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This book analyses the relationship between comics and cultural memory. By focussing on a range of landmark comics from the twentieth and twenty-first centuries, the discussion draws attention to the ongoing role of visual culture in framing testimony, particularly in relation to underprivileged subjects such as migrants and refugees, individuals dealing with war and oppressive regimes and individuals living with particular health conditions. The discussion is influenced by literary and cultural debates on the intersections between ethics, testimony, trauma, and human rights, reflected in its three overarching questions: 'How do comics usually complicate the production of cultural memory in local contents and global mediascapes?', 'How do comics engage with, and generate, new forms of testimonial address?', and 'How do the comics function as mnemonic structures?' The author highlights that the power of comics is that they allow both creators and readers to visualise the fracturing power of violence and oppression - at the level of the individual, domestic, communal, national and international - in powerful and creative ways. Comics do not stand outside of literature, cinema, or any of the other arts, but rather enliven the reciprocal relationship between the verbal and the visual language that informs all of these media. As such, the discussion demonstrates how fields such as graphic medicine, graphic justice, and comics journalism contribute to existing theoretical and analytics debates, including critical visual theory, trauma and memory studies, by offering a broad ranging, yet cohesive, analysis of cultural memory and its representation in print and digital comics.
This book analyses the relationship between comics and cultural memory. By focussing on a range of landmark comics from the twentieth and twenty-first centuries, the discussion draws attention to the ongoing role of visual culture in framing testimony, particularly in relation to underprivileged subjects such as migrants and refugees, individuals dealing with war and oppressive regimes and individuals living with particular health conditions. The discussion is influenced by literary and cultural debates on the intersections between ethics, testimony, trauma, and human rights, reflected in its three overarching questions: ‘How do comics usually complicate the production of cultural memory in local contents and global mediascapes?’, ‘How do comics engage with, and generate, new forms of testimonial address?’, and ‘How do the comics function as mnemonic structures?’ The author highlights that the power of comics is that they allow both creators and readers to visualise the fracturing power of violence and oppression – at the level of the individual, domestic, communal, national and international – in powerful and creative ways. Comics do not stand outside of literature, cinema, or any of the other arts, but rather enliven the reciprocal relationship between the verbal and the visual language that informs all of these media. As such, the discussion demonstrates how fields such as graphic medicine, graphic justice, and comics journalism contribute to existing theoretical and analytics debates, including critical visual theory, trauma and memory studies, by offering a broad ranging, yet cohesive, analysis of cultural memory and its representation in print and digital comics.
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.
Despite the boom in scholarship in both Comics Studies and Memory Studies, the two fields rarely interact—especially with issues beyond the representation of traumatic and autobiographical memories in comics. With a focus on the roles played by styles and archives—in their physical and metaphorical manifestations—this edited volume offers an original intervention, highlighting several novel ways of thinking about comics and memory as comics memory. Bringing together scholars as well as cultural actors, the contributions combine studies on European and North American comics and offer a representative overview of the main comics genres and forms, including superheroes, Westerns, newspaper comics, diary comics, comics reportage and alternative comics. In considering the many manifestations of memory in comics as well as the functioning and influence of institutions, public and private practices, the book exemplifies new possibilities for understanding the complex entanglements of memory and comics.
This book explores the representation of fatherhood in contemporary North American autobiographical comics that depict paternal conduct from the post-war period up to the present. It offers equal space to autobiographical comics penned by daughters who represent their fathers’ complicated and often disappointing behavior, and to works by male cartoonists who depict and usually celebrate their own experiences as fathers. This book asks questions about how the desire to forgive or be forgiven can compromise the authors’ ethics or dictate style, considers the ownership of life stories whose subjects cannot or do not agree to be represented, and investigates the pervasive and complicated effects of dominant masculinities. By close reading these cartoonists’ complex strategies of (self-)representation, this volume also places photography and archival work alongside the problematic legacy of self-deprecation carried on from underground comics, and shows how the vocabulary of graphic narration can work with other media and at the intersection of various genres and modes to produce a valuable scrutiny of contemporary norms of fatherhood.
In Holocaust Graphic Narratives, Victoria Aarons demonstrates the range and fluidity of this richly figured genre. Employing memory as her controlling trope, Aarons analyzes the work of the graphic novelists and illustrators, making clear how they extend the traumatic narrative of the Holocaust into the present and, in doing so, give voice to survival in the wake of unrecoverable loss. In recreating moments of traumatic rupture, dislocation, and disequilibrium, these graphic narratives contribute to the evolving field of Holocaust representation and establish a new canon of visual memory. The intergenerational dialogue established by Aarons’ reading of these narratives speaks to the on-going obligation to bear witness to the Holocaust. Examined together, these intergenerational works bridge the erosions created by time and distance. As a genre of witnessing, these graphic stories, in retracing the traumatic tracks of memory, inscribe the weight of history on generations that follow.
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.
The comic book universe is adventurous, mystifying, and filled with heroes, villains, and cosplaying Comic-Con attendees. This book by one of Wired magazine's art directors traverses the graphic world through a collection of pie charts, bar graphs, timelines, scatter plots, and more. Super Graphic offers readers a unique look at the intricate and sometimes contradictory storylines that weave their way through comic books, and shares advice for navigating the pages of some of the most popular, longest-running, and best-loved comics and graphic novels out there. From a colorful breakdown of the DC Comics reader demographic to a witty Venn diagram of superhero comic tropes and a Chris Ware sadness scale, this book charts the most arbitrary and monumental characters, moments, and equipment of the wide world of comics. Plus, this is the fixed format version, which includes high-resolution images.
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.
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.