Abstract
What happens when music and comics are created and experienced together? Taking music–comics interactions as its impetus, this article investigates intermediality and audiovisuality through the concept of ‘resonance’, drawing in particular on its use in Deleuzian philosophy. It examines resonance as the process through which (audial, visual, medial) elements interrelate, thereby triggering, through medial dissemination (‘dissemediation’) and the explosive potential of sound and image, a transformation into a new heterogeneous, shifting and transient whole (‘musicomic’). This is explored across three different formats: digital comics, comics performances, and comics-music albums (which combine a comic book and a music album). The article analyses resonance in a range of case studies from the Francophone field: in the inextricable audiovisuality of Marietta Ren’s 2016 digital bande defilee Phallaina; the dialogue between music and comics as performing arts in the concert de dessins series at the Festival International de la Bande Dessinee d’Angouleme; and, in relation to music-comics albums, through politico-aesthetic resonance as an act of remembrance in Jacques Tardi and Dominique Grange’s 1968–2008… N’effacez pas nos traces! (2008), and the (dis)orienting experience of the sound-landscape of Baladi and Ghostape’s Charge (2014). These audiovisual practices explore and bridge the gap(s) between music and comics, and orchestrate their resonance in differing ways, involving the experiencer in this process as she oscillates between reader, listener, viewer, and/or synchroniser.
Highlights
In the 2015 volume stemming from the See this Sound project, which aims to establish the foundations of an ‘audiovisuology’, Dieter Daniels and Sandra Naumann highlight that it is through an interdisciplinary approach, at the intersection of existing research on audiovisual art, that the multiplicity of relations between sight and sound can be productively mapped out and theorised
This article will focus on audiovisual practices in the French-language bande dessinée field, in which music and comics are created and experienced together, rather than on the visualisation of music in comics or the ‘musicality’ of the medium as it has been articulated by creators and scholars, though these will necessarily inform the analysis
Music–comics encounters will be explored across three different formats: digital comics, comics performances, and comicsmusic albums
Summary
In the 2015 volume stemming from the See this Sound project, which aims to establish the foundations of an ‘audiovisuology’, Dieter Daniels and Sandra Naumann highlight that it is through an interdisciplinary approach, at the intersection of existing research on audiovisual art, that the multiplicity of relations between sight and sound can be productively mapped out and theorised. The potentiality of music–comics encounters will be explored in case studies: in the fusion of sound and image in an immersive, submerging experience in Marietta Ren’s 2016 digital bande défilée Phallaina; the dialogue between comics and music as performing arts in concert de dessins at the Festival International de la Bande Dessinée d’Angoulême ( FIBD); and, in relation to music-comics albums, in the tracing of politico-aesthetic resonance in Jacques Tardi and Dominique Grange’s 2008 1968–2008...
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