Download Comics and narration by Thierry Groensteen PDF

By Thierry Groensteen

This publication is the follow-up to Thierry Groensteen's groundbreaking The procedure of Comics, during which the major 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 structure, linear series, and nonsequential hyperlinks woven throughout the comedian booklet as an entire. He now develops that evaluation additional, utilizing examples from a truly wide variety of comics, together with the paintings of yank artists similar to Chris Ware and Robert Crumb. He exams out his theoretical framework through bringing it up opposed to circumstances that problem it, equivalent to summary comics, electronic comics and shojo manga, and gives insightful reflections on those innovations.

In addition, he comprises long chapters on 3 parts now not coated within the first booklet. First, he explores the position 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 established by means of virtuoso artists in intertwining various rhythms over and above the fundamental beat supplied by way of the discontinuity of the panels. And 3rd he resets the connection of comics to modern paintings, conditioned through cultural background and aesthetic traditions yet evolving lately as comics artists stream onto avant-garde terrain.

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Example text

In contrast, the situation represented in the third panel seems completely unrelated to the incipient story. Two interpretations seem possible. Either: whether or not s/he brought the tadpoles home, the child examined them sufficiently closely to enable him/her, many years later and having become an artist, to produce canvasses inspired by their form. It is not possible to base a judgment on the section that appears in the frame, but the black circular shape represented in the picture could be taken as a detail from the head of a tadpole, massively blown up.

1 A NEW CATEGORY One part of this marginal comics production has been labeled and in some sense officially recognized as a category, if not a genre, by the appearance in 2009 of the anthology Abstract Comics published by Fantagraphics and edited by Andrei Molotiu. What exactly are abstract comics? Molotiu distinguishes two types: either sequences of abstract drawings, or sequences of drawings that contain figurative elements, the juxtaposition of which does not produce a coherent narrative. His anthology offers many more examples of the first case than of the second.

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. This is the case of the “narrative images” of which François Garnier has tracked down many occurrences in medieval iconography: The narrative image consists of a set of elements and relationships that present an incident or tell a story.

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