section_path: Comics studies
section_name: Comics studies
paragraph_text: Comics studies
  
  "Comics... are sometimes four-legged and sometimes two-legged and sometimes fly and sometimes don't... to employ a metaphor as mixed as the medium itself, defining comics entails cutting a Gordian-knotted enigma wrapped in a mystery..."
  
  R. C. Harvey, 2001
  
  Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.
  
  European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of " les littératures dessinées " (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. In the mid-2000s, Neil Cohn began analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.
  
  Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrate deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication of Tomofusa Kure's Modern Manga: The Complete Picture, which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory", with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja) was established in 2001 to promote comics scholarship. The publication of Frederik L. Schodt 's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".
  
  Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). Will Eisner's Comics and Sequential Art (1985) and Scott McCloud 's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called " sequential art " as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics as "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.
  
  Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. The French term for comics, bandes dessinées ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.