eprintid: 10194913
rev_number: 7
eprint_status: archive
userid: 699
dir: disk0/10/19/49/13
datestamp: 2024-07-19 17:37:25
lastmod: 2024-07-19 17:37:25
status_changed: 2024-07-19 17:37:25
type: article
metadata_visibility: show
sword_depositor: 699
creators_name: Trifonova, Temenuga
title: Nouvelle manga and cinema
ispublished: pub
divisions: UCL
divisions: B03
divisions: C01
divisions: K22
keywords: Cinema; global art; nouvelle manga; nouvelle vague; storytelling; visual turn
note: This version is the author accepted manuscript. For information on re-use, please refer to the publisher’s terms and conditions.
abstract: This article argues that drawing in comics is, fundamentally, a narrative process. Thus, the turn in comics away from the literary, towards the visual arts (especially cinema) has also been a result of comic artists aligning their visual aesthetics with new innovative narratives: the
 visual turn is not merely a rejection of the literary or textual aspect of comics but a readjustment to new non-sequential narratives (like those of the nouvelle vague). Only in this way can we explain the paradox that nouvelle manga's self-proclaimed interest in storytelling over illustration
 does not seem to fit with the general critical agreement about a 'visual turn' in comics since the early 1990s. To call nouvelle manga 'cinematic', then, is to refer not only to particular visual techniques that we have come to associate with cinema, but also to a particular type of storytelling
 characteristic of the nouvelle vague and of Japanese cinema. There are undeniable similarities between nouvelle vague's episodic narrative structure and what David Desser calls 'the classical paradigm' of Japanese cinema, best exemplified by Ozu's films whose narrational mode Desser compares
 to Kabuki plays and Japanese novels. Ozu's films disrupt narrative linearity, stress spatial manipulations, rely on temporal ellipsis, employ an episodic structure and avoid climactic moments to explore the mundaneness of daily life. Frédéric Boilet, author of the Nouvelle Manga
 manifesto, wanted nouvelle manga to use the everyday stories of Japanese manga to counterbalance the excessive emphasis on illustration he found in French BD. Paradoxically, however, the incorporation of everyday stories does not result in a greater emphasis on storytelling; just the opposite:
 in fact, nouvelle manga's loose, episodic narrative or lack of narrative has served to refocus attention on the visual plane.
date: 2012-08
date_type: published
publisher: Intellect
official_url: https://doi.org/10.1386/stic.3.1.47_1
oa_status: green
full_text_type: other
language: eng
primo: open
primo_central: open_green
verified: verified_manual
elements_id: 2289504
doi: 10.1386/stic.3.1.47_1
lyricists_name: Trifonova, Temenuga
lyricists_id: TDTRI35
actors_name: Zahnhausen-Stuber, Petra
actors_id: PMZAH20
actors_role: owner
full_text_status: public
publication: Studies in Comics
volume: 3
number: 1
pagerange: 47-62
issn: 2040-3232
citation:        Trifonova, Temenuga;      (2012)    Nouvelle manga and cinema.                   Studies in Comics , 3  (1)   pp. 47-62.    10.1386/stic.3.1.47_1 <https://doi.org/10.1386/stic.3.1.47_1>.       Green open access   
 
document_url: https://discovery.ucl.ac.uk/id/eprint/10194913/1/Trifonova_Nouvelle_Manga_and_Cinema%20ACCEPTED%20VERSION_.pdf