Le temps dans l’œil: durée et image fixe en bande dessinée

• Autores: Alexandre Widendaële
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 215-224
• Idioma: francés
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• Resumen

  • This research makes up a part of a general study about common genealogies and intermedialities of the bothseventh and ninth arts (I insist on the plural of these words). The panels of comics fill a constant need of crossingthe frontiers of a still and mute medium by developing an alphabet of signs. Yet, one dimension is still missing in thisgraphic grammar: the passage of time. Through the study of several details from the Chris Wares’ reflexive moderngraphic novel Jimmy Corrigan, The Smartest Kid On Earth and some early works of pioneers, this study gives acomment of this Milton Caniff’s quotation: When I came along in a different medium, I could almost play the sametune on a different horn and grab the same people. The words of the great American cartoonist release a particularecho today. Indeed this last decade has been particularly marked by a renewal of comics adaptations on screen.If the adaptation process implies an “actualization” of virtual data (movements, sounds, characters’ emotions), itseems possible to take this way in the rear and question the “virtualization” of the real. How do some cartoonistsask the lengths inside still pictures only by using clues? How do they create the feelings of time within unsettledsubjective reading modalities? Even out of the sequence, time, lengths seep in the fixed panel. How does the readereye in terms of time can actualize signs for movement, signs for sounds, space?