By Thierry Groensteen
This e-book is the follow-up to Thierry Groensteen's groundbreaking The method of Comics, during which the top French-language comics theorist got down to examine how the medium features, introducing the primary of iconic harmony, and exhibiting the platforms that underlie the articulation among panels at 3 degrees: web page format, linear series, and nonsequential hyperlinks woven in the course of the comedian booklet as a complete. He now develops that evaluation extra, utilizing examples from a really wide variety of comics, together with the paintings of yankee artists equivalent to Chris Ware and Robert Crumb. He assessments out his theoretical framework via bringing it up opposed to circumstances that problem it, comparable to summary comics, electronic comics and shojo manga, and gives insightful reflections on those innovations.
In addition, he contains long chapters on 3 parts no longer coated 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 by means of virtuoso artists in intertwining assorted rhythms over and above the elemental beat supplied via the discontinuity of the panels. And 3rd he resets the connection of comics to modern paintings, conditioned via cultural background and aesthetic traditions yet evolving lately as comics artists stream onto avant-garde terrain.
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Extra resources for Comics and narration
Bosc, La Dispute à L’Angélus, 1964. © Estate of Bosc. The meaning of a single image is not necessarily indeterminate (with or without a caption, cartoons have a meaning intended by the artist; the joke only works if all the readers interpret it in just that way), but it is unusual, exceptional even, for it to be possible, on the basis of a single image, to infer one—and only one—scenario once it is projected backwards or forwards in time. Conversely, the hiatus between two consecutive images, in a sequential narrative, can be programmed so that all readers will necessarily reconstruct the virtual content of the narrative ellipsis in exactly the same way.
History and criticism. 2. Narration (Rhetoric) I. Title. 5’9—dc23 2012036707 British Library Cataloging-in-Publication Data available CONTENTS Translator’s Foreword Introduction Chapter One. Comics and the Test of Abstraction Chapter Two. New Insights into Sequentiality Chapter Three. On a Few Theories of Page Layout Chapter Four. An Extension of Some Theoretical Propositions Chapter Five. The Question of the Narrator Chapter Six. The Subjectivity of the Character Chapter Seven. The Rhythms of Comics Chapter Eight.
It is nonetheless the combination of these elements (frames and balloons in particular) that, in the modern collective imaginary, seems to typify comics, to characterize the formal apparatus of the medium and its language (to the point where this “machinery” should be called primary rather than secondary). Indeed, contemporary artists continue to take their inspiration from the machinery of comics. For example, in the first decade of this century, the Brazilian artist Rivane Neuenschwander has exhibited in a number of galleries6 her large panels based on Zé Carioca, a popular Brazilian comic with a nationalist flavor.