The clear line in comics and cinema : a transmedial approach / David Pinho Barros.

Format:

Book

Author/Creator:

Pinho Barros, David.

Series:

Studies in European Comics and Graphic Novels

Studies in European Comics and Graphic Novels ; v.10

Language:

English

Subjects (All):

Motion pictures.

Comic books, strips, etc.

Motion pictures--History.

Comic books, strips, etc--History and criticism.

Genre:

Comics (Graphic works)

Physical Description:

1 online resource (267 pages)

Edition:

1st ed.

Place of Publication:

Leuven, Belgium : Leuven University Press, 2022.

Summary:

The "clear line", a term coined in 1977 by Dutch essayist and artist Joost Swarte, has become shorthand in the field of comics studies for the style originally developed by Herge and the École de Bruxelles. It refers to certain storytelling strategies that generate a deceptively simple, lucid, and hygienic narration: in Philippe Marion?s words, it is a style "made out of light, fluidity and limpid clarity". By cataloguing and critically analysing clear line comics from historical and theoretical perspectives, this book offers a new outlook on the development of the style in the 20th and 21st centuries, especially focused on the context of the European "bande dessinee". In addition, it pioneeringly expands the concept of "clear line" to other artistic domains by introducing and defending its transmedial use, which is particularly relevant for the understanding of the oeuvres of certain filmmakers of the 20th century working in the postwar period, such as Yasujirô Ozu in Japan, Jacques Tati in France and Frank Tashlin in the United States. 'The Clear Line in Comics and Cinema' is therefore a key theoretical work for both "bande dessinee" enthusiasts and comics scholars, as well as a fundamental contribution to present-day film studies and transmedial narratology.

Contents:

Cover

Contents

Acknowledgements

Introduction

Part One: Clear Line Comics

Opening remarks

Chapter 1: Hergé's clear line

From Totor to Tintin: Trace and narrative as constraints

The clear line finds its Oriental history

The clear line facing new formats

Chapter 2: The clear line of the École de Bruxelles

Edgar P. Jacobs's naturalist clear line

Between individuality and standardisation: Jacques Martin, Bob De Moor and Roger Leloup

Chapter 3: The clear line after Tintin et les Picaros

The postmodernist clear line: From Tante Leny presenteert! to (À Suivre)

The neoclassical clear line: From Professor Palmboom to Blake and Mortimer 2.0

Philip, Francis and friends: Contemporary parodies and pastiches of the clear line

Closing remarks

Part Two: Clear Line Cinema

Chapter 4: Cinema as a graphic-verbal medium

Film's media combination: A theoretical perspective

Film's media combination: An analytical perspective

Film's media combination: A stylistic perspective

Chapter 5: Clear line cinema

"Dire juste": Density, simplicity and stylisation in cinema

A few directions for a history of clear line cinema, from Louis Lumière to Wes Anderson

Part Three: Case Studies

Chapter 6: Yasujirô Ozu

Ozu's clear line frame composition and storytelling strategies

Red teapot, yellow teacup: Clear line colouring in Ozu's late films

Chapter 7: Jacques Tati

This fits here, that fits there: The clear line in the Hulot comedies

Minimal sounds for maximal effects: Remarks on Tati's clear line soundscapes

Chapter 8: Frank Tashlin

Tashlin's clear line ink: Comics, advertisements and animation

The clear line at the service of comedy in Tashlin's feature films

Closing remarks.

For a transmedial use of the concept of "clear line": A conclusion

Sources

Notes.

Notes:

Description based upon print version of record.

Includes bibliographical references.

Description based on publisher supplied metadata and other sources.

ISBN:

94-6166-731-0

94-6166-443-5

OCLC:

1334104364

Publisher Number:

10.11116/9789461667311