Bonner Online-Bibliographie zur Comicforschung

WIKINDX Resources

Cohn, Neil: "The limits of time and transitions. Challenges to theories of sequential image comprehension." In: Studies in Comics 1.1 (2010), S. 127–147. 
Added by: joachim (24 Apr 2010 00:28:09 UTC)   Last edited by: joachim (04 Mar 2017 12:25:59 UTC)
Resource type: Journal Article
Languages: englisch
Peer reviewed
DOI: 10.1386/stic.1.1.127/1
BibTeX citation key: Cohn2010b
Email resource to friend
View all bibliographic details
Categories: General
Keywords: Groensteen. Thierry, Kognition, McCloud. Scott, Sequenzialität, USA
Creators: Cohn
Collection: Studies in Comics
Views: 9/229
Views index: 3%
Popularity index: 0.75%
Attachments   URLs   http://www.visuall ... me&Transitions.pdf
The juxtaposition of two images often produces the illusory sense of time passing, as found in the visual language used in modern comic books, which creates the sense that this linear sequence presents a succession of moments or temporal units. Author and theorist Scott McCloud took this view to an extreme, proposing that sequential images are guided by a notion that ‘time = space’ (McCloud 2000), because this temporal passage occurs on a spatial surface. To McCloud, this ‘temporal mapping’ results in a movement of time with a movement of space. This sense of temporality, then, is the ‘essence’ of comics, which is manifested in McCloud’s taxonomy of transitions of panel-to-panel relationships (McCloud 1993). While less specific, this same type of ‘essence’ of connection can be reflected in Groensteen’s types of ‘arthrology’ across a linear sequence or disparate panels in a broader text (Groensteen 1999).
However, numerous problems arise with McCloud and Groensteen’s approaches to graphic narrative. This article will explore how the linearity of reading panels and the iconicity of images create various false assumptions about the conveyance of meaning across sequential images’ depictions of space and time. With numerous examples, it will argue that any linear panel-to-panel analysis (such as McCloud’s (1993) panel transitions) or loosely defined principles of connection (such as Groensteen’s (1999) ‘arthrology’) between sequential images are inadequate to account for their understanding. The conclusion is that sequential image comprehension must be thought of as the union of conceptual information that is grouped via unconscious hierarchic structures in the mind. As such, the study of the comprehension of the visual language used in comics must be placed in the cognitive sciences.
wikindx 5.2.beta 1 ©2017 | Total resources: 10861 | Username: -- | Bibliography: WIKINDX Master Bibliography | Style: Comicforschung-Bibliographie Stil (CFB) | Database queries: 52 | DB execution: 0.21338 secs | Script execution: 0.23072 secs