Introduction

Rethinking Panel Culture: Resistance and Subversion in Drawing the Line: Indian Women Fight Back

“…An interesting taxonomy was introduced by Benoit Peeters in his work Four Conceptions of the Page . His classification is based on ‘the various relationships between two basic elements: narrative (the graphic novel as a storytelling device) and composition (the graphic novel as a device for the production of images, visual patterns, and spatial forms…’ (discussed in Baetens & Frey, 2015, p. 108). He rightly argues that ‘either form can be dominant at the automatic expense of the other: the more we follow the story, the less we notice the visual components of the panels ….’ (p. 108).…”

“…Peeter observes: ‘The panel and the page are no longer autonomous elements; they are subordinated to a narrative which their primary function is to serve. The size of the images, their distribution, the general pace of the page, all must come to support the narration’ (Baetens & Frey, 2015, p. 112). When the girl becomes Kali, a goddess who symbolises woman-power, in ‘Someday’, the frame is much bigger in size and fills almost two pages, eclipsing all the men.…”

“…The drawing style of an artist is ‘one of the signatures or trademarks of the author, and one can easily observe that personality and individuality really matter in the field’ (Baetens & Frey, 2015, p. 136). Peeters introduces the notion ‘graphiation’ as a neologism for ‘visual enunciation’ or ‘graphic expression’ where the body and personality of the graphic artist becomes important in representing object, character, setting or event (Baetens & Frey, 2015, p. 137). He identifies two extreme styles: the highly subjective style in which the personal agenda of the author overshadows the representation, and the objective style in which the representation acquires more importance than the content part (p. 137).…”

“…In a graphic novel, one may not identify a set pattern of representation; there may be differences in the chromatic code (shifts from black and white to colour, the use of different colors for different characters) and differences in drawing techniques (shifts from hard-edged, singular forms to soft, curbed or curved forms in the figuration of, respectively, male and female characters and moods (Baetens & Frey, 2015, p. 140).…”

Crímenes contra la humanidad en el cómic periodístico de Joe Sacco: el caso de “Días de destrucción, días de revuelta” = Crimes against humanity in Joe Sacco’s comic journalism: the case of “Days of destruction, days of revolt”

“…La posterior consolidación editorial de esta nueva clase de cómics hizo necesaria la creación de una etiqueta bajo la que englobar todas aquellas historietas que desafiaban las convenciones formales, temáticas y de producción hasta entonces dominantes. Fue así como surgió el controvertido término 'novela gráfica', con el que hoy conocemos a todos aquellos cómics de autor publicados de forma no serializada, en formato libro, que se venden en librerías en lugar de en kioskos y que están pensados para ser leídos por adultos (Baetens y Frey, 2015).…”