Banda Desenata/Comics

Acasă Discuții Studii Banda Desenata/Comics

Acest subiect conține 82 de răspunsuri are 7 voci și a fost actualizat ultima dată de _Maxim _Maxim acum 4 ani, 6 luni.

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  • #541 Răspuns

    Sanki
    Participant

    noua generatie inseamna, fireste, „alternativ” (nu se mai zice „underground” pentru ca e mai just si mai cuprinzator si mai de inteles…hm?), asa cum Eugen si Tudor folosesc un suport inedit (pentru vechea generatie :D), netul, blogul li-e prieten, asa cum si alternativ este si grafismul lui „Fredo & Pid’Jin”, ca si limba folosita… ca si…

    Mesagerii razbelului
    Eugen Erhan si Tudor Muscalu vorbesc pentru „Suplimentul de cultural“ despre BD-ul care i-a facut celebri: „Fredo & Pid’Jin“

    Va salut din spatele tabletei grafice. Io-s Eugen si desenez de cand ami pot aminti chestii.
    In timpul liber fac comics si alte prostii, an timpul neliber lucrez an publicitate. Pe acte scrie ca am voie sa fac design, dar mai abitir imi place sa fac animatie. Am terminat facultatea an 2003, iar acum am reinceput-o, dar de cealalta parte a baricadei. Imi plac animalutele malefice.

    Buna! Eu sint Tudor, in viata reala fac arhitectura, imi plac desenele animate, benzile desenate, mai ales cele europene, imi plac jocurile pe calculator old school, jocuri pe care le jucam cand eram mic. Eu cred ca o viata distractiva are multe farse si neprevazut. Colectionez desenele lui Eugen si stranepotii mei o sa fie astfel foarte bogati. Iubesc Bucurestiul si Manhattan-ul si Haga – si sper ca Bucurestiul va avea multe cladiri inalte si
    frumoase, si oamenii se vor bucura intr-un fel nou de el. Daca castig o sa promovez pacea si prosperitatea pe pamint in timpul care ne-a ramas. The End.

    Se descriu ca un cuplu de comici ca Asterix si Obelix, Stan si Bran etc….Fredo si Pid’Jin… Un strip online de urmarit ca si stripurile lui CIubi de pe blogul sau…Intram iar in alta poveste. Vine si randul ei…
    http://www.supliment.polirom.ro/images/pdf/094_National.pdf
    a, tot acolo este si guru al Undergroundului romanesc (contraculturii), Stefan Tiron!
    „Underground-ul e hranit cu lucruri aruncate la gunoi“ (Interviu realizat de Cristi Neagoe)
    Dar ne indepartam de subject.

    #542 Răspuns
    _Maxim
    _Maxim
    Participant

    Maine (sambata 20 octombrie) dupa siesta (orele 16.00), TvrCultural si asociatia Jumatatea plina va prezinta: Benzi desenate!

    Un punct de vedere partial 😉 asupra celui mai mare festival de banda desenata din vecini: Festivalul de la Angouleme/Franta

    Si daca il vedeti, un mic de feedback?

    1. Gandindu-va la banda desenata, prezentata prin intermediul acestui film documetar, ati vrea sa cititi (mai multa)?

    a. complet de acord
    b. sunt de acord in general
    c. nu sunt de acord in general
    d. nu sunt deloc de acord
    e. nici de acord, nici impotriva

    2. In ce masura a fost influentata impresia dvs. despre banda desenata ca urmare a vizionarii documentarului Benzi desenate! la TVRCultural?

    a. a fost mult influentata in bine
    b. a fost influentata in bine
    c. a fost influentata in rau
    d. a fost mult influentata in rau
    e. nu s-a schimbat

    sondajele for fi analizate de masina zer0management cultural din dotarea asociatiei JPL

    Vizionare placuta
    Octav Avramescu
    rf.oo1544559474hay@u1544559474cneci1544559474varpa1544559474irama1544559474na1544559474

    #543 Răspuns
    _Maxim
    _Maxim
    Participant

    The Sequart Manifesto
    Sequential Culture #19 by Julian Darius
    What do we call our medium? The most common answer is „comics.” Some would say otherwise, offering „comics,” „the ninth art,” or „sequential art.” Others abroad would say „manga” or „les bandes-dessinés.” All, however, are fraught with problems. And those problems inform how we think — and write — about the medium we so love.

    Comics
    That’s why comics have the same name as the profession practiced by Jerry Seinfeld. Because a comic strip — like Peanuts — has a gag in the last panel.
    Know why they’re called comics? Because before they were comics, they were comic strips. As in „see you in the funny papers.” That’s why comics have the same name as the profession practiced by Jerry Seinfeld. Because a comic strip — like Peanuts — has a gag in the last panel.

    Now, ask yourself if this is the right name for the medium that includes Watchmen, From Hell, and Jimmy Corrigan.

    „Comic books” is hardly an improvement. Forget that what the term signifies is a pamplet likely running 32 pages, or 20 to 24 once you discount the ads. „Comic books” means „humorous books.” In other words, comics are neither comic nor books, and while we in our ghetto of sub-literary respectability might appreciate the „high” culture cache of the „book” appendage, we surely can’t do anything but scoff or cringe at the term „comic.”

    Many of us, habituated to this term, may well object to the thought of changing it. And perhaps, once one is educated about the medium, one no longer consciously thinks of stand-up comics and three-panel strips terminating in a boy falling down or some other such dignified maneuver. Perhaps, on the other hand, we too are victims of the associations of the word. Words have power. They connote against our will. Every time we speak or write or think the name of our beloved medium, we give voice to our own limitations as a medium, if not to our own subjection.

    No wonder we seem to hate ourselves so much. No wonder we champion trade paperbacks even collecting the most disposable, fluffy, insular, poorly written and poorly illustrated tripe: even the worst trade paperback emphasizes the „book” of „comic book.” No wonder so many of us hope comics will become „cool” like skateboarding or video games, as if a youth habituated to Enter the Matrix might easily segue into a pamphlet containing part six of a storyline that reveals that the underwear-clad villain seen to die four years ago actually survived through his powers, which take a paragraph to explain.

    Even if we do not unconsciously carry the negative implication of „comics” with us as people who love and study the medium, we can certainly expect others to. The fact remains: hearing or reading the word out of context leads to alternative meanings at best based on genre and at worst based on disposability. Comic strips are made to be thrown away, and comic — funny – movies do not win Oscars because they are seen as — and often are — fluff.

    That’s what we’re saying about our medium every time we say that dreaded word: Comics.

    And that’s what others are hearing. As an undergraduate, I talked to one of my mentors about my love for the medium. In the interest of full disclosure, he was a traditionalist, a student of the classics; on the other hand, he believed in popular culture even if he looked down on most of it, and he felt that new scholarly trends had their place, however secondary to learning the great swaths of history and art. He was an open-minded traditionalist (a description that I might also claim). His response to my explanation of comics, of its great works and of it as a medium rather than pamphlets featuring super-heroes, was to say that we needed a new word. „What you’re describing is fine,” he told me, „but it’s not comics.” And his perception of comics wouldn’t change.

    If that anecdote provided a „high” cultural response to the word, what follows is a popular one. While first a graduate student, I frequented a comic book shop called Campus Comics. They got occasional phone calls asking who was performing that night — or whether the show would be appropriate for children. These were not prank calls but honestly confused people — people rather disappointed to hear that a visit to Campus Comics would mean, instead of rowdy humor, the purchase of pamphlets and books featuring Superman and Spider-Man. This gave the store’s owner a good laugh, but we recognized the inherent sadness of these occurrences as we shared conversations out of love for a marginalized medium we knew to be glorious.
    How can we talk about how comics are capable of powerful drama when the two are so staunchly juxtaposed in the public consciousness, complete with their own sections in video (and now DVD) rental stores?
    How can we talk about how comics are capable of powerful drama when the two are so staunchly juxtaposed in the public consciousness, complete with their own sections in video (and now DVD) rental stores?

    Perhaps the word can be redeemed, „taken back” in the way homosexual activists have „reclaimed” the word „queer.” „We’re here, we’re queer, get used to it” has provided an exemplar for subsequent attempts to „reclaim” words. And, indeed, this is de facto the path that we’ve been following with comics: „Comics is Watchmen,” we say. Here, take Maus; „they gave a Pulitzer Prize to a comic.” But „comics are really a medium” has had less cultural penetration than „We’re here, we’re queer, we’re comics-lovers.” And, thanks to The Simpsons, comics-lovers are too often portrayed as polybag-wielding snobs one step away from Star Wars fans waiting overnight, in line in the cold, debating trivia of the films that seem to comprise their entire body of knowledge.

    It may be, ultimately, that „comics” can be redeemed. But the word will never lose its associations with comedy even as people forget the gag strip and disassociate comics from super-heroes. „Queer” meant odd before it meant gay, and this original definition has been preserved in queer theory, which associates homosexuals with counter-culturalists — or even equivocates between the two. But „comics” doesn’t mean odd; it means funny. And that definition of „comic” is considerably less likely to go away than „queer” meaning odd.
    Comics has expanded from the comic strip to the comic book and, more recently, the graphic novel — and now, problematically, to online comics. The name still indicates only comic strips or, perhaps, comic books. It’s like insisting upon calling novels „poetry” because they descended from poetry.
    So, it seems, we need a new word. And we’ve known it for some time. From „comix” to „sequential art,” we have tried to find one — unsuccessfully. What we’re looking to signify is the medium itself, not any particular format. Comics has expanded from the comic strip to the comic book and, more recently, the graphic novel — and now, problematically, to online comics. The name still indicates only comic strips or, perhaps, comic books. It’s like insisting upon calling novels „poetry” because they descended from poetry. What we’re looking for a term like „motion pictures” that includes film or cinema (silent and with sound), animation, television, and online movies.

    Comix
    „Comix” was originally used as an alternative to express the avant-garde nature of 1960s underground comics (like Robert Crumb’s). The term is alive today online and in print, though almost exclusively by those privileging the black-and-white, non-super-hero inheritors of the 1960s underground tradition. The term has the advantage of keeping the pronunciation and approximate form of the dominant term for the medium, making for an easier transition, while simultaneously expressing the different meaning in its printed form — thus reinforcing the printed nature of comics instead of speech.
    „Comix” smacks as yet another attempt to make something seem cool by spelling it differently in a culture in which this is all too frequent: just think of rappers names to see what I mean. Today, „comix” sounds like it wants to be used in sentences with „dawg” or „boyz.” Even in the 1960s, it was a cheap gimmick.
    But the term’s advantage of being closer to „comics” is also its great liability. It sounds like „comics” — and while this lets us say „comics” without any mental adjustment, our listeners still hear a word associated with sitcoms. And I’m not even sure that people wouldn’t call Campus Comix to inquire about the show. Worst of all, however, is that „comix” today smacks as yet another attempt to make something seem cool by spelling it differently in a culture in which this is all too frequent: just think of rappers names to see what I mean. Today, „comix” sounds like it wants to be used in sentences with „dawg” or „boyz.” Even in the 1960s, it was a cheap gimmick.

    I love to play on this fact by casually asserting that those who use the term of using it to express their love of the X-titles that lamentably dominate comics, complete with an „X” being attached to everything, e.g. the title X-Treme X-Men or Professor Xavier’s original reason for calling his team the X-Men — their „X-tra power!” This, of course, drives the indy-minded „comix”-lovers crazy, but it makes my point that such respellings are not only commonplace today but decidedly against the cultural strain the very term seeks to cultivate.

    Then there are more basic problems. Presumably, „comix” is both the singular and plural form. And we loose the good connotations of „book” in the already problematic exchange. So let’s abandon the term.

    The Ninth Art Comics are also called „the ninth art” — a tempting possibility at first reading. This term has particular cache with intellectuals. It is used in Europe in particular and is translated into French as le neuvième art. It is even the title of a fairly prominent comics website — one, like Sequart.com, with more sophisticated intensions.

    The term goes back to the early Italian film theorist Ricciotto Canudo, who in the early 20th Century defined the seven arts as follows:
    architecture
    music
    painting
    sculpture
    poetry
    dance
    cinema

    In 1964, Claude Beylie seized on this list, adding two new arts:
    television
    comics

    Some have speculated adding the world wide web as a tenth.
    All of this was fairly stupid stuff.
    All of this was fairly stupid stuff. Assuming that we take painting to mean all (ostensibly) two-dimensional single-image artwork, including those in other media (such as drawing and textured mixed media), we must also take poetry to mean all literature, including prose from short stories to novels — as well as, to be fair, non-fiction. Television, of course, should be collapsed with cinema as motion pictures, the difference being one of technology — all the more apparent as we move into the digital world. Not to mention that the arts, while numbered, were never listed in a thoughtfully chronological order: thus, it makes little sense to refer to comics as the „ninth art.”

    It is worth noting that this 20th-Century list had a classical predecessor in nine Greek muses with their particular domains:
    Calliope, the muse of epic poetry
    Euterpe, the muse of lyric poetry
    Erato, the muse of love poetry
    Polyhymnia, the muse of sacred poetry
    Terpsichore, the muse of choral songs and of dance
    Melpomene, the muse of tragedy
    Thalia, the muse of comedy
    Clio, the muse of history
    Urania, the muse of astronomy

    Note how poetry is separated into various categories: epic, lyric, love, and sacred. Of course, prose and the novel had not yet been invented as such, while poetry was typically written without line endings and meant to be spoken more than read. All literature came from what we now consider poetry, and Neil Gaiman logically used Calliope as the muse of novelists in his The Sandman (#17). . Like poetry’s distinctions, drama is separated into tragedy and comedy. Of course, while tragedy always had some upsides despite its sobriety, comedy was a more bawdy affair than it became. History was considered an extension of literature. Astronomy, today a science, was considered an art and was filled with esoteric notions closer to what we call astrology today. Still, the list is woefully inadequate for us today (though I prefer to think of this as a result of there being more muses that lay undiscovered or uninvented). It is no less arbitrary than the list that results in comics being the „ninth art.”
    Not to mention that „the ninth art,” while simply inaccurate in its numbering, is a generic, meaningless name. It’s like calling film / cinema „the seventh art,” as in „I went to see a movie yesterday. I really love the seventh art.”
    Not to mention that „the ninth art,” while simply inaccurate in its numbering, is a generic, meaningless name. It’s like calling film / cinema „the seventh art,” as in „I went to see a movie yesterday. I really love the seventh art.” As long as no one calls the other media by their numerals, calling comics by its (arbitrary) numeral makes no sense.

    Manga
    Manga are what the Japanese call their comics. While „manga” has become a term used in America and Europe to mean „Japanese comics” (and is thus not italicized), the term in Japan is generic. We might think about adopting this word as a generic in English, though it would create confusion today that it wouldn’t have a few decades ago, when manga was all but unknown in the U.S. Today, manga titles are routinely among the top-selling U.S. titles and comics from almost all publishers are touted as manga-influenced — or even just as manga. So the term has a meaning already, one that would be lost were it to be adopted.

    But there are deeper problems with using the term as a generic in the U.S. One is the irony of using a Japanese term for a medium with an independent evolution in America. Some tout the medium as somehow distinctly American, though it depends on how one defines the origins of that medium.
    Like „comics,” the term has problems all its own, even in Japanese. The term manga can be translated as „irresponsible images” — it is just as much a pejorative.
    Like „comics,” the term has problems all its own, even in Japanese. Much as „comics” signify three-panel gag strips, the term manga can be translated as „irresponsible images” — it is just as much a pejorative. „Irresponsible images” which might today connote coolness to some, but this is hardly the public face one wants for an entire medium.

    Les Bandes-Dessinés
    Along with the U.S. and Japan, France is the nation that produces the most comics: it is also the nation that accord the most high class respect to comics. Whereas comics are marginalized in the U.S., and more acceptable but still popular and (literally printed to be) disposable in Japan, comics in France are typically hardbound editions of lesser length. French comics not only have the highest production values of any nation’s comics, but they have the artwork most like high art. This would seem for many comics-loving intellectuals in the U.S. to be a promised land, and its term for comics is worth consideration here.
    Like „comics” and „manga,” this is itself a problematic term. Literally translated as „drawn-strips,” this invokes the comic strip rather than the comic book or graphic novel. Although a generic term for the medium, the term explicitly refers to the same horizontal comic strips recalled by the term „comics” — however much we may be grateful that the term does not intrinsically insult those strips.
    The French call their comics les bandes-dessinés — or BD. Like „comics” and „manga,” this is itself a problematic term. Literally translated as „drawn-strips,” this invokes the comic strip rather than the comic book or graphic novel. Although a generic term for the medium, the term explicitly refers to the same horizontal comic strips recalled by the term „comics” — however much we may be grateful that the term does not intrinsically insult those strips. Nonetheless, comics have evolved into a medium embracing both comic strips and extended graphic novels — not to mention photo-comics (not dessiné) and computer-manipulated comics (not really dessiné either) — and the term les bandes-dessinés fails as a result. BD is little better, recalling the term that it abbreviates much as „comix” does.

    Sequential Art
    Will Eisner — known as the grand old man of American comics — responded to the problem of his medium’s name by deriving the new term „sequential art,” promulgated in his lectures and writing on the medium. This, then, was a term explicitly connoting the medium as opposed to a specific form of that medium, like comic strips. Implicitly defining comics as images arranged in deliberate sequence, the term „sequential art” is now well-known by American (and some European) literate comics readers.

    Eisner advocated the term „sequential art” only briefly, focusing on techniques of storytelling in comics designed for the aspiring artist. The implications of this definition were left to Scott McCloud, who explored the topic in his seminal Understanding Comics. An consideration of the medium itself and its definition, Understanding Comics offered a more thorough and intellectual consideration of the term, looking at precursors to the comics strip, preferring a broad definition and honestly admitting what it (problematically) left out (single-panel comics of the New Yorker variety), brilliantly delineating the difference between comics and film, categorizing types of panel-to-panel transitions, and speculating about issues of reader identification and the style of representation best suited to the medium. This was, without a doubt, the first mature theorist of the medium, exerting tremendous influence — and this grand accomplishment was enhanced remarkably by his theorizing in comics form, a one-up upon film theorists. If McCloud’s follow-up Reinventing Comics failed to have the same influence — offering instead speculations about new kinds of comics and advocating new forms of online comics, to which McCloud subsequently devoted himself — this does nothing to alter the accomplishment of Understanding Comics. McCloud did nothing less than cement the concept of comics as sequential art — if not the term — at the heart of literate thinking about the medium.
    „Sequential art” is not exactly correct, strictly speaking, nor does it as a combination of a priori English words evoke a full and distinct medium. It conjures to mind various possible meanings as a result, such as a series of paintings or a serialized novel — a more pleasant alternative to invoking Saturday Night Live but nonetheless in error.
    Even if the theories are fairly sound, „sequential art” has problems as a term. Its very precision makes it feel anticeptic, like saying homo sapiens for humans. At the same time, it lacks the level of precision that we attribute to a species: as McCloud pointed out, film is (or, more precisely, „motion pictures” are) also sequential art — just with its images separated by time instead of by space. „Sequential art” is not exactly correct, strictly speaking, nor does it as a combination of a priori English words evoke a full and distinct medium. It conjures to mind various possible meanings as a result, such as a series of paintings or a serialized novel — a more pleasant alternative to invoking Saturday Night Live but nonetheless in error.

    Sequart
    Despite its flaws, „sequential art” as a term for the medium itself would seem the best of the varied alternatives available. It at least tries to evoke the medium itself — much as „motion pictures” does – even if it fails to do so precisely, and „static sequential art (also including single-panel cartoons?)” does not exactly roll off the tongue. Still, „sequential art” is better than „comics” or its derivative, „comix.” It is better than the catastrophically flawed list of artforms that results in calling comics „the ninth art.” So too is „sequential art” better than adopting the problematic foreign alternatives of „manga” or les bandes-dessinés. But „sequential art” remains inadequate, the lesser of available distortions if not evils.

    We need a new word. Something not already in the dictionary or a combination of words that are. A new word can mean exactly what we want it to mean. It can evoke the medium of comics rather than just comic strips or ambiguous notions like „sequential” artwork — or, worse than that, comedians. Only a new word can take in what we want it to take in without the baggage of preconceived notions.
    I would like to propose that this has a simple solution. If „sequential art” is the best, simply shorten it to „sequart.” It is a strange little word, to be sure. But it is a short two syllables — not the many of les bandes-dessinés or „sequential art.” It is as weird and strange and curious as „comix.” And it has the word „art” in it.
    I would like to propose that this has a simple solution. If „sequential art” is the best, simply shorten it to „sequart.” It is a strange little word, to be sure. But it is a short two syllables — not the many of les bandes-dessinés or „sequential art.” It is as weird and strange and curious as „comix”: if it sounds odd, it hopefully provokes its questioning, which leads to a brief explanation like „the medium of comic books rather than their form, like motion pictures as a generic term is to films on celluloid and to TV — it’s static images arranged in a sequence of panels, from comic strips in newspapers to lengthy graphic novels, from Batman to obscure works experimenting with the medium itself.” The „q” has the exotic nature of the „x” in comics without being phony. And it has the word „art” in it.

    Sequart is the medium of The Sandman. Of Chris Ware. Of Peanuts and Doonsbury. Of McCloud’s online comics and of the stations of the cross. And, if you like, of New Yorker cartoons. But not of the sequential, temporally-separated imagery of motion pictures.

    With „sequart,” we do not lose the terms we have come to love. We can still refer to the „comic book” and the „graphic novel.” „Comics” refers to more than one comic book or strip. „Trade paperbacks” and „graphic novellas” refer to types of graphic novels, the delineation still in debate. Those are all equally problematic terms. But they refer to format and not the medium itself. And we can keep them, warts and all. Which means keeping our familiar „comics” too. But not using it for both the pamphlet format that sequart sometimes takes and for the medium itself — the latter of which we now have a term for.
    Sequart may not become the dominant term, but using it makes a point about our medium. It gets us to think better about ourselves, to avoid limiting ourselves to particular types or incarnations of sequart. It makes the point that we have a medium, in an of ourselves, that warrants all the respect of any other.
    Sequart may not become the dominant term, but using it makes a point about our medium. It gets us to think better about ourselves, to avoid limiting ourselves to particular types or incarnations of sequart. It makes the point that we have a medium, in an of ourselves, that warrants all the respect of any other.

    Appendix: Motion Pictures Although the above essay seeks to define sequart exclusive of moving images, the two media are closely connected — as Scott McCloud has pointed out. I have used „motion pictures” as the all-encompassing term for that related medium, encompassing film, digital feature „films” in theatres, animation, television broadcasts, and online animation or „films” — just as sequart takes in comic strips, comic books, trade paperbacks and graphic novel(la)s, and static online comics. But it should be pointed out that „motion pictures,” while superior to „comics” or its past alternatives, suffers the problem of also meaning feature „films” — creating confusing when using „motion pictures” as the name for the medium itself. Formats are also an issue: films refers to the celluloid used to project films in much the same way that comics refer to comical strips with a few panels of funny story — both were a past form of the medium. „Feature” films have a similar problem, designating long length — the book or graphic novel of the medium; the term „feature,” however, derives from the fact that short films preceded the „feature presentation” in movie theatres. „Theatres” even refers to the usage of dramatic theatres as places to project movies.

    „Cinema” is sometimes used as the generic term for the medium, though it also sometimes refers to „films” — or „features.” A highbrow term beloved by Academe, „cinema” is applied to short projected films more readily than television — it is a term for the medium when one wants it to be, and a term for „films” when one wants to make an elitist distinction. Nonetheless, the term is probably best for the medium of moving images as a whole.
    We might propose that we show the relationship between sequart and cinema by speaking and writing of cinema as „motion sequart.” After all, sequart preceded cinema: the ancestors of the two media are the same, and they did not move.

    On the other hand, we might propose that we show the relationship between sequart and cinema by speaking and writing of cinema as „motion sequart.” After all, sequart preceded cinema: the ancestors of the two media are the same, and they did not move.

    Flip-books, like the one I remember from childhood with a hundred pages or so of a naked woman from the side growing more and more pregnant, are sequart. Read them a page at a time, and they remain sequart: one long, small comic book or graphic novella without scene transitions and with a single panel per page, printed only on one side of the page. Flip the pages and you turn this sequart into motion sequart: the pages occupy the same space, relatively speaking, and the eye creates the illusion of movement through the phenomenon known as „persistence of vision.” Images separated in space, as one turns page after page, become images separated by time.

    The same is true for celluloid. A reel of film is sequart, however boring because of its repetition. The frame is the panel. Project it at sixty frames or so per second, and you get motion sequart — as panels separated by space become frames separated by time.
    „Motion sequart” reminds us that we are related media, our border sometimes as thin as a child running his thumb along the edge of a book.
    „Motion sequart” may never win over the film crowd any more than „sequart” entirely wins over comics-lovers, but it makes similar points. It reminds us that we are related media, our border sometimes as thin as a child running his thumb along the edge of a book.
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    http://www.sequart.org/columns/?col=2&column=245

    #544 Răspuns
    _Maxim
    _Maxim
    Participant

    „Bandes Dessinees” (Benzi desenate) este un termen mai tehnic-formal: o scriere din propozitii-benzi, apropiat de „Comic strips” (benzi comice) prescurtat „Strips”, care da seama explicit doar de forma (si fondul „neserios” ca sintagma) si implicit (prin uzaj in contexte definite intr-o suficienta forma simplificata) si de tehnica (desen)…

    BD, ca mijloc generos de expresie, devine categorie editoriala daca determina „album”, „revista”, „fanzin”, „site”, „blog”…

    COMICS, element de jargon in fapt, face la fel daca este golit de sensul „neserios/caraghios”
    Categoria editoriala „Comic book” inca mai pastreaza o conotatie „facila” cu toata „seriozitatea” lecturii organizate in „book” (caiet/carte), dar cu „Graphic Novel” (echivalentul onorabilului „album de bandes dessinees’), apare o specie noua care scapa de elementul peiorativ, care exista si in franceza si in japoneza. Termenul este dat din „interiorul” breslei 😀 8)

    „Manga” da seama de „BD” in maniera japoneza (grafism si perceptie specifice, inclusiv lectura „inversa”) dar si de categoria editoriala. Mai simplu.

    Specificitatile acestea nu explica partizanatele, care pot disparea pe o piata libera. Inca nu e cazul. Comicul are o piata tare in Americi, Manga in expansiune, inghitita de marketingul instinctiv american, inghitita fara masura in Europa, unde Banda Desenata, mai maleabila, rezista 😛

    Pentru a face o ordine teoretica, prin stabilirea unor repere, terminologii, unei gramatici generative si unor elemente generice s-a ajuns la „Sequential Art” 🙄 , unde le regasim pe toate cele de mai sus…dar intrezarim si altele…Si s-a dus naiba ordinea, teoretic si practic! 😈

    #545 Răspuns

    DreamWave
    Participant

    Eu sunt curios cum se pronunta „sequart” astfel incat cei cu care vorbesti sa inteleaga ce zici fara sa repeti de n ori.. :mrgreen:

    latina: Seqvartvm, romana: o secvart?, doua secvarte 😛

    #546 Răspuns
    _Maxim
    _Maxim
    Participant

    Sequart (n.) — seh-kwart — the artistic medium of sequential static imagery, whatever its composition, typically combined with text. The term is employed to distinguish the medium itself from particular genres and formats, such as comic books or graphic novels. „Sequart’s diversity may be seen from Peanuts to Spider-Man, from product manuals to the Stations of the Cross.” 8)

    #547 Răspuns

    Sanki
    Participant

    @sanki wrote:

    I Yahoo results:
    A. pentru „BD”
    1. BD medical supplies, laboratory equipment, research and diagnostic products (NYSE: BDX)
    2. BD Biosciences
    …?!

    B. pentru „Banda desenata”
    Did you mean: Banda desenhada? (ntz!)
    1. Gallery :: Olly :: banda_desenata
    KIDLINK
    D? putere copiilor sa construiasca o retea globala de prieteni 2. Computer Games Forum – Search Results
    … A aparut Carusel, revista de banda desenata! A aparut Carusel, evista de banda desenata! 96 de pagini, 65.000 lei …I
    N SFARSIT!

    C. pentru „Banda desenata”
    1. Tinerii constanteni au asaltat Salonul de Banda Desenata
    mda, de actualitate, de pe site-ul ziarului constantean Cuget liber
    2. Portia zilnica ” Blog Archive ” Tragically l337
    ?… ia sa vedem despre ce este vorbaaa…
    E vorba de o banda desenata în care sunt prezentate aventurile a doi colegi de camera. Unul dintre ei are o problema destul de mare cu jocurile. Un fel de dependenta cronica. Am râs cu lacrimi aseara, site-ul tinându-ma lipit de monitor cam doua ore. Probabil as fi rezistat mai mult daca nu as fi început sa vad un pic în ceata. http://www.ctrlaltdel-online.com/?t=archives&date=2002-10-23 – începe?i de aici.
    aha, nu e romanesc! mai departe?
    3. LiterNet/Agenda culturala: Cronici
    aha! „cronici”!
    …da, dar la HULK, filmul:
    De multe ori, în Hulk Uriasul, imaginile refuza? sa-si mai astepte rîndul, asa cum se obisnuieste în filme. Ecranul se umple de încadraturi, ca o pagina de banda desenata. Chiar mai amuzant, imaginile sar uneori din propriul chenar si invadeaza alte imagini. La un moment dat, un personaj prins într-o explozie întepeneste în aer si nu-i mai lipseste decît balonasul alb continînd replica „aaaahh!” Regizorul de origine taiwaneza Ang Lee nu se multumeste sa ecranizeze o banda desenata; el încearca sa reproduca, pe ecranele lui multiple, tipul de decupaj si grafica benzilor desenate. Îmi puteti rsspunde cs pe lume exists si teluri mai înalte, iar eu sînt dispus ss vs cred, dar, vs rog, mai aratati-mi, în cinematograful contemporan, un singur personaj ca Lee – un tip care sa se dedice, cu aceeasi curiozitate si aceeasi buna credinta, stilului domnsoarei Jane Austen (cum i s-a dedicat Lee în ecranizarea lui din 1995 dup? Ratiune si simtire) si stilului domnilor Stan Lee si Jack Kirby, creatorii lui Hulk.
    interesant.
    inca una:
    4. dus_intors
    arhitectura, reprezentare, banda desenata
    Stefan Ghenciulescu

    Ca metoda de descriere si de explicare codificata a obiectelor arhitecturale, ca reprezentare, desenul de arhitectura a avut dintotdeauna un caracter static. Ne este prezentat un model al unui obiect in jurul caruia se vor desfasura diferite activitati.
    In acest fel de desen, oamenii si actiunile lor, atunci cind apar, sint redusi la rolul de “anturaj”, de elemente de scara. Dimpotriva, benzile desenate acorda rareori arhitecturii o prezenta mai importanta decit cea de decor al actiunii in desfasurare. Banda desenata, prin insasi esenta sa, nu poate fi altceva decit “o poveste”. Povestile au constituit subiectele predilecte ale tuturor artelor plastice, inca de la originile acestora, fiind insa de cele mai multe ori reduse la cite un cadru, la cite un moment reprezentativ. In cazul benzii desenate insa cadrul singular nici nu are sens in afara unei succesiuni, a unei ordini temporale generale.
    Totusi, pornind de la ilustrarile micilor povestioare moralizatoare din secolul XIX (imaginile din Épinal), banda desenata a ajuns sa dubleze toate genurile literaturii si filmului. Poate ca cel mai interesant si fertil “domeniu de aplicare” il reprezinta asa-numita literatura de anticipatie, unde posibilitatile de reprezentare ale desenului le-au depasit, pina destul de curind, pe cele cinematografice. De altfel, ar fi si greu de gasit filmul SF care sa nu fie inspirat macar in parte, de catre benzi desenate. Seriile “Batman” si “Superman”, precum si decorurile filmului “Al cincilea element”, sint preluate ca atare din viziunile onirice exprimate grafic de catre Moebius sau de catre belgienii Schuiten si Peeters.
    De fapt, in aceasta zona, a modelarii unei alte lumi, se poate constata maxima confluenta intre reprezentarile arhitecturale si cele de tip banda desenata. Inca din Renastere, Utopia sociala nu poate fi despartita de materializarea sa spatiala, ele determinindu-se reciproc. Arhitectura devine personaj cu drepturi depline al naratiunii, iar modelul propus de catre arhitecti ar determina in mod absolut un alt fel de a trai al utilizatorilor.
    Idolatrizarea masinii, a progresului, a miscarii, caracterizeaza utopiile moderniste devenite deja clasice. Insa recuperarea explicita a ideilor si mijloacelor grafice specifice benzii desenate apare, ca parte a fenomenului pop, in manifestele si proiectele delirante ale miscarii britanice “Archigram”. Revigorarea utopiei obosite si aflate in criza, presupunea din partea avangardei anilor ’60, dupa formularea lui Charles Jencks, “imprumutul (furtul) constient de imagini din orice sursa posibila si transformarea lor in forme urbane”. Desigur, orasele – computer, orasele mobile, gonflabile, submarine, sau dezvoltate ca fortarete tehnologice de aparare impotriva robotilor din spatiu, pot sa nu fie luate in serios. De altfel, deriziunea constient asumata reprezinta un aspect intotdeauna prezent al propunerilor. Orasul conceput ca un sistem reglabil de retele si de componente intercalate, insurubate etc., o masinarie vesela si inteligenta, creatie a unor supertehnologii, a parut multora drept un viitor posibil, inuman, si ca atare, inspaimintator.
    Totusi, conceptul de cladire compusa dintr-o structura eroica si componente specializate, precum si imaginea dinamica si spectaculoasa astfel obtinuta si-au dovedit, intr-o oarecare masura, validitatea. In desenele de reprezentare ale arhitectilor apartinind curentului High – Tech, atit de influentat de “Archigram”, oamenii care altadata nu apareau decit ca “oameni-anturaj” precum si echipamentele altadata insignifiante sau chiar ocultate, intr-un cuvint, dinamica de functionare, viata exploziva si evolutiva a cladirii, reprezinta elementele fundamentale ale imaginii. “Piesele” de baza ale proiectului, cele ce-i determina caracterul, nu mai sint nici planurile, nici fatadele, ci sectiunile, carea oscileaza undeva intre imaginea unor diagrame ale unor procese si relatii, si relatari grafice ale “povestii cladirii”. Si este vorba, in acest caz, de conceperea si descrierea unor obiecte realizabile si realizate (vezi Centrul Pompidou din Paris).
    Lasind deoparte reactia viscerala de respingere suscitata multora de acest tip de cladiri, criza generala a utopiei moderniste, repercursiunile distrugerilor planificate si ale constructiilor postbelice asupra oraselor au suscitat, pe linga campaniile generale antimoderniste, si o serie de distopii antipozitiviste si conservatoare, inclusiv in domeniul benzilor desenate. Seria “oraselor obscure”, apartinind autorilor François Schuiten si Benoit Peeters, pomeniti mai sus, este reprezentativa in acest sens. Extrapolind atmosfera si tehnologia sfarsitului de secol XIX, intr-o maniera direct inspirata din opera lui Jules Vernes, precum si din arhitectura Art Nouveau si eclectica, albumele lor, a caror actiune se petrece intr-o lume a unor orase fantastice, exercita o fascinatie aproape irezistibila prin amestecul intre nostalgia frumoaselor timpuri de odinioara si scara magnifica, voit nelinistitoare a unui viitor care ar fi putut exista. Critica absolutista, si de fapt refuzul modernitatii “care a iesit prost”, sugerate, sau cit de poate evidente, in majoritatea albumelor, ar trebui insa privite cu un minimum de circumspectie. Astfel, orasul Brûsel (aluzie cit se poate de transparenta la Bruxelles, capitala greu incercata de modernizarile postbelice), in care zgirie-nori uriasi au inlocuit complet vechiul tesut, se vede asaltat de jungla neiertatoare care sfirseste prin a-l inghiti. Intoarcerea la natura si distrugerea civilizatiei moderne – o totala opozitie fata de masinariile globale ale Archigram-ului!
    In ultimii ani, atitudinea autorilor pare sa fi cunoscut o anumita temperare: François Schuiten a amenajat statia de metrou “Arts et Metiers” din Paris, din imediata apropiere a Centrului cu acelasi nume, imortalizat de catre Eco in “Pendulul lui Foucault”. Spatiul imita interiorul submarinului Nautilius, cu hublouri deschise catre vitrine cu informatii din cultura stiintifica si tehnica de baza. Este cu siguranta una dintre cele mai vesele si incitante statii de metrou din Europa. Poate ca, intr-adevar, principalele elemente comune ale arhitecturii si benzilor desenate le reprezinta visul, poezia si spectacolul. “Learning from comics”, parafraza celebrei formule a lui Venturi, isi are limitele sale: riscul vulgaritatii, exhibitionismului futurist si al populismului consumerist nefiind neglijabile. Tehnologia ca suport al spectacolului si accesului la cultura, in cazul Centrului Pompidou, precum si secolul XIX ca simbol al unei epoci de optimism si urbanitate, transpuse “in chip poetic” ar fi in masura sa contribuie la reconcilierea noastra cu arhitectura, si cu Metropola, in general.

    Intre paragrafe sunt si ilustratii!
    INTERESANT!
    http://virtualia.ong.ro/02/stefan_02_a.html

    #548 Răspuns
    _Maxim
    _Maxim
    Participant

    Din nou despre Arhitectura si Banda Ddesenata:

    Sunt anul 6-arhitectura si imi pregatesc lucrarea de disertatie. Ca subiect am ales benzile desenate si arhitectura. Pentru a-mi sprijini lucrarea m-am decis sa infiintez un forum unde sa postez raspunsurile primite de la arhitecti si pentru a incuraja discutiile pe aceasta tema cu toti cei interesati. Astept noi opinii aici sau pe forumul meu.

    http://arhitectura-bd.forumulmeu.ro/…esenate-t2.htm

    Arhitectura este explicata, identificata aproape integral prin reprezentare. Conceptul e prezentat printr-un elaborat colaj de tehnici: fotografia, expozitii, carti, filme, tv. De ce nu ar fi si arta secventiala un mijloc de exprimare? Este posibil ca benzile desenate sa fie un mijloc propice de a observa, discuta si proiecta arhitectura? Este posibil ca structura narativa specifica benzilor desenate sa ajute procesului arhitectural?
    Exista o mare diferenta in a reprezenta cum arhitectura este construita si a reprezenta cum aceasta trebuie intrebuintata. De cele mai multe ori acest tip de prezentare este intruchipat printr-o perspectiva sau o serie de perspective. Aceasta ramane imaginea statica a unui produs ce urmeaza a fi realizat, folosita pentru a atrage publicul, beneficiarul. Reprezinta un moment perfect, completat de oamenii potriviti, purtand haine adecvate, ce se deplaseaza in directia corecta, soarele aflandu-se in unghiul perfect evidentiind in mod ideal texturile si tonurile materialelor. Reprezinta idealizarea proiectului inca nerealizat. Dar ce s-ar intampla daca am afla cum proiectul a ajuns in acest stadiu, cum fiecare “strat” a fost asezat pana la forma finala, iar oamenii ce populeaza randarile ar avea o poveste ce ajuta la descoperiea proiectului in sine?

    #549 Răspuns
    _Maxim
    _Maxim
    Participant

    La topicul „Ce decadere!”
    http://z8.invisionfree.com/Pif_Gadget/index.php?showtopic=14&st=90
    de pe forumul Pif Gadget, a fost abordata tema conditiei artirsului BD… intre hartie si virtual

    Placid (Mircea Arapu):
    Viata unei opere de arta, sau de artizanat, începe cu nasterea ei, este un proces prea lung si anevoios, dureros, pentru a fi omisa – chiar daca artistul poate da impresia falsa a unei usurinte aeriene.

    Parintii sunt pe de o parte, autorul cu inspiratia, dar si experienta cu influentele, pe de alta parte, materia, fara de care „opera” nu ar putea exista. În spatele acestei fraze de aparenta sibilina se ascund pagini întregi de istorie, dar si de sensibilitate, de pasiune. Existenta operei de arta nu are nevoie de public.

    Publicul este cel care are nevoie de opera de arta, cum are nevoie de aer si de apa, de hrana si înca multe altele, care ar putea soca spiritele prea „sensibile”. Publicul este cel care trebuie sa învete, sa se educe, pentru a putea întelege si a se „hrani” din opera de arta.

    Desenatorul „artist” deseneaza pentru el. Banda desenata este arta, dar si arta comerciala. Acest aspect, de aparenta incompatibilitate, nu împiedica artistul sa fie artist înainte de a „vinde”.

    Bineînteles ca un autor se poate rezuma la a creea o banda desenata numai pentru el. Dar aceasta situatie nu dureaza, autorul sfârseste prin a publica chiar dupa zeci de ani, sau pasiunea lui se stinge, consumata de cotidian.

    Autorul care vinde, trebuie sa combata în permanenta compromisul si manierismul. Nu toti reusesc, chiar printre cei mai mari.

    Nimeni nu poate petrece tot timpul desenând, fara a pastra ochii macar întredeschisi.

    Alaturisemnatul (Maxim/M.Mirescu):
    Desenatul pentru sine este ca trasul de fiare. Odata si-o data (doua, trei…) tot iti arati muschii.
    Banda desenata este poveste. Or, povestea in sine nu e Arta, iar Banda Desenata este Arta.
    Chiar si cei care deseneaza pe…banda, au lucrarile LOR, care-i „reprezinta”, in care simt ca au lasat din ei acel ceva pe care altfel nu-l puteau „externa”.
    Restul lucrarilor, „de comanda”, sunt si ele importante, pentru public, pentru fani! In cazul unui autor „popular”, publicul poate junge atat de superificial incat autorul sa riste sa devina si el tot mai superficial, pentru a le satisface pofta crescanda a lor pentru inca o bedea de-a maestrului si, vai, pentru a-si satisface propria pofta perversa…

    „Ce decadere!”
    De unde?
    „Decaderea” poate fi schimbare.

    Pentru mine, care accept si practic forme de naratiune in imagini diverse(desenate, fotografice…), exista o Banda Desenata multiplicata tipografic si Banda Desenata multiplicata „virtual”, dar care pierde datele de „obiect” al admiratiei si iubirii.
    Pe alte suporturi decat hartia si prin alte imagini decat cele manu-desenate, Arta Banzii Desenate, „stiinta” naratiunii in imagini poate da nastere unor alt fel de creatii, cu impact puternic emotional. Si nu prin simplul transfer al fasiilor desenate in fractali pixeli. O desfasurare „maiastra” de semne, semnale, simboluri, imagini pe plasme, lcd-uri, holospatii, neuroinductii etc este aceeasi impresionanta poveste! Dar nu mai e „Banda Desenata”! In 1-2 sute de ani, BD va ajunge o arta clasica, de panteon, de mestesug de enigmatici vraci cu ritualuri obsedante, de singuratici preoti in chilii cu miros de talash si cerneala uscata, de pribegi cavaleri de vetuste ordine inutile…
    Ce decadere, nu?

    #550 Răspuns

    Sanki
    Participant

    Desene multe si „rapide” in publicatii populare, asta ar putea fi efectul benign MANGA.
    Si cand zic „publicatii populare”, ma gandesc la cele dedicate „ieftine” dar si la altele cu circulatie mare si rapida cum ar fi editii de jurmale de seara (cum e „Adevarul”, care atunci cand m-a contactat sa-mi faca un „profil”, le-am promis IN SCHIMB stripuri!), de hipermarket, tv guide-uri etc.

    Pe linia asta merg cu Sanki, pana una-alta!
    wink.gif

    Este o „decadere”… in trecut, in vremurile de aur ale aceste „A Noua Arte”, cand nimanui nu-i dadea prin cap s-o considere Arta, nici publicului si nici autorilor! Bedeaua alternativa si underground o fac cu nonsalanta, dar nu pentru un public larg. Pe de alta parte Bedeaua mainstream are un public mai larg, dar devine tot mai „pretioasa”…

    #551 Răspuns
    _Maxim
    _Maxim
    Participant

    Cand scenaristul este si desenatorul unei bedele, nu avem redundanta inutila.
    In comunicare, redundanta este o necesitate, dar, ca-n toate, folosita in functie de context: unde ai si desen, trebuie sa tii cont si de cate de mult spune acesta cititorului-privitor „tinta”! Poftim textul! Vrei sa-ti fac si un desen? Poftim! Aparent in BD avem mai putin „paraziti” pe canalul comunicarii. Da, dar si mesajul este mai complex, artistic, narativ. De unde si aparitia unui alt fenomen de bruiaj, cel provocat in mintea „spectatorului de BD”: imaginatia!

    Ceea ce pare informatie excesiva pentru un lector, poate fi justamente lamuritor pentru un altul.

    Citind Pif, redundanta „llecureuxiana” mi-a fost de mare ajutor: nu atat pentru intelegerea povestii (asa cum orgolios-gelosamente ar fi vrut scenaristul), cat pentru o disciplina a lecturii si ca respect fata de cuplul de autori dar si o mai buna intelegere a limbii franceze.

    Redundanta este preferabila „lenei de comunicare” pentru a scoate in evidenta lujcrurile ascunse de o concizie.

    Din mult ai de ales, cu putinul te descurci cum poti!
    Aveti in vedere ca este vorba de o arta populara, cu larga adresabilitate, en fin de compte.
    Un pasionat (mai putin antrenat) de BD va vrea sa citeasca orice poveste care-l atrage prin grafism si tema, de exemplu), daca lucrarea nu are o atentionare referitoare la publicul tinta – asa cum fac americanii.
    Pas fous, ces ricains!

    http://z8.invisionfree.com/Pif_Gadget/index.php?showtopic=17&st=30&#entry4829940

    #552 Răspuns
    _Maxim
    _Maxim
    Participant

    O vitalitate inselatoare?
    Prin virtualitate… 🙁
    Termeni precum „prepublicarea” dau seama de aceasta vitalitate… virtuala.
    http://www.acbd.fr/?option=com_frontpage
    Discutiile asupra raportului Asociatiei Criticilor si jurnalistilor de BD ACBD se pot reduce la doua tabere: adeptii produsului finit pe hartie si cei care profita din plin si uneori cu maiestire de suportul electronic.
    http://www.ziglotron.com/cabane/topic1342.html
    Este pomenit si cazul unui editor care publica lucrari de pe net, dar calitatea nu este prea ridicata.
    Una din sentintele din aceasta discutie este: „Toata lumea scrie dar nimeni nu se citeste”

    La prepublication peut etre, en cas de feedback signiticatif en temps utile, une etape de correction publique, avant d’etre un produit publique. Si jamais.

    Le mot est la: il s’agit d’un PREproces, d’une etape qui precede le finissage attentif avant l’impression et la multiplication.
    En fait, il y a en (pre)publication d’innombrables travaux sans finalite, ou tristement confondus avec la finalite-meme. Cela m’a lair des Opera Interrupta. Et cela peut-etre une paraphrase aussi.

    En fin de compte, l’evolution est un proces merveilleux par ces rares produits accidentels

    #553 Răspuns
    _Maxim
    _Maxim
    Participant

    Si in Franta publicatiile pe hartie se alimenteaza cu traduceri si editii franceze a unor titluri agresiv targetate, gen Disney (Ana Munteana a ras tot!), Scublea-Dublea, Chestii-Socoteli…!

    In privinta blogoreei si a renasterii virtuale a bedelei, ramasa intr-o stare embrionara fara soroc definit, eu consideram acolo ca avem de a face cu o OPERA INTERRUPTA.

    Avantajul netului? FILTREAZA cat de cat ce ajunge pe hartie…

    Cum ajung produsele „originale” pe piata? Ce s-a spus aici e corect, dar in conditiile de monopolizare, acestea au nevoie de o nisa la inceput, o targetare precisa si bine tintita printr-o pregatire a cititorilor vizati. Bedeaua este o arta noua (si a noua, na!) care ajunge la public prin mijlocirea tehnologiilor specifice, ca si filmul.
    Or, succesul de piata depinde de aceasta tehnologie si de promovare, ceea ce implica investitie, cu atat mai mari cu cat ambitiile sunt mai mari. Si (ras)suflu! Iar rasuflul si banii inseamna…timp.

    Initiativele nu lipsesc, dar sunt individuale si teribil de subiective (nerealiste si nerealizabile) si produsele finale sunt inevitabil cel mult mediocre.

    Lucru cert, cu Bedeaua nu tragi „tunuri”. Din Bedea nu te imbogatesti, dar poti sa-i…imbogatesti pe altii
    http://www.visualart.ro/forum/showthread.php?p=327143#post327143

    #554 Răspuns
    _Maxim
    _Maxim
    Participant

    L’Art de l’invisible devient trop visible!

    Experimenter, c’est bien. Si le resultat est interessant, c’est mieux.
    La Jetee de Marker est un bon exemple.
    Les „cases” deroulant des sequences simultanees des films des annees 70, c’est bien.
    Deformations du cadrage d’il y a un siecle etc. en quete de l’expressivite, fascinant!

    Mais la! la, c’est quoi?
    On peut pas repondre en une phrase simple, parce qu’on a pas un objet defini. On ne peut pas parler d’une expression artistique articulee, comme la BD l’est deja.

    http://www.ziglotron.com/cabane/topic1342-60.html

    #555 Răspuns
    _Maxim
    _Maxim
    Participant

    Ceauşescu şi Iliescu, ironizaţi în benzi desenate
    Ana-Maria Onisei
    6 ian 2011

    Scena balconului îi are ca personaje pe Nicolae şi Elena Ceauşescu în banda desenată „Orfeu” Nicolae Ceauşescu participă la o vizită de lucru în iad, iar Ion Iliescu este reprezentat alături de un porc, în două benzi desenate care datează din 1992 şi 1996. Publicate în volumul „Istoria benzii desenate româneşti. 1891-2010”, apărut recent la Editura Vellant, poveştile surprind tranziţia de la comunism la libertate.

    „O vizită de lucru în I.A.D.” desenată de Valentin Tănase şi „Decembrie roşu” de Nicolae Florin-Spoitoru, apărută în fanzinul „Ah, BD!”, sunt printre puţinele serii din istoria benzii desenate româneşti care critică activitatea politică a celor doi lideri. Într-una dintre imaginile din „Decembrie roşu”, Iliescu este alăturat unui cap de porc, cu replica: „Ziua în care alt porc va fi sacrificat.” – trimitere la sângeroasa execuţie a cuplului dictatorial. „O vizită de lucru în I.A.D.” îl înfăţişează pe Ceauşescu liber să-şi aleagă pedeapsa impusă de Diavol, poveste inspirată dintr-un banc al vremii.

    „Fiule, singura înlesnire pe care poţi să ţi-o fac în această secţiune rezervată şefilor de state este să te las să-ţi alegi singur chinul, aşa că priveşte bine înainte să decizi!”, îi spune Diavolul, invitându-l să privească o scenă de amor dintre fostul lider sovietic Leonid Brejnev şi Marilyn Monroe – „pedeapsa” lui Monroe.

    O „unealtă a capitalismului”

    Ion Iliescu şi Nicolae Ceauşescu sunt alăturaţi unui cap de porc şi unui fetus uman în „Decembrie roşu” de Nicolae Florin-Spoitoru

    Poveştile au fost incluse în 1992 într-un volum intitulat „Love story în Piaţa Universităţii”, editat de Teora, prima apariţie colectivă de acest gen. O bandă desenată intitulată „Orfeu” şi publicată în revista cu acelaşi nume, reconstruieşte cu ironie fenomenul „Piaţa Universităţii”, incluzând scena balconului în care Nicolae şi Elena Ceauşescu devin personaje-caricatură.

    Cercetătorul Alexandru Ciubotariu (el însuşi autor de benzi desenate, sub numele „Pisica pătrată”), semnatar alături de Dodo Niţă al volumului „Istoria benzii desenate româneşti. 1891-2010” (Editura Vellant, 2010), explică traseul apariţiilor liderilor politici în benzile desenate româneşti: „Deşi exista ca artă în România din 1896, în perioada 1948-1952, până a murit Stalin, banda desenată a fost aproape interzisă, fiind considerată o „unealtă a capitalismului”. În anii ’80 a fost o formă de evadare politică, dar şi de propagandă, iar banda desenată de după Revoluţie are valoare de parodie”. Ceauşescu nu era însă interesat să fie prezent în benzile din epocă, mai spune Ciubotariu, fiind dornic să apară mai degrabă „; în pictură sau în alte arte majore”. De-a lungul timpului, ironizarea liderilor politici a fost o tendinţă vizibilă mai ales în caricatură.

    Personaje de succes: Obama şi Sarkozy

    Despre necesitatea acestui tip de critică, artistul Ion Barbu povesteşte: „Din cele peste 15.000 de caricaturi pe care le-am publicat, mai mult de jumătate au avut ca subiect preşedintele ori prim-ministrul. De ce? Pentru că fiecare om tinde să avanseze până la nivelul maxim al incompetenţei sale”.

    Un top al celor mai ironizaţi lideri politici în benzi desenate, la nivel internaţional, îi include pe preşedintele american Barack Obama, politicianul Sarah Palin şi preşedintele francez Nicolas Sarkozy. Lui Sarkozy i-a fost dedicată o serie, din 2006 până în 2008. Cartea de benzi desenate „Persepolis” de Marjane Satrapi a fost ecranizată într-un film de animaţie, nominalizat la Oscar în 2008, iar anul trecut a apărut ca volum şi pe piaţa românească. Din 2009, în România există şi o librărie dedicată exclusiv benzilor desenate.

    http://www.adevarul.ro/cultura/Ceausescu_si_Iliescu-ironizati_in_benzi_desenate_0_403160283.html

    Inexactitatile incep de la… bun inceput: Ce benzi desenate au fost publicate intr-o carte de istorie a benzii desenate? (Pana la paradoxul debutului literar intr-o istorie a literaturii nu e decat un mic pas furat.) [deleted]
    Cine e autorul lucrarii „Orfeu” (din care este reprodus un fragment)? Eu stiu: Viorel Pirligras.Cine e Nicolae Florin-Spoitoru! (prezent si cu doua planse)? Stiu! Nicolae Florin Radu.
    [deleted]
    Stiu cine e Ion Barbu! Caricaturist. „Hello?” [deleted]
    Obama, Palin, ironizati in BD? (de unde pana) Unde? Care e seria (BD) dedicata lui Sarkozy?? Macar un titlu, un nume acolo….
    In final, bomboana „PERSPEOLIS”! Ha? Unde-i ironia?
    Si daca tot a fost adusa vorba (cu forta), cum se numeste libraria dedicata benzii desenate? Eu stiu, dar nu scriu la ziar: „Jumatatea Plina”. Fa un artciol despre ei si cu ocazia asta dai si adresa lor.

    Exista o carte impresionanta dedicata istoriei BD in Romania, iar pe de alta parte avem, in presa de azi despre banda desenata din si in Romania, articole incongruente in care se pun de-a valma cateva clisee si „auzite”!

    [deleted]
    E jale cand cand se face rau… binele, Ana-Maria Onisei.
    Focus!
    Fa mai bine data viitoare 😉

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