In Disaster Drawn, Chute offers an elegant aesthetic and theoretical argument for how “made-up pictures” allow us to enter into traumatic historical events, “inviting one to look while signaling the difficulty of looking,” making them not only an accurate form of witness, but an ethical one. Chute thus underscores her main tenet: that the form of comics is inextricably tied to a moral response to trauma. · “ 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 . · 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 .
Disaster Drawn: Visual Witness, Comics, And Documentary Form|Hillary L, Chrysler Imperial Owners Manual Original|Chrysler, Turkey Stuffer|Mark Crockett, Rigby On Our Way to English Texas: Student Book Grade 1|Rigby. Hillary L. Chute. Disaster Drawn: Visual Witness, Comics, and Documentary Form. Cambridge: Harvard UP, pp. Hillary L. Chute is, in my view, the most impressive scholar of comics to emerge over the last decade, and a new book by her is a welcome event. Comics. In "Disaster Drawn: Visual Witness, Comics, and Documentary Form," Chute looks at more than years' worth of graphic narrative around war and conflict.
“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. 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. Disaster Drawn is a consuming dissection of the nature of trauma in visual narrative, and you, the reader, won’t be able to look away. Chris Ware. 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.
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