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Disaster Drawn - Visual Witness, Comics, and Documentary Form (Hardcover)
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Disaster Drawn - Visual Witness, Comics, and Documentary Form (Hardcover)
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In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and
Hiroshima's Ground Zero, comics display a stunning capacity to bear
witness to trauma. Investigating how hand-drawn comics has come of
age as a serious medium for engaging history, Disaster Drawn
explores the ways graphic narratives by diverse artists, including
Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and
Joe Sacco, document the disasters of war. Hillary L. Chute traces
how comics inherited graphic print traditions and innovations from
the seventeenth century and later, pointing out that at every turn
new forms of visual-verbal representation have arisen in response
to the turmoil of war. Modern nonfiction comics emerged from the
shattering experience of World War II, developing in the 1970s with
Art Spiegelman's first "Maus" story about his immigrant family's
survival of Nazi death camps and with Hiroshima survivor Keiji
Nakazawa's inaugural work of "atomic bomb manga," the comic book
Ore Wa Mita ("I Saw It")-a title that alludes to Goya's famous
Disasters of War etchings. Chute explains how the form of
comics-its collection of frames-lends itself to historical
narrative. By interlacing multiple temporalities over the space of
the page or panel, comics can place pressure on conventional
notions of causality. Aggregating and accumulating frames of
information, comics calls attention to itself as evidence. Disaster
Drawn demonstrates why, even in the era of photography and film,
people understand hand-drawn images to be among the most powerful
forms of historical witness.
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