Abstract

MEYER, Jean-Paul. Do romance à história em quadrinhos: dupla restrição da transposição narrativa. LTP [online]. 2016, vol.34, n.67, pp.39-50. ISSN 2317-0972.  https://doi.org/10.5965/0102-387Xv34n672016050.

For a comic book author, adapting a novel is a paradoxical operation. This one implies to keep the narrative’s linear appearance, while representing things in a series of simultaneously perceived picture frames. A challenge that leads us back to the broader issue of visual storytelling. Let’s consider the sequence of narrative pictures is - like a novel - a modern form of the epic genre. In both of them, the story involves the imitated representation of characters into discourse. Thus, the picture narrative is representation of events, marked by linearity, succession and transformation. Because comic books have their own logic, these principles will somehow suffer some strain: the narrative proceeds from the constant oscillation between identity and difference in juxtaposed pictures, and its reading proceeds from one image to another through the linking of represented utterances. The transposition of a novel brings to this constraint a further double bind, marked by the opposition between arrangement and composition. On one side, the enunciative arrangement of frames and balloons weaving the source text and on the other, the iconic and frame compositions reflecting a new visual narrative. The example of Sans famille (by Hector Malot) adapted by Yann Dégruel shows that this layout/composition couple is indeed a productive constraint.

Keywords : Cartoons; Adaption; Narrative; Tension; Linearity.

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