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This book mobilises the concept of kitsch to investigate the tensions around the representation of genocide in international graphic novels that focus on the Holocaust and the genocides in Armenia, Rwanda, and Bosnia. In response to the predominantly negative readings of kitsch as meaningless or inappropriate, this book offers a fresh approach that considers how some of the kitsch strategies employed in these works facilitate an affective interaction with the genocide narrative. These productive strategies include the use of the visual metaphors of the animal and the doll figure and the explicit and excessive depictions of mass violence. The book also analyses where kitsch still produces problems as it critically examines depictions of perpetrators and the visual and verbal representations of sexual violence. Furthermore, it explores how graphic novels employ anti-kitsch strategies to avoid the dangers of excess in dealing with genocide. The Representation of Genocide in Graphic Novels will appeal to those working in comics-graphic novel studies, popular culture studies, and Holocaust and genocide studies.
This book mobilises the concept of kitsch to investigate the tensions around the representation of genocide in international graphic novels that focus on the Holocaust and the genocides in Armenia, Rwanda, and Bosnia. In response to the predominantly negative readings of kitsch as meaningless or inappropriate, this book offers a fresh approach that considers how some of the kitsch strategies employed in these works facilitate an affective interaction with the genocide narrative. These productive strategies include the use of the visual metaphors of the animal and the doll figure and the explicit and excessive depictions of mass violence. The book also analyses where kitsch still produces problems as it critically examines depictions of perpetrators and the visual and verbal representations of sexual violence. Furthermore, it explores how graphic novels employ anti-kitsch strategies to avoid the dangers of excess in dealing with genocide. The Representation of Genocide in Graphic Novels will appeal to those working in comics-graphic novel studies, popular culture studies, and Holocaust and genocide studies.
This book mobilises the concept of kitsch to investigate the tensions around the representation of genocide in international graphic novels that focus on the Holocaust and the genocides in Armenia, Rwanda, and Bosnia. In response to the predominantly negative readings of kitsch as meaningless or inappropriate, this book offers a fresh approach that considers how some of the kitsch strategies employed in these works facilitate an affective interaction with the genocide narrative. These productive strategies include the use of the visual metaphors of the animal and the doll figure and the explicit and excessive depictions of mass violence. The book also analyses where kitsch still produces problems as it critically examines depictions of perpetrators and the visual and verbal representations of sexual violence. Furthermore, it explores how graphic novels employ anti-kitsch strategies to avoid the dangers of excess in dealing with genocide. The Representation of Genocide in Graphic Novels will appeal to those working in comics-graphic novel studies, popular culture studies, and Holocaust and genocide studies.
First runner-up for the 2019 Ray and Pat Browne Award for the Best Edited Collection in Popular and American Culture Cultures of War in Graphic Novels examines the representation of small-scale and often less acknowledged conflicts from around the world and throughout history. The contributors look at an array of graphic novels about conflicts such as the Boxer Rebellion (1899-1901), the Irish struggle for national independence (1916-1998), the Falkland War (1982), the Bosnian War (1992-1995), the Rwandan genocide (1994), the Israel-Lebanon War (2006), and the War on Terror (2001-). The book explores the multi-layered relation between the graphic novel as a popular medium and war as a pivotal recurring experience in human history. The focus on largely overlooked small-scale conflicts contributes not only to advance our understanding of graphic novels about war and the cultural aspects of war as reflected in graphic novels, but also our sense of the early twenty-first century, in which popular media and limited conflicts have become closely interrelated.
Surveying irreverent and controversial representations of the Holocaust - from Sylvia Plath and the Sex Pistols to Quentin Tarantino and Holocaust comedy - Matthew Boswell considers how they might play an important role in shaping our understanding of the Nazi genocide and what it means to be human.
This book analyses the portrayals of the Holocaust in newspaper cartoons, educational pamphlets, short stories and graphic novels. Focusing on recognised and lesser-known illustrators from Europe and beyond, the volume looks at autobiographical and fictional accounts and seeks to paint a broader picture of Holocaust comic strips from the 1940s to the present. The book shows that the genre is a capacious one, not only dealing with the killing of millions of Jews but also with Jewish lives in war-torn Europe, the personal and transgenerational memory of the Second World War and the wider national and transnational legacies of the Shoah. The chapters in this collection point to the aesthetic diversity of the genre which uses figurative and allegorical representation, as well as applying different stylistics, from realism to fantasy. Finally, the contributions to this volume show new developments in comic books and graphic novels on the Holocaust, including the rise of alternative publications, aimed at the adult reader, and the emergence of state-funded educational comics written with young readers in mind. This book was originally published as a special issue of the Journal of Modern Jewish Studies.
Deogratias is just a boy. Benina is just a girl. Teenagers just like teenagers everywhere. Only he is a Hutu, and she is a Tutsiso say their ID cards.We are in Rwanda in the days leading to a swift and gruesome genocide which the world will watch but do nothing to stop. In less than a hundred days, eight hundred thousand human beings will be hacked to death.Moment by moment, piece by piece, J.P. Stassen skillfully builds a masterpiece, an unforgettable tale that probes mans inhumanity to man. His eloquence, his storytelling power, and his sheer poetry elevate this harrowing story to the rank of a testimonial to one of the darkest chapters in recent human history.With great skill and understanding, Stassens Deogratias takes us back and forth in time, showing only before and after the killings and inexorably revealing the grip of madness and horror on one young boy and his country.Difficult, beautiful, honest, and heartbreaking, this is a masterwork by a major artist of our time.
Comics, the Holocaust and Hiroshima breaks new ground for history by exploring the relationship between comics as a cultural record, historiography, memory and trauma studies. Comics have a dual role as sources: for gauging awareness of the Holocaust and through close analysis, as testimonies and narratives of childhood emotions and experiences.
Winner, CODE’s 2016 Burt Award for First Nation, Inuit and Métis Literature In this important graphic novel, two brothers surrounded by poverty, drug abuse, and gang violence, try to overcome centuries of historic trauma in very different ways to bring about positive change in their lives. Pete, a young Indigenous man wrapped up in gang violence, lives with his younger brother, Joey, and his mother who is a heroin addict. One night, Pete and his mother’s boyfriend, Dennis, get into a big fight, which sends Dennis to the morgue and Pete to jail. Initially, Pete keeps up ties to his crew, until a jail brawl forces him to realize the negative influence he has become on Joey, which encourages him to begin a process of rehabilitation that includes traditional Indigenous healing circles and ceremonies. Powerful, courageous, and deeply moving, The Outside Circle is drawn from the author’s twenty years of work and research on healing and reconciliation of gang-affiliated or incarcerated Indigenous men.
This book studies human rights discourse across a variety of graphic novels, both fiction and non-fiction, originating in different parts of the world, from India to South Africa, Sarajevo to Vietnam, with texts on the Holocaust, the Partition of the Indian subcontinent, the Rwandan and Sarajevan genocides, the Vietnam War, comfort women in World War II and the Civil Rights movement in the USA, to mention a few. The book demonstrates the emergence of the ‘universal’ subject of human rights, despite the variations in contexts. It shows how war, rape, genocide, abuse, social iniquity, caste and race erode personhood in multiple ways in the graphic novel, which portrays the construction of vulnerable subjects, the cultural trauma of collectives, the crisis and necessity of witnessing, and resilience-resistance through specific representational and aesthetic strategies. It covers a large number of authors and artists: Joe Sacco, Joe Kubert, Matt Johnson-Walter Pleece, Guy Delisle, Appupen, Thi Bui, Olivier Kugler and others. Through a study of these vastly different authors and styles, the book proposes that the graphic novel as a form is perfectly suited to the ‘culture’ and the lingua franca of human rights due to its amenability to experimentation and the sheer range within the form. The book will appeal to scholars in comics studies, human rights studies, visual culture studies and to the general reader with an interest in these fields.