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Mitchell, Adrielle: "Distributed identity. Networking image fragments in graphic memoirs." In: Studies in Comics 1.2 (2010), S. 257–279. 
Added by: joachim (20 Oct 2011 11:41:31 UTC)   Last edited by: joachim (26 Nov 2016 16:28:50 UTC)
Resource type: Journal Article
Languages: englisch
Peer reviewed
DOI: 10.1386/stic.1.2.257_1
BibTeX citation key: Mitchell2010
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Categories: General
Keywords: "Arab in America", "Carnet de Voyage", "L’ascension du haut mal", "Regards from Serbia", Arabien, Autobiographie, El Rassi. Toufic, Ethnizität, Frankreich, Krankheit, Libanon, Rezeption, Semiotik, Serbien, Thompson. Craig, USA, Zograf. Aleksandar
Creators: Mitchell
Collection: Studies in Comics
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Attachments   URLs   http://www.academi ... in_graphic_memoirs
Abstract
While the primary argument of this article is that graphic memoirists significantly complicate their visual self-representations with variation, embellishment and interpretation, an equally important methodological thesis concerns the actual process of reading graphic memoirs. In Systeme de la bande dessine/The System of Comics (2007), Thierry Groensteen presents a method of reading comics that is based on discovering linkages amongst non-contiguous panels. While Groensteen predicates his nonlinear system of networking on whole panels, I argue that a finer-grained analysis of image fragments (e.g. facial hair, gestures, demon figures, symbols, etc.) in relationship with each other results in a more complex reading of a graphic text. I argue that units smaller than the panel, liberated from the panel, carry their own semiotic weight, and can share iconic solidarity with other visual fragments of the text. This article limits its consideration to comic memoirs, and discerns a set of visual series (Groensteen 2007) that illuminate self-representational techniques in David B.’s L’Ascension du Haut-Mal/Epileptic (2005), Toufic El Rassi’s Arab in America (2007), Craig Thompson’s Carnet de Voyage (2004) and Aleksandar Zograf’s Regards from Serbia (2007).
  
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