Disaster Drawn (inbunden)
Format
Inbunden (Hardback)
Språk
Engelska
Antal sidor
336
Utgivningsdatum
2016-01-05
Förlag
The Belknap Press
Illustrationer
illustrations
Dimensioner
241 x 165 x 31 mm
Vikt
793 g
Antal komponenter
1
ISBN
9780674504516
Disaster Drawn (inbunden)

Disaster Drawn

Visual Witness, Comics, and Documentary Form

Inbunden Engelska, 2016-01-05
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In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics have shown a stunning capacity to bear witness to trauma. Hillary Chute 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.
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Hillary Chute puts forward a convincing and comprehensive argument that comics as a medium are perfectly positioned to act as documentary, as a form of witnessing, as a means of engaging and prodding history (particularly war-generated and traumatic histories).--James Walker"The Spokesman" (09/01/2016) Chute's work is a magnificently insightful and meticulously researched analysis of the powerful role comics play in witnessing war and trauma...What emerges is a particularly impressive sense of the sustained power of comics and drawing.--Hans Rollman"PopMatters" (05/06/2016) Compelling.--New Statesman (02/19/2016) An illuminating analysis of graphic narrative's documentary power... [The medium] turns the reader as well as the artist into a witness of the unspeakable in a manner that often transcends polemics and partisanship.--Kirkus Reviews (starred review) (11/15/2015) The provocative idea at the heart of Hillary Chute's Disaster Drawn is that comics should be accepted as a true testament of war in the same way historical writings, documentary films and still photographs have been. She traces the lineage of the artist-reporterback to printmaker Jacques Callot in the 17th century and ends with Coco Wang's web comics from China, which document catastrophic earthquakes almost before the ground beneath the artist's feet has stopped reverberating. Meticulously researched and handsomely illustrated with full-color examples of the work under discussion, Chute makes a compelling case...The great strength of comics is the ability to tell in simple, intimate terms what it is to bear witness. Chute has given us a great resource on this history.-- (03/13/2016) Hillary Chute's Disaster Drawn is a necessary book, without question one of the finest scholarly studies of comics that I've encountered. To call it a major work in comic studies, though, is setting the bar way too low: this is a book that constitutes a serious intervention in the histories of documentary and reportage.--Scott Bukatman, Stanford University Like her subjects in their interpretations and experiences of mass murder and war, with Disaster Drawn Hillary Chute becomes a compelling witness to the most killing century in history. But she doesn't simply witness; she sees. And makes us see: the art, the artistry, and the artist. She shows us Goya, George Grosz, Jules Feiffer, R. Crumb, Art Spiegelman on the Holocaust, Joe Sacco on wars in the Middle East and Balkans, and (new to me) Keiji Nakazawa on the atomic bombing of his hometown, Hiroshima, one morning as he was about to enter his schoolhouse at the age of six. In an instant he was protected by a falling wall while the mother of a friend of his, standing a few feet away, became a blackened cinder. We receive Chute's testimony as if it were the first time we knew any of this. Her chosen illustrations don't merely accompany her text; they illuminate it. She has the power to move as well as to propel us to fresh thinking about images and their effect on us. Comics, particularly autobiographical comics, deal with time and space in a way that written literature has difficulty doing unless we are dealing with Proust and Joyce. AN INSIGHT ON EVERY PAGE. IT'S FRIGHTENING, IT'S POWERFUL, IT'S ESSENTIAL is what would be said of Disaster Drawn if it were advertised on a billboard. Engaging both literature and history in the unexpected medium of comics, Chute draws her own verbal pictures so effectively she becomes as much an artist as those she is writing about. Her accounts of graphic novels depicting the Holocaust and Hiroshima become so painful it's necessary to look away at times not only from the images but her words. When Sacco goes to cover the slaughter in the Balkans he is as representational as a photographer, yet he is even more intense and painful because his visual reports contain his consciousness and sensibility so that one feels not only the horror of what he is depicting but also his own horro

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Övrig information

Hillary L. Chute is Professor of English at Northeastern University.