Comics and Narration by Thierry Groensteen

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, during which the prime French-language comics theorist got down to examine how the medium features, introducing the main of iconic harmony, and exhibiting the structures that underlie the articulation among panels at 3 degrees: web page structure, linear series, and non-sequential hyperlinks woven during the comedian booklet as an entire.

He now develops that evaluation additional, utilizing examples from a really wide variety of comics, together with the paintings of yankee artists resembling Chris Ware and Robert Crumb. He exams out his theoretical framework through bringing it up opposed to situations that problem it, similar to summary comics, electronic comics and sh-jo manga, and provides insightful reflections on those options.

In addition, he contains long chapters on 3 parts no longer lined within the first publication.
• First, he explores the function of the narrator, either verbal and visible, and the actual matters 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 varied rhythms over and above the elemental beat supplied via the discontinuity of the panels. And 3rd he resets the connection of comics to modern artwork, conditioned by means of cultural background and aesthetic traditions yet evolving lately as comics artists circulate onto avant-garde terrain.

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There is no trace of street life, of the facade of this private house, or of the decor of the rooms where this woman lives. Objects and characters seem tenuous, fragile, always threatening to fade into the whiteness of the page (the outline of the tiger in the fifth image is barely visible). Manouach skillfully makes the panel frame border coincide with the uprights of the window. In the first four images, he creates a rhythmic and visual movement, as the shot/counter-shot effect interacts with the dialectic of closeness and distance.

We all know how these things would happen in everyday life in similar circumstances. So it is not just the repetition of the word “sprain,” but the familiar, routine nature of the events that have been expunged that allows the narrative to “leap from one situation to another,” in Peeters’s term. 2 The Poetic Uses of Sequentiality Three general conclusions can be drawn from the observations above: 1. Some uncaptioned (silent) images only lend themselves to one reading and carry a perfectly clear and unequivocal meaning.

35 The discontinuity that is the basis of the language of comics forces the reader to make inferences in order to interpret each new image appropriately, that is to say to ensure that it correlates with the previous one and to the wider context of the whole text within which it occurs. This operation was described in System 1 as the conversion of an utterable into an utterance, taking account of the fact that it is semantically determined not only by what went before it but also by what comes after it, and thus draws upon three planes of meaning-production (see Système 1, pp.

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