La fabrique de la bande dessinée

Au confluent de la littérature et des arts visuels, la bande dessinée est tantôt l’œuvre d’un auteur unique, tantôt le résultat d’une collaboration entre un spécialiste du texte et un spécialiste de l’image. De l’écriture du scénario à sa mise en dessin, le processus de réalisation d’une œuvre suit un protocole qui connaît de nombreuses variantes et peut s’incarner dans des documents d’étape de formes multiples. Il est difficile d’en trouver un qui corresponde à la définition du manuscrit autographe de l’écrivain. La planche originale est l’objet le plus emblématique de ce processus, et celui qui a acquis, depuis une vingtaine d’années, une valeur marchande sur le marché de l’art. Mais une génétique de la bande dessinée doit s’intéresser à tout ce qui se déroule en amont de l’exécution de la planche, aussi bien qu’à ce qui peut se produire en aval : ajouts, repentirs, modifications au gré des changements de support ou des rééditions.A meeting place of literature and the visual arts, the comic strip is either the work of a single author or the result of a collaboration between a text specialist and an image specialist. From the writing of the scenario to its illustration, the process of making a work follows a protocol that has many variants and can be materialized in several kinds of documents for each stage. It is difficult to find one that matches the definition of the writer’s autograph manuscript. The original plate is the most emblematic object of this process and the one that in the past twenty years has acquired a sales value on the art market. But a genetic study of comic strips has to examine all that happens before the plate is drawn, as well as what can happen afterward: additions, corrections, modifications that vary according to medium changes or re-editions.Im Verschmelzen von Literatur und visuellen Künsten ist der Comic mal das Werk eines einzelnen Autors, mal das Resultat einer Zusammenarbeit zwischen einem Text-Spezialisten und einem Bild-Spezialisten. Vom Schreiben des Szenarios bis zur Umsetzung in einer Zeichnung verläuft der Prozess der Realisierung eines Werks nach einem Protokoll, das zahlreiche Varianten kennt und in den vorläufigen Dokumenten vielfältige Formen annehmen kann. Es ist schwierig, darunter ein Dokument zu finden, welches dem handschriftlichen Manuskript eines Schriftstellers entspricht. Die ursprüngliche Bildtafel ist das symbolträchtigste Objekt in diesem Prozess, und auch jenes, welches seit etwas zwanzig Jahren, einen kommerziellen Wert auf dem Kunstmarkt erworben hat. Aber eine Genese des Comics muss sich für all das interessieren, was sich vor der Ausführung der Bildtafel abspielt, ebenso für all jenes, was danach abläuft: Hinzufügungen, Abänderungen, Umgestaltungen je nach Trägersubstanz oder bei Neuauflagen.En la confluencia de la literatura y de las artes visuales, la historieta puede ser tanto la obra de un solo autor, como el resultado de una colaboración entre un especialista del texto y un especialista de la imagen. De la escritura del guión hasta su realización gráfica, el proceso de construcción de una obra sigue un protocolo que comporta numerosas variantes y puede encarnarse en documentos de etapa de diversas formas. Resulta difícil encontrar entre ellos uno que corresponda a la definición del manuscrito autógrafo de escritor. La lámina original es el objeto más emblemático de este proceso y ha adquirido, en los últimos veinte años, un valor mercantil en el mercado del arte. Pero una genética de la historieta tiene que interesarse tanto en lo que precede la realización de la lámina como en lo que puede producirse después: añadidos, arrepentimientos, modificaciones ligadas a los cambios de soporte o a las reediciones.Na confluência da literatura e das artes visuais, a banda desenhada tanto pode ser obra de um autor único, como resultado de colaboração entre especialistas do texto e da imagem. Da redação do roteiro até à sua passagem ao desenho, a produção da obra segue um protocolo com inúmeras variações e diversas etapas. Mas é difícil encontrar uma correspondência para a definição do manuscrito autógrafo do escritor. A chapa original é o objeto mais emblemático do processo, e adquiriu, desde há vinte anos, valor comercial no mercado de arte. Mas a genética da banda desenhada deve interessar-se também por tudo o que está antes, bem como por tudo o que vem depois: adições, alterações, mudanças no suporte ou reedições.Al crocevia tra letteratura e arti visive, il fumetto è talvolta l’opera di un unico autore, talvolta il risultato di una collaborazione tra uno specialista del testo e uno specialista dell’immagine. Dalla scrittura del testo al suo disegno, il processo di realizzazione di un’opera segue un protocollo che subisce numerose varianti e può incarnarsi in documenti transitori di forme differenti. È difficile trovarne uno che corrisponda alla definizione di “manoscritto autografo” dello scrittore. La tavola originale è l’oggetto più emblematico di questo processo ed è quello che ha acquistato, da una ventina d’anni, un valore commerciale sul mercato dell’arte. Ma una genetica del fumetto deve interessarsi a tutto ciò che si sviluppa sia a monte dell’esecuzione della tavola, sia a valle: aggiunte, ripensamenti, modifiche, in seguito ai cambiamenti di supporto o alle riedizioni

Jacques Tardi ou le parti pris de la continuité

Premier roman graphique dessiné par Jacques Tardi, Ici Même (scénario : Jean-Claude Forest) était divisé en chapitres, témoignant de la sérialisation dans le mensuel (A Suivre). Par la suite, en revanche, et jusqu'à Moi, René Tardi, prisonnier de guerre au Stalag IIB, Tardi, à rebours de l'usage qui tend à se répandre pour les œuvres de bande dessinée d'une certaine ampleur, se dérobera autant que possible au principe du chapitrage, préférant immerger son lecteur dans une continuité narrative, un flux ininterrompu. Des traces de périodisation du récit peuvent néanmoins être repérées dans C'était la guerre des tranchées et, plus explicitement, dans Jeux pour mourir.Ici Même, the first graphic novel drawn by Jacques Tardi (on a script by Jean-Claude Forest), was divided in chapters, indicating the serialization in the monthly magazine (A Suivre). In his later works, however, including Moi, René Tardi, prisonnier de guerre au Stalag IIB, Tardi, against the practice that becomes common for the comic narratives of a certain length, will refuse as much as possible the principle of chapters, prefering to submerging his readers in a continuity, an uninterrupted flow. Nevertheless, certain evidences of distinct sections can be observed in C'était la guerre des tranchées and, more obviously, in Jeux pour mourir

Historia de la revista Phenix

Articulo que repasa la trayectoria de la revista Phenix, una revista fundamental históricamente para la critica de comics. Es un texto historico de 1985, cuya traducción se publica por primera vez en español

Dieter Roth’ Solo Scenes and the Comics Art World

<span>Damon Herd offers a discussion of Dieter Roth’s Solo Scenes, a multimedia presentation that echoes the form of a comic. In his discussion, Herd compares Roth’s work to autobiographical comics, raising the evocative question of whether a work created outside of the comics world can still be considered a comic.</span

‘Graphic Medicine’ as a Mental Health Information Resource: Insights from Comics Producers

Recent literature suggests that a growing number of comics are being published on health-related topics, including aspects of mental health and social care (Williams 2012; Czerwiec et al 2015) and that comics are increasingly being used in higher education settings as information resources. This article offers insights from comics creators and disseminators and explores the wider context of comics production and distribution (with a focus on 'Graphic Medicine' or health-related comics) as part of a larger examination of the interface between these documents and potential academic audiences. Original data was gathered through semi-structured interviews with 15 participants actively involved in comics creation and production. Elements of domain analysis (Hjørland 2002) were used to obtain insights into attitudes to the creation, dissemination and use of mental health-related comics. Though potentially useful comics material is being produced in the mental health domain, significant challenges remain for producers in enabling their work to be accessed within higher education settings. This paper suggests that comics producers need to make a concerted effort to reach academia, and academia - including information professionals - need to embrace new types of material to enhance teaching

Reading Without Words: Eye Movements in the Comprehension of Comic Strips

The study of attention in pictures is mostly limited to individual images. When we ‘read’ a visual narrative (e.g., a comic strip), the pictures have a coherent sequence, but it is not known how this affects attention. In two experiments, we eyetracked participants in order to investigate how disrupting the visual sequence of a comic strip would affect attention. Both when panels were presented one at a time (Experiment 1) and when a sequence was presented all together (Experiment 2), pictures were understood more quickly and with fewer fixations when in their original order. When order was randomised, the same pictures required more attention and additional ‘regressions’. Fixation distributions also differed when the narrative was intact, showing that context affects where we look. This reveals the role of top-down structures when we attend to pictorial information, as well as providing a springboard for applied research into attention within image sequences

Teaching People to Read Comics: The Impact of a Visual Literacy Intervention on Comprehension of Educational Comics

Evidence suggests that children’s abilities to comprehend information can vary, which may lead to miscommunication and impact on future life outcomes. Previous research suggests that visual literacy interventions may be helpful for children who need to interpret visual sources of information. Recently there has been renewed interest in the potential of comics as assistive tools in pedagogical settings, which are a highly visual medium. However, no research has yet investigated whether a visual literacy intervention can assist children in their comprehension of comics. The current experiment set out to determine if a visual literacy intervention constructed around comics would improve comprehension of educational comics in primary school children. The study consisted of a pre- and post-intervention procedure. Previous comic reading experience was included as a variable. In each session, comprehension and inferential understanding was assessed. Both comprehension and inferential understanding improved following the comics literacy intervention. These results demonstrate that visual literacy instruction can enhance comprehension of educational comics. Findings can be applied to educational settings and have potential for improving educational outcomes

Drawing-writing culture: the truth-fiction spectrum of an ethno-graphic novel on the Sri Lankan civil war and migration

With our focus on an “ethno‐graphic novel” on the Sri Lankan civil war and the forcible displacement and migration of Tamil survivors, we make two main propositions while reflecting on the “graphic narrative turn” that has emerged in anthropology in recent years. First, we inscribe drawing into the “writing of cultures” where words have held a superior status in ethnographic representations. Rather than seeing drawings as perceptive tools for recording scenes in fieldwork alone, we extend them to a representational practice where they can have a deep, intricate, and equivalent entanglement with words to create synchronous affective intensities among a larger audience. Our second proposal follows Jean Rouch on cinéma vérité to interrogate assumptions about truth and fiction as portrayed by film representations. We propose a theory and practice for graphic novel production that we have termed vérités graphiques (literally, graphic realities). This describes the collaborative and interactive engagement with people's contributions and views, and their distillation and fictionalization through the ethno‐graphic form. We diverge from cinéma vérité, however, by highlighting a truth‐fiction spectrum that further challenges the presumed objectivity of what is seen, experienced, co‐created, and revealed