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Picture and text
In chapter 6 of his book, McCloud talks about the preconceived notion that pictures and text must be separate but tells us that this is not the case (1993, pp. 138 – 161). He also speaks about the different relationships text and pictures can have, such as Interdependent, montage, word specific, etc, relationships and the idea of presenting senses such as sound (1993, pp. 138-161). Eisenstein uses some of these text relationships and is able to represent sound in her memoir.
Fig. 15. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (p. 78), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
Fig. 16. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (p. 78), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
Fig. 17. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (p. 78), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
McCloud states that an interdependent relationship is one in which “...words and pictures go hand in hand to convey an idea that neither could alone” (McCloud, 1993, p. 155). Eisenstein uses this relationship the most throughout her memoir and it is evident that for her picture and text are one and the same. For example, when asked on her colour use, Eisenstein states: " In a way...you could be asking me why and when I decided to write, use words, and not draw or vice versa. Colour and black and white are a language" (personal communication, 2011). If we dissect one of her comics in a similar fashion to McCloud it becomes quite clear that she uses interdependent relationships. For example: the comic on page 78 (Fig. 15) and take out the text (Fig. 16) it wouldn’t make much sense with pictures alone. If we took the same comic and left just the text (Fig. 17), it still wouldn’t make sense. Both elements need to be there in order for the comic to work.
Fig. 18. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (p. 75), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
Eisenstein does sometimes use other text and picture relationships such as the “Additive combination” in which “words amplify or elaborate an image or vice versa” (McCloud, 1993, p. 154). On page 75 (Fig. 18) the images and text could stand alone and still work. However the text and image together really emphasise the symbolism of the ring/circle.
Fig. 19. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (p. 168), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
Another relationship she sometimes uses is called “montage” in which “words are treated as integral parts of the picture” (McCloud, 1993, p. 154). A stunning example can be seen on page 168 (Fig. 19). The text in this picture actually wraps around the outsides of the drawn figures and it enhances the meaning of this picture considerably.
Fig. 20. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (pp. 122-123), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
Eisenstein is able to represent sound in her memoir as well. For example on pages 122-123 (Fig. 20) she uses sharp edged speech bubbles and words such as “Pow”, “kaboom”, and “kabang” (2006).
Eisenstein, B. (2006). I was a child of Holocaust survivors. Toronto, On: McClelland & Stewart Ltd.
McCloud, S. (1993). Understanding comics: the invisible art. New York, NY: HarperCollins books.
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