《法语漫画与图画小说中的中间性》,简·贝滕斯、雨果·弗雷、法布里斯·勒罗伊主编(书评)

IF 0.1 4区 文学 0 LITERATURE, ROMANCE
Patricia Geesey
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The essays of this well-illustrated volume explore “the relations or interconnections between the modalities of expression and representation used in bande dessinée and that of other media” (xvii). The thirteen chapters provide close readings of other media or other forms of representation including reportage, film, literature, video games, memory studies, music, painting, and photography appearing in French-language comics and graphic novels. The editors note that intermediality is already a recognized aspect of comic art; furthermore, an intermediality-based approach to the study of comics allows for a useful balance between theoretical speculation and case-study-based close reading (xii). The essays in the collection strike such a balance in analyzing intermediality in bande dessinée in new and thoughtful ways, looking at forms of hybridity, as well as narrative, enunciative, and structural innovations that reference other mediums. In “Part One: Comics and Cinema,” three essays present detailed analyses of comic art and cinematic intermediality. The chapter on Greg Shaw’s Travelling Square District by Livio Belloï, suggests that Shaw’s unique publication “could be labeled as a ‘para-cinematic’ work, to the extent that this album applies its mechanics and reveals its actual stakes only in relation to or in proximity with cinema” (10). Tamara Tasevska’s essay “Godard’s Contra-Bande: Early Comic Heroes in Pierrot le fou and Le livre d’image,” posits Godard’s referencing of Les Pieds Nickelés as “an explicitly historical, political, and ethical critique that comments on the norms of production, distribution, and circulation of images in artistic practices in the modern period” (37). The six chapters contained in “Part Two: Comics, Photography, and the Photonovel,” and “Part Three: Comics, Reportage, and Memory,” present valuable studies of documentary and photography, including Michelle Bumatay’s “BD Reportage or Exotic Travel Journal? L’Afrique de papa and the Intermedial Gaze;” Charlotte F. Werbe’s “Remediating the Documentary: Photography and Drawn Images in Mickey au camp de Gurs;” and Renée Altergott’s “Mediated Martyrdom in Marjane Satrapi’s Persepolis.” Parts Four and Five of the collection cover intermediality in comics in relation to other artistic traditions such as music (Mark McKinney’s chapter on songs and music of French colonialism in the Maghreb); Pop Art (Hugo Frey’s study of Hergé’s L’Affaire Tournesol); and even video gaming (Ana Oancea’s “Salammbô [End Page 195] in the Third Degree: From Novel to BD to Video Game”). 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Tamara Tasevska’s essay “Godard’s Contra-Bande: Early Comic Heroes in Pierrot le fou and Le livre d’image,” posits Godard’s referencing of Les Pieds Nickelés as “an explicitly historical, political, and ethical critique that comments on the norms of production, distribution, and circulation of images in artistic practices in the modern period” (37). The six chapters contained in “Part Two: Comics, Photography, and the Photonovel,” and “Part Three: Comics, Reportage, and Memory,” present valuable studies of documentary and photography, including Michelle Bumatay’s “BD Reportage or Exotic Travel Journal? L’Afrique de papa and the Intermedial Gaze;” Charlotte F. 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引用次数: 0

摘要

书评:法语漫画和图画小说中的中间性,简·贝滕斯、雨果·弗雷和法布里斯·勒罗伊编。帕特里夏·吉塞·贝滕斯,简、雨果·弗雷和法布里斯·勒罗伊编。法语漫画与图画小说的中间性。路易斯安那州拉斐特的UP, 2022年。ISBN 978-1-946160-89-8。第29 + 299页。在介绍这本由13个单独章节组成的精美合集(分为五个部分,分别讨论不同的媒介)时,编辑们强调了漫画研究与媒介研究领域的互补性。导言有助于解决中介性的理论和应用,或“在单一媒介中使用不同的符号或类型的符号”(xi),在以前的关键著作中提出。这本插图精美的书中的文章探讨了“bande dessinsame和其他媒体中使用的表达和表现形式之间的关系或相互联系”(xvii)。13章提供了对其他媒体或其他表现形式的仔细阅读,包括报告文学、电影、文学、视频游戏、记忆研究、音乐、绘画和摄影,这些都出现在法语漫画和图画小说中。编辑们指出,中间性已经是漫画艺术的一个公认的方面;此外,以中介为基础的方法来研究漫画,可以在理论推测和基于案例研究的仔细阅读之间取得有益的平衡(xii)。文集中的文章以新的和深思熟虑的方式分析了bandedesinsamei的中介性,研究了混合形式,以及参考其他媒介的叙事、表述和结构创新。在“第一部分:漫画和电影”中,三篇文章详细分析了漫画艺术和电影的中介性。Livio Belloï关于Greg Shaw ' s Travelling Square District的章节表明,Shaw的独特出版物“可以被标记为‘超电影’作品,在某种程度上,这张专辑应用了它的机制,并揭示了它的实际利益,仅与电影有关或接近”(10)。塔玛拉·塔瑟夫斯卡(Tamara Tasevska)的文章《戈达尔的反band:《Pierrot le fou》和《le livre d’image》中的早期漫画英雄》认为,戈达尔对《Les Pieds nickel》的引用是“对现代艺术实践中图像的生产、分配和流通规范的一种明确的历史、政治和伦理批评”(37)。“第二部分:漫画、摄影和光镜小说”和“第三部分:漫画、报告文学和记忆”中包含的六个章节展示了对纪录片和摄影的有价值的研究,包括米歇尔·布玛塔伊的“BD报告文学还是异国旅行杂志?”《父亲的非洲》和《中间的凝视》;夏洛特·f·韦贝的《修复纪录片:米基·奥坎普·德古尔斯的摄影和绘画》;以及伦姆萨梅·阿尔特戈特的《玛简·萨塔皮的波斯波利斯的调解殉难》。该合集的第四和第五部分涵盖了漫画中与其他艺术传统如音乐相关的中间性(马克·麦金尼关于马格里布法国殖民主义的歌曲和音乐的章节);波普艺术(雨果·弗雷(Hugo Frey)对赫格里斯的《图尔尼索尔事件》(L’affaire Tournesol)的研究);甚至电子游戏(Ana Oancea的“Salammbô [End Page 195] in the Third Degree: From Novel to BD to video Game”)。本卷提出了深刻的,多层阅读的乐队和图形小说使用其他媒介来创造新的和创新的视觉和叙事沟通模式。[End Page 196] Patricia Geesey北佛罗里达大学版权©2023美国法语教师协会
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Intermediality in French-Language Comics and Graphic Novels ed. by Jan Baetens, Hugo Frey and Fabrice Leroy (review)
Reviewed by: Intermediality in French-Language Comics and Graphic Novels ed. by Jan Baetens, Hugo Frey and Fabrice Leroy Patricia Geesey Baetens, Jan, Hugo Frey, and Fabrice Leroy, eds. Intermediality in French-Language Comics and Graphic Novels. UP of Louisiana at Lafayette, 2022. ISBN 978-1-946160-89-8. Pp. xxix + 299. In their introduction to this fine collection of thirteen individual chapters (grouped into five sections that address different mediums), the editors highlight the complementarity of comic studies to the field of intermediality studies. The introduction helpfully addresses theories and applications of intermediality, or the “use of different signs or types of signs within a single medium” (xi), presented in previous critical works. The essays of this well-illustrated volume explore “the relations or interconnections between the modalities of expression and representation used in bande dessinée and that of other media” (xvii). The thirteen chapters provide close readings of other media or other forms of representation including reportage, film, literature, video games, memory studies, music, painting, and photography appearing in French-language comics and graphic novels. The editors note that intermediality is already a recognized aspect of comic art; furthermore, an intermediality-based approach to the study of comics allows for a useful balance between theoretical speculation and case-study-based close reading (xii). The essays in the collection strike such a balance in analyzing intermediality in bande dessinée in new and thoughtful ways, looking at forms of hybridity, as well as narrative, enunciative, and structural innovations that reference other mediums. In “Part One: Comics and Cinema,” three essays present detailed analyses of comic art and cinematic intermediality. The chapter on Greg Shaw’s Travelling Square District by Livio Belloï, suggests that Shaw’s unique publication “could be labeled as a ‘para-cinematic’ work, to the extent that this album applies its mechanics and reveals its actual stakes only in relation to or in proximity with cinema” (10). Tamara Tasevska’s essay “Godard’s Contra-Bande: Early Comic Heroes in Pierrot le fou and Le livre d’image,” posits Godard’s referencing of Les Pieds Nickelés as “an explicitly historical, political, and ethical critique that comments on the norms of production, distribution, and circulation of images in artistic practices in the modern period” (37). The six chapters contained in “Part Two: Comics, Photography, and the Photonovel,” and “Part Three: Comics, Reportage, and Memory,” present valuable studies of documentary and photography, including Michelle Bumatay’s “BD Reportage or Exotic Travel Journal? L’Afrique de papa and the Intermedial Gaze;” Charlotte F. Werbe’s “Remediating the Documentary: Photography and Drawn Images in Mickey au camp de Gurs;” and Renée Altergott’s “Mediated Martyrdom in Marjane Satrapi’s Persepolis.” Parts Four and Five of the collection cover intermediality in comics in relation to other artistic traditions such as music (Mark McKinney’s chapter on songs and music of French colonialism in the Maghreb); Pop Art (Hugo Frey’s study of Hergé’s L’Affaire Tournesol); and even video gaming (Ana Oancea’s “Salammbô [End Page 195] in the Third Degree: From Novel to BD to Video Game”). This volume presents insightful, multi-layered readings of bandes dessinées and graphic novels using other mediums to create new and innovative modes of visual and narrative communication. [End Page 196] Patricia Geesey University of North Florida Copyright © 2023 American Association of Teachers of French
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来源期刊
FRENCH REVIEW
FRENCH REVIEW LITERATURE, ROMANCE-
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期刊介绍: The French Review is the official journal of the American Association of Teachers of French and has the largest circulation of any scholarly journal of French studies in the world at about 10,300. The Review publishes articles and reviews in English and French on French and francophone literature, cinema, society and culture, linguistics, technology six times a year. The May issue is always a special issue devoted to topics like Paris, Martinique and Guadeloupe, Québec, Francophone cinema, Belgium, Francophonie in the United States, pedagogy, etc. Every issue includes a column by Colette Dio entitled “La Vie des mots,” an exploration of new developments in the French language.
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