Blue Is the Warmest Color is a French graphic novel by Julie Maroh, published by Glénat in . The film, as with the book, received overwhelming critical acclaim; it won several awards including the Palme d'Or at the Cannes Film Festival. Blue Is the Warmest Color (): Julie Maroh: Books. "Blue is the Warmest Color is a graphic novel about growing up, falling in love, and coming out. Clementine, a high school student, has an average life: she has .

Blue Is The Warmest Color Book

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Blue Is the Warmest Color book. Read reviews from the world's largest community for readers. Blue is the Warmest Color is a graphic novel about gro. Blue Is The Warmest Color by Julie Maroh, , available at Book Depository with free delivery worldwide. Blue Is the Warmest Color. Julie Maroh, trans. from the French by Ivanka Hahnenberger. Arsenal Pulp (Consortium, dist.), $ trade paper.

At arguably the most significant moment in the narrative, when Emma and Clementine make eye contact for the first time, Mahor draws Emma's face in what could be a single panel but instead is divided into two thinner strips with a centered gutter separating her eyes from her lower face.

The result is closer to the original meaning of visual closure, in which the two parts are perceived as a single whole. The framing not only emphasizes Emma's eyes, but, by also fracturing a single moment in half, Mahor disrupts the flow of perceived time too.

She repeats the technique at another pivotal moment. When her closest male friend reveals that her circle of friends are avoiding her because they think she's gay, Mahor divides his face too, but here the emphasis is on his mouth and talk balloon: "Actually … I think it's more about you.

Two pages later, even her panel frames collapse around her limp body.

Mahor also employs insets with the same thematic skill. While caption box insets appear on most pages, often breaking panel frames, Mahor draws only a total of six image insets, all within a page, mid-story sequence, and all intimately framing Emma's and Clementine's hands or eyes.

The first overlays panel content for a closure effect similar to the examples described above, but here, when Emma touches Clementine's hair for the first time, the inset breaks the gutter alignment of both bordering panels, as if the moment cannot be contained by the standard rules of their world.

A row lower and the inset of their clasped hands break four more borders.

Two pages later Clementine's inset eyes challenge Emma for never inviting her to her apartment. When she finally does, the next inset frames Clementine's eye and a single, joyful tear as she has her first orgasm, while the next is still more explicit—Clementine's hand between Emma's legs for the first time.

The final two, however, move from easy eroticism to harder emotions. When Clementine touches Emma's hair, the inset, while misaligned with the closest panel border, fails to bridge the gutter to the adjacent image—including the next in which Emma pulls her hand away, followed by her breaking off their affair.

The novel's last inset reverses the pattern of intimate touch to show Clementine shoving away a plate of food that Emma is serving her—prompting Emma's confession that she's keeping Clementine at an emotional distance to protect herself.

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Usually dispatches within 3 to 5 working days. Kechiche is not only disinterested in questions of gay identity, but tries to take them out of his film altogether. The remaining question is why he does all of this. I think the claim that he is simply afflicted by a male gaze is retrograde and somewhat disrespectful.

'Blue Is the Warmest Color' Is Better As a Comic

He pontificates on for a while, but his argument can be summarized like this: He knows this because he has seen women orgasm, and has seen them reach a higher plane of existence. This magical sexual eruption is why so many men over the years have depicted the female form. It is also, apparently, something that women artists have never been able to capture.

This is why he shows so much sex, without any interest in using it to developing the relationship. She stays away because she has retreated into sexless, boring lesbian adulthood.


I suspect that Kechiche does not like Emma very much. All of this is troublesome.

At the very least, Kechiche does not take lesbian subjectivity seriously.Deeply moving, powerful, tragic, sensitive, relevant. While caption box insets appear on most pages, often breaking panel frames, Mahor draws only a total of six image insets, all within a page, mid-story sequence, and all intimately framing Emma's and Clementine's hands or eyes.

Valentin ends up organising a meeting and leaves both women alone on a beach. Maroh, though less actively, is also a collaborator.

Blue Is the Warmest Color (Media Tie In) [Paperback]

I really liked the story. View 1 comment. The actual dialogue that we get on the next pages simply build on the energy of that moment.