By Morris, Rene Goscinny
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4 Similarly, even though graphic narrative is not photorealistic, the choice of panel size and perspectival angle may be described productively by using the terminology of film studies, as Hans-Christian Christiansen (2000) has shown: close-ups, panoramic shots, and birds’ eye views, as well as specific ways of composing shots in a sequence by means of editing and montage have established meanings and functions in film narrative which graphic narrative here productively adapts. This should not surprise us since it is, according to Marshall McLuhan, a rule of media history that “[the] content of a movie is a novel or a play or an opera” (1964: 31).
Because of its manifold prolepses and analepses and the inclusion of dream and fantasy sequences whose meaning often only becomes clear much later in the narrative, a linear understanding of sequentiality that sees a single panel mainly in a syntagmatic relationship with the previous and subsequent panel but does not account for the ways in which panels speak to each other across pages and entire chapters would be too reductive. Zooming In and Out: Panels, Frames, Sequences 41 Braiding, Repetition, and the Memorable Panel More productive than the doctrine of sequentiality is Thierry Groensteen’s (2007) theory of braiding, which argues that graphic narrative puts every panel in a potential, if not actual, relation with every other.
Print. Lefèvre, Pascal (2000). p. Web. — (2011). ). Graphic Narratives and Narrative Theory. 1: 14–33. Print. Marion, Philippe (1993). Traces en cases. Louvain-la-Neuve: Academia. Print. McCloud, Scott (1993). Understanding Comics: The Invisible Art. New York: Harper Collins. Print. McLuhan, Marshall (1964). Understanding Media: The Extensions of Man. New York: Signet. Print. Meister, J. Christoph (2003). Computing Action: A Narratological Approach. Berlin: De Gruyter. Print. Metz, Christian (1974).