Abstract

ABSTRACT:

This article examines tensions between narrative, aesthetic, and documentary functions of photography in comics. Emmanuel and François Lepage's La Lune est blanche (Futuropolis, 2014) furnishes a primary case study. I read La Lune est blanche alongside of Emmanuel Lepage's other travelogue documentary bande dessinée, and in the light of the complementary publication of François Lepage's photography in a companion work, Ombres claires (Perspectivesart9, 2014). While a certain body of scholarship has compellingly maintained that photography should be considered an integral part of comics narrative, I use La Lune est blanche to challenge those arguments for the primacy of narrative as the most useful category for understanding photography within comics. The Lepages' work forcefully mobilizes photography's documentary and aesthetic functions.

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Additional Information

ISSN
2473-5205
Print ISSN
2473-5191
Pages
pp. 137-159
Launched on MUSE
2018-06-28
Open Access
No
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