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Le manga : un dispositif communicationnel : perception et interactivité

机译：漫画：一种通讯设备：感知和互动

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摘要

The manga term was used for the first time in 1814 by the painter Katsushika Hokusai to indicate his works. This term literally means “fast rough sketch” or “derisive image”. In France the original meaning of the manga word has been lost and it is now employed to indicate the Japanese comic strip in the same way as we name comics the American comic strip. The Japanese comic strip is, in quantitative terms, the first market of the world in this sector. The topics covered in the written manga are much more diverse than the “cartoon-manga” broadcasted on tv in France. Not so long ago, the manga was a little-known genre by the European comic readers, the “bédéphiles”. Nowadays, the manga is a growing genre in France and it tends to develop and become a cultural product and phenomenon, for all a generation who grew up with the first manga on tv. This thesis explores the manga culture and analyzes it as a primary device in a whole communication system. Its graphic and narrative aspects reveal a particular visual-narrative process, specific to the manga. It modifies the image and language combination, it builds a new reading mode and plays with perceptions. It generates a stretching game between what the reader-spectator looks at and what he sees. The manga spreads in our society a graphic universe but most of all, a specific visual storytelling technique that replaces narration words. At the same time, the image is seen and read. In the manga, to read the image it is to read the text. In other words, the picture is narrative and the narration is pictured. There is a text-image, an image-text. The image is in itself a dialogue which acts on the sensations and the perceptions. In its depiction, the manga reflects its culture. It spreads characters, norms, values and an imagination which can “influences” his readership and generates new social practices. By its specificities the manga image is unstable and moving. It involves the reader-spectator: this one has the possibility of navigating, of roving in the image. This research work analyzes the manga “visual-narrative” interactive processes which generates a new relationship to the image and creates a playful interaction between the image and its “reader-spectator”, and it becomes a narrative process to transmit messages in it.
机译：日本漫画家葛饰北斋（Katsushika Hokusai）在1814年首次使用漫画这个词来表示他的作品。该术语的字面意思是“快速粗略的草图”或“具有误导性的图像”。在法国，漫画字的原始含义已丢失，现在已被用来表示日本漫画，就像我们将漫画命名为美国漫画一样。从数量上看，日本漫画是该领域的世界第一市场。漫画书所涵盖的主题比法国电视上播出的“卡通漫画”要多样化得多。不久前，漫画是欧洲漫画读者的一种鲜为人知的流派，即“Bédéphiles”。如今，漫画已成为法国的一种流派，它倾向于发展并成为一种文化产品和现象，对于一代人来说，随着电视上的第一个漫画长大。本文探讨了漫画文化，并将其作为整个通信系统中的主要设备加以分析。它的图形和叙事方面揭示了特定于漫画的视觉叙事过程。它修改了图像和语言的组合，建立了新的阅读模式并发挥了感知能力。它在阅读者和观察者之间产生了一个延伸的游戏。漫画在我们的社会中传播着一个图形世界，但最重要的是，一种特定的视觉叙事技术取代了叙述词。同时，可以看到并读取图像。在漫画中，阅读图像就是阅读文本。换句话说，图片是叙述性的，叙述是图片的。有一个文本图像，一个图像文本。图像本身就是对话，作用于感觉和感知。在漫画中，漫画反映了其文化。它散布着可以“影响”他的读者群并产生新的社会实践的人物，规范，价值观和想象力。由于其特殊性，漫画图像不稳定且移动。它涉及读者观众：这可能会在图像中导航和漫游。这项研究工作分析了漫画的“视觉叙事”交互过程，该交互过程与图像产生了新的关系，并在图像与其“读者-观众”之间形成了有趣的互动，并且成为在其中传递消息的叙事过程。

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    Lechenaut Emilie;

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