New PDF release: Comics and narration
By Thierry Groensteen
This e-book is the follow-up to Thierry Groensteen's groundbreaking 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 team spirit, and exhibiting the structures that underlie the articulation among panels at 3 degrees: web page structure, linear series, and nonsequential hyperlinks woven throughout the comedian e-book as a complete. He now develops that evaluation extra, utilizing examples from a really wide selection of comics, together with the paintings of yankee artists resembling Chris Ware and Robert Crumb. He assessments out his theoretical framework by means of bringing it up opposed to situations that problem it, similar to summary comics, electronic comics and shojo manga, and gives insightful reflections on those innovations.
In addition, he contains long chapters on 3 components no longer lined within the first booklet. 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 validated by way of virtuoso artists in intertwining assorted rhythms over and above the elemental beat supplied through the discontinuity of the panels. And 3rd he resets the connection of comics to modern paintings, conditioned by way of cultural background and aesthetic traditions yet evolving lately as comics artists flow onto avant-garde terrain.
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Additional info for Comics and narration
Morgan writes: “In The Flirts, a truck driver (an Oliver Hardy lookalike) picks the petals off a daisy as if to say ‘She loves me, she loves me not’, watched by his pal (a Stan Laurel lookalike), for the benefit of a blonde whose convertible has pulled up alongside the truck. A reflection in the side-view mirror of the truck indicates that this brief encounter is taking place at a red traffic light. This amounts to the integration of before/after or cause/effect relationships into the image. ”21 At the risk of being repetitive, I believe it is not a narrative that we have here, merely a simple anecdotal situation.
Tintin rushes over. ” —“No,” replies the Captain. “Luckily not. ” At that point, the unfortunate Captain feels a sudden sharp pain, making him cry out, and the following image shows the doctor giving his diagnosis. ” Following Benoît Peeters, I used the expression suturing function to designate the way in which the word “sprain” builds a bridge between the two images. For the purpose of the argument that I am putting forward here, one thing should be emphasized: the unnecessary episodes that this repetition enables Hergé to omit (you have to imagine Tintin getting the Captain to sit down, looking the doctor’s number up, calling him, waiting for him to arrive, showing him in, being there as he examines Haddock’s ankle) constitute the only possible scenario.
1. Derik Badman, “Flying Chief,” in Abstract Comics (Seattle: Fantagraphics, 2009). © Derik Badman. In the October 2010 issue of the magazine Étapes [Stages], Higashiyama declared that he approached comics not as an artist but as a graphic designer. The practice piece presented for his final degree is a book, approximately one hundred pages long, untitled, and still unpublished. As I write these lines I have in front of me a copy that he kindly sent me. ” Out of a small number of elements—panels, empty speech balloons, circular or star-shaped forms, single or multicolored backgrounds—he assembles and reconfigures, page upon page, playing on repetition, superimposition, rhythm, changes in scale, and other visual surprises.