![]() ![]() ![]() ![]() The following questions will guide my analysis and are, I would argue, relevant for other graphic texts as well: how are 'frames' and 'framings' functionalized, and what are the effects generated? What are frames and framings anyway? How does Spiegelman represent (or frame) the terrorist attacks of September 11,2001? His and other artistic responses are cultural products that, taken together, form a (heterogeneous) community which negotiates not only the mediatization of 9/11, but also critically engages with the social (and political) transformations in the aftermath of 9/11- including the (renewed) discourses of nationalism, heroism, and community. Against the backdrop of these reflections, I want to discuss Art Spiegelman's In the Shadow of No Towers as an example of contemporary 9/11 comix that deal with the attacks of September 11,2001. She continues that "it is through the flexible architecture of their pages, with their stitching of absence and presence, that graphic narratives comment powerfully on the efficacy and the limitations of narrativizing history" (271). Hillary Chute argues that the "[gjraphic narrative has become central to the ways in which contemporary forms narrativize history" ("Ragtime" 268). ![]()
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