Arte sequencial

Nos estudos sobre quadrinhos, arte sequencial é um termo proposto pelo quadrinista Will Eisner^[1] para descrever formas de arte que usam imagens empregadas em uma ordem específica para fins de narrativa gráfica, ou seja, narração de histórias gráficas^[2] ou transmitir informações.^[3] O exemplo mais conhecido de arte sequencial são as histórias em quadrinhos,^[4] mas o termo também é aplicado a outros meios de comunicação, como filmes, animações ou storyboards.^[5]

O termo "arte sequencial" foi cunhado em 1985 pelo quadrinista Will Eisner em seu livro Comics and Sequential Art. Eisner analisou essa forma em quatro elementos: design, desenho, caricatura e escrita.^[1]

Scott McCloud, outro quadrinista, elaborou mais a explicação, em seus livros Understanding Comics (1993) e Reinventing Comics (2000). Em Understanding Comics, ele observa que o rolo de filme, antes que ele esteja sendo projetado, poderia ser visto como uma história em quadrinhos muito lenta.^[6]

Termos relacionados incluem: narrativa visual,^[7] narrativa gráfica,^[8] narrativa pictórica,^[9] narrativa sequencial,^[10] narrativa pictórica sequencial,^[11] narrativa sequencial,^[12]^[13] literatura gráfica,^[14]^[12]^[15]^[16] literatura sequencial^[17] e ilustração narrativa.^[18] O termo relacionado escultura sequencial também foi usado.^[19]

[1]
Will Eisner, Comics and Sequential Art, Poorhouse Press, 1990 (1st ed.: 1985), p. 5.
[2]
O termo "histórias gráficas" é usado como sinônimo de obras de literatura gráfica(cf. Robert C. Harvey, The Art of the Comic Book: An Aesthetic History, University Press of Mississippi, 1996, p. 109; Robert G. Weiner (ed.), Graphic Novels and Comics in Libraries and Archives: Essays on Readers, Research, History and Cataloging, McFarland, 2010, p. 177) or graphic novels (cf. Robert S. Petersen, Comics, Manga, and Graphic Novels: A History of Graphic Narratives, ABC-CLIO, 2011, p. 222); here the former meaning is intended.
[3]
Will Eisner, Graphic Storytelling and Visual Narrative, W. W. Norton, 2008 (1st. ed.: Poorhouse Press, 1996), "Introduction: Comics as a Medium."
[4]
EISNER, Will, Graphic Storytelling & Visual Narrative, Poorhouse Press, 2001 (1st. Ed., 1996), p. 6
[5]
Hart, John (26 de junho de 2013). The Art of the Storyboard: A filmmaker's introduction (em inglês). [S.l.]: Taylor & Francis
[6]
"You might say that before it’s projected, film is just a very very very very slow comic!"—Scott McCloud citado por Michael Cadden em Telling Children's Stories: Narrative Theory and Children's Literature, University of Nebraska Press, 2010, p. 149
[7]
Will Eisner, Comics and Sequential Art, Poorhouse Press, 1990, p. 26.
[8]
Lan Dong (ed.), Teaching Comics and Graphic Narratives: Essays on Theory, Strategy and Practice, McFarland, 2012, p. v.
[9]
Neil Cohn (ed.), The Visual Narrative Reader, Bloomsbury, 2016, p. 26.
[10]
Hannah Miodrag, Comics and Language: Reimagining Critical Discourse on the Form, University Press of Mississippi, 2013, p. 143.
[11]
Aaron Meskin and Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach, Wiley-Blackwell, 2012, p. xxx.
[12]
Carole Ann Moleti, "Graphic Literature: A Blend of Genre, Medium, and Form: An International Survey of Graphic Literature", The Internet Review of Science Fiction, junho de 2008.
[13]
Durwin S. Talon, Panel Discussions: Design in Sequential Art Storytelling, TwoMorrows Publishing, 2007, p. 102.
[14]
Um termo cunhado primeiro pelo quadrinista italiano Hugo Pratt como letteratura disegnata (veja Gianni Brunoro, Corto come un romanzo nuovo. Illazioni su Corto Maltese ultimo eroe romantico, 2nd ed., Milan: Lizard, 2008, p. 225).
[15]
Andrew D. Arnold, "A Graphic Literature Library", Time, 21/11/2003.
[16]
J. J. Llorence, "Exploring Graphic Literature as a Genre and its Place in Academic Curricula", McNair Scholars Journal 15(1), 2011.
[17]
Keith Dallas, American Comic Book Chronicles: The 1980s, TwoMorrows Publishing, 2013, p. 117.
[18]
Shane McCausland and Yin Hwang (eds.), On Telling Images of China: Essays in Narrative Painting and Visual Culture, Hong Kong University Press, 2013, p. 23 n. 12.
[19]
Cf. Elaine H. Kim and Chungmoo Choi (eds.), Dangerous Women: Gender and Korean Nationalism, Routledge, 2012, p. 6: "[Yong Soon] O ensaio visual de Min, "Mother Load", apresenta o pano de embrulho bojagi ... As duas primeiras partes dessa escultura seqüencial se referem ao passado e ao presente da ... Coreia."

[comisandsequential-1] [1]
Will Eisner, Comics and Sequential Art, Poorhouse Press, 1990 (1st ed.: 1985), p. 5.

[2] [2]
O termo "histórias gráficas" é usado como sinônimo de obras de literatura gráfica(cf. Robert C. Harvey, The Art of the Comic Book: An Aesthetic History, University Press of Mississippi, 1996, p. 109; Robert G. Weiner (ed.), Graphic Novels and Comics in Libraries and Archives: Essays on Readers, Research, History and Cataloging, McFarland, 2010, p. 177) or graphic novels (cf. Robert S. Petersen, Comics, Manga, and Graphic Novels: A History of Graphic Narratives, ABC-CLIO, 2011, p. 222); here the former meaning is intended.

[3] [3]
Will Eisner, Graphic Storytelling and Visual Narrative, W. W. Norton, 2008 (1st. ed.: Poorhouse Press, 1996), "Introduction: Comics as a Medium."

[4] [4]
EISNER, Will, Graphic Storytelling & Visual Narrative, Poorhouse Press, 2001 (1st. Ed., 1996), p. 6

[5] [5]
Hart, John (26 de junho de 2013). The Art of the Storyboard: A filmmaker's introduction (em inglês). [S.l.]: Taylor & Francis

[6] [6]
"You might say that before it’s projected, film is just a very very very very slow comic!"—Scott McCloud citado por Michael Cadden em Telling Children's Stories: Narrative Theory and Children's Literature, University of Nebraska Press, 2010, p. 149

[7] [7]
Will Eisner, Comics and Sequential Art, Poorhouse Press, 1990, p. 26.

[8] [8]
Lan Dong (ed.), Teaching Comics and Graphic Narratives: Essays on Theory, Strategy and Practice, McFarland, 2012, p. v.

[9] [9]
Neil Cohn (ed.), The Visual Narrative Reader, Bloomsbury, 2016, p. 26.

[10] [10]
Hannah Miodrag, Comics and Language: Reimagining Critical Discourse on the Form, University Press of Mississippi, 2013, p. 143.

[AC_xxx-11] [11]
Aaron Meskin and Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach, Wiley-Blackwell, 2012, p. xxx.

[Moleti-12] [12]
Carole Ann Moleti, "Graphic Literature: A Blend of Genre, Medium, and Form: An International Survey of Graphic Literature", The Internet Review of Science Fiction, junho de 2008.

[13] [13]
Durwin S. Talon, Panel Discussions: Design in Sequential Art Storytelling, TwoMorrows Publishing, 2007, p. 102.

[14] [14]
Um termo cunhado primeiro pelo quadrinista italiano Hugo Pratt como letteratura disegnata (veja Gianni Brunoro, Corto come un romanzo nuovo. Illazioni su Corto Maltese ultimo eroe romantico, 2nd ed., Milan: Lizard, 2008, p. 225).

[15] [15]
Andrew D. Arnold, "A Graphic Literature Library", Time, 21/11/2003.

[16] [16]
J. J. Llorence, "Exploring Graphic Literature as a Genre and its Place in Academic Curricula", McNair Scholars Journal 15(1), 2011.

[17] [17]
Keith Dallas, American Comic Book Chronicles: The 1980s, TwoMorrows Publishing, 2013, p. 117.

[18] [18]
Shane McCausland and Yin Hwang (eds.), On Telling Images of China: Essays in Narrative Painting and Visual Culture, Hong Kong University Press, 2013, p. 23 n. 12.

[19] [19]
Cf. Elaine H. Kim and Chungmoo Choi (eds.), Dangerous Women: Gender and Korean Nationalism, Routledge, 2012, p. 6: "[Yong Soon] O ensaio visual de Min, "Mother Load", apresenta o pano de embrulho bojagi ... As duas primeiras partes dessa escultura seqüencial se referem ao passado e ao presente da ... Coreia."

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Arte sequencial

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