this banal point—is that it necessarily includes a beginning and an end, or, to put it another way, an element of development of the action, of evolution of the initial situation, from state A to state B. I concur, then, on this point, with the ranks of theorists (the majority) who, like Aron Kibedi Varga,7 feel that a single image can evoke a story, but that this does not mean that it tells one. ”8 The exception to the rule occurs when the single image encompasses several different scenes, that is to say that it plays on juxtaposition within its own space.

1 Situation and Story: Questioning the Narrative Potential of the Single Image Can an isolated image narrate? Can it, on its own, tell a story? In Système 1, 121–26, System 1, 103–7, the question was posed in terms of the ontological difference between the still image (such as a drawing or a photo) and the moving image (the film shot). Some film theorists, most notably André Gaudreault, have asserted that an intrinsic narrativity is associated with movement, because it implies a transformation of the elements represented.

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Comics and Narration by Thierry Groensteen


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