Barros, D: The Clear Line in Comics and Cinema: Studies in European Comics and Graphic Novels
Autor David Pinho Barrosen Limba Engleză Paperback – 3 iul 2022
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Specificații
ISBN-13: 9789462703209
ISBN-10: 9462703205
Pagini: 266
Dimensiuni: 173 x 230 x 20 mm
Greutate: 0.61 kg
Editura: Leuven University Press
Seria Studies in European Comics and Graphic Novels
ISBN-10: 9462703205
Pagini: 266
Dimensiuni: 173 x 230 x 20 mm
Greutate: 0.61 kg
Editura: Leuven University Press
Seria Studies in European Comics and Graphic Novels
Notă biografică
David Pinho Barros is a researcher, curator and assistant professor of literary, cultural and interart studies at the Faculty of Arts and Humanities of the University of Porto.
Cuprins
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
Opening remarks
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
Closing remarks
Part Three: Case Studies
Opening remarks 153
Chapter 6: Yasujirô Ozu
Ozüs clear line frame composition and storytelling strategies
Red teapot, yellow teacup: Clear line colouring in Ozüs 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
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
Opening remarks
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
Closing remarks
Part Three: Case Studies
Opening remarks 153
Chapter 6: Yasujirô Ozu
Ozüs clear line frame composition and storytelling strategies
Red teapot, yellow teacup: Clear line colouring in Ozüs 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