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This book is part of a nuanced two-volume examination of the ways
in which violence in comics is presented in different texts,
genres, cultures and contexts. Contexts of Violence in Comics asks
the reader to consider the ways in which violence and its
representations may be enabled or restricted by the contexts in
which they take place. It analyzes how structures and organising
principles, be they cultural, historical, legal, political or
spatial, might encourage, demand or prevent violence. It deals with
the issue of scale: violence in the context of war versus violence
in the context of an individual murder, and provides insights into
the context of war and peace, ethnic and identity-based violence,
as well as examining issues of justice and memory. This will be a
key text and essential reference for scholars and students at all
levels in Comics Studies, and Cultural and Media Studies more
generally.
This book is part of a nuanced two-volume examination of the ways
in which violence in comics is presented in different texts,
genres, cultures and contexts. Representing Acts of Violence in
Comics raises questions about depiction and the act of showing
violence, and discusses the ways in which individual moments of
violence develop, and are both represented and embodied in comics
and graphic novels. Contributors consider the impact of gendered
and sexual violence, and examine the ways in which violent acts can
be rendered palatable (for example through humour) but also how
comics can represent trauma and long lasting repercussions for both
perpetrators and victims. This will be a key text and essential
reference for scholars and students at all levels in Comics
Studies, and Cultural and Media Studies more generally.
This book is part of a nuanced two-volume examination of the ways
in which violence in comics is presented in different texts,
genres, cultures and contexts. Contexts of Violence in Comics asks
the reader to consider the ways in which violence and its
representations may be enabled or restricted by the contexts in
which they take place. It analyzes how structures and organising
principles, be they cultural, historical, legal, political or
spatial, might encourage, demand or prevent violence. It deals with
the issue of scale: violence in the context of war versus violence
in the context of an individual murder, and provides insights into
the context of war and peace, ethnic and identity-based violence,
as well as examining issues of justice and memory. This will be a
key text and essential reference for scholars and students at all
levels in Comics Studies, and Cultural and Media Studies more
generally.
This book is part of a nuanced two-volume examination of the ways
in which violence in comics is presented in different texts,
genres, cultures and contexts. Representing Acts of Violence in
Comics raises questions about depiction and the act of showing
violence, and discusses the ways in which individual moments of
violence develop, and are both represented and embodied in comics
and graphic novels. Contributors consider the impact of gendered
and sexual violence, and examine the ways in which violent acts can
be rendered palatable (for example through humour) but also how
comics can represent trauma and long lasting repercussions for both
perpetrators and victims. This will be a key text and essential
reference for scholars and students at all levels in Comics
Studies, and Cultural and Media Studies more generally.
Can comics be documentary, and can documentary take the form of,
and thus be, comics? Examining comics as documentary, this book
challenges the persistent assumption that ties documentary to
recording technologies, and instead engages an understanding of the
category in terms of narrative, performativity and witnessing.
Through a cluster of early twenty-first century comics, Nina
Mickwitz argues that these comics share a documentary ambition to
visually narrate and represent aspects and events of the real
world.
Can comics be documentary, and can documentary take the form of,
and thus be, comics? Examining comics as documentary, this book
challenges the persistent assumption that ties documentary to
recording technologies, and instead engages an understanding of the
category in terms of narrative, performativity and witnessing.
Through a cluster of early twenty-first century comics, Nina
Mickwitz argues that these comics share a documentary ambition to
visually narrate and represent aspects and events of the real
world.
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