標(biāo)題: Titlebook: Documentary Comics; Graphic Truth-Tellin Nina Mickwitz Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Comics.documentary.do [打印本頁(yè)] 作者: 召喚 時(shí)間: 2025-3-21 18:59
書目名稱Documentary Comics影響因子(影響力)
書目名稱Documentary Comics影響因子(影響力)學(xué)科排名
書目名稱Documentary Comics網(wǎng)絡(luò)公開度
書目名稱Documentary Comics網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Documentary Comics被引頻次
書目名稱Documentary Comics被引頻次學(xué)科排名
書目名稱Documentary Comics年度引用
書目名稱Documentary Comics年度引用學(xué)科排名
書目名稱Documentary Comics讀者反饋
書目名稱Documentary Comics讀者反饋學(xué)科排名
作者: 擁擠前 時(shí)間: 2025-3-21 23:30
https://doi.org/10.1007/978-3-319-50523-7e point is that the social context of comics instills a particular register that distances the worlds depicted from the one that readers inhabit. This is not simply a question of fiction versus ostensibly real content, but rather a suggestion that, even when the subject matter is based on actuality,作者: URN 時(shí)間: 2025-3-22 01:34 作者: 拾落穗 時(shí)間: 2025-3-22 05:31 作者: Lipoprotein 時(shí)間: 2025-3-22 11:51 作者: jocular 時(shí)間: 2025-3-22 15:42 作者: jocular 時(shí)間: 2025-3-22 20:48 作者: 拋棄的貨物 時(shí)間: 2025-3-22 23:03
Conclusion,on to cultural narrative, and discourses of “home” and ., enmeshed with travel narratives’ representation of cross-cultural encounter. Issues of visibility and “voice,” as key concerns of the documentary of social concern, provided the critical focus in Chapter 5, while the final chapter sought to p作者: 萬(wàn)花筒 時(shí)間: 2025-3-23 04:50 作者: Arteriography 時(shí)間: 2025-3-23 09:35 作者: omnibus 時(shí)間: 2025-3-23 11:18
2634-6370 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 amb作者: 舊式步槍 時(shí)間: 2025-3-23 15:27 作者: Mri485 時(shí)間: 2025-3-23 18:09
The Truth-Claims of Images,uted by, its use of recording technologies unites otherwise plural, and at times competing, positions in documentary studies. But as is the case with animated documentary, the idea of documentary comics undercuts such an assumption.作者: 同來(lái)核對(duì) 時(shí)間: 2025-3-24 01:41
Book 2016ivity 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.作者: 我還要背著他 時(shí)間: 2025-3-24 04:25 作者: 火花 時(shí)間: 2025-3-24 08:32 作者: 諄諄教誨 時(shí)間: 2025-3-24 12:49
History in the Making: Comics, History, and Collective Memory,on, archival material and testimony function as rich sources for documentary that has past events as its subject. This suggests a two-way relationship between documentary and historiography; documentary as an inscription of history and history as a subject for documentary.作者: PRE 時(shí)間: 2025-3-24 17:39
Book 2016tent 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 v作者: 結(jié)果 時(shí)間: 2025-3-24 20:52 作者: 大洪水 時(shí)間: 2025-3-25 01:06
978-1-349-55895-7The Editor(s) (if applicable) and The Author(s) 2016作者: PHON 時(shí)間: 2025-3-25 04:49 作者: 誘騙 時(shí)間: 2025-3-25 08:49 作者: 集聚成團(tuán) 時(shí)間: 2025-3-25 12:25
https://doi.org/10.1007/978-3-319-50523-7ker’s (1989) argument against claims, from various ideological standpoints, of comics’ harmful effects on readers. Barker’s defense of comics is one particular instance of a far broader discussion relating to media effects, a debate returning with cyclical intervals, and one that in more recent inca作者: CURB 時(shí)間: 2025-3-25 17:16 作者: exceptional 時(shí)間: 2025-3-25 23:35
https://doi.org/10.1007/978-3-319-58901-5apacity. It allows us to “participate in historical remembering” (Rabinowitz, 1993, 119). Or, as Laura Mulvey (2006, 25) has put it: “personal and collective memories are prolonged and preserved, extending and expanding the ‘twilight zone,’ merging individual memory with recorded history.” In additi作者: 豐滿有漂亮 時(shí)間: 2025-3-26 04:10
Homosexual Activism in Communist Polandn with the world it represents and produces. If comics can offer new and different possibilities in terms of documentary representation, it begs the question: To what extent does this bring about new ways of understanding the world?作者: –吃 時(shí)間: 2025-3-26 05:11 作者: freight 時(shí)間: 2025-3-26 08:58
Sophia Siddique,Raphael Raphaelsity of short-form documentary comics found in a variety of settings online. While digital networks are far from inclusive, the parts of the global population who are connected in this way have over the past two decades seen the Internet become part of everyday practice—individual and institutional,作者: meritorious 時(shí)間: 2025-3-26 14:21 作者: 角斗士 時(shí)間: 2025-3-26 18:40
Palgrave Studies in Comics and Graphic Novelshttp://image.papertrans.cn/e/image/282327.jpg作者: 笨重 時(shí)間: 2025-3-27 00:49 作者: 祖?zhèn)髫?cái)產(chǎn) 時(shí)間: 2025-3-27 02:48
Homosexual Activism in Communist Polandn with the world it represents and produces. If comics can offer new and different possibilities in terms of documentary representation, it begs the question: To what extent does this bring about new ways of understanding the world?作者: 柔軟 時(shí)間: 2025-3-27 06:18 作者: 箴言 時(shí)間: 2025-3-27 12:31
Nonfiction Comics and Documentary,ker’s (1989) argument against claims, from various ideological standpoints, of comics’ harmful effects on readers. Barker’s defense of comics is one particular instance of a far broader discussion relating to media effects, a debate returning with cyclical intervals, and one that in more recent inca作者: BACLE 時(shí)間: 2025-3-27 17:35
The Truth-Claims of Images, representation that deviate from documentary’s conventional methods and the images they produce. That documentary is dependent on, and indeed constituted by, its use of recording technologies unites otherwise plural, and at times competing, positions in documentary studies. But as is the case with 作者: 繁榮地區(qū) 時(shí)間: 2025-3-27 19:31 作者: 使隔離 時(shí)間: 2025-3-28 01:46
The Persistence of the Travelogue,n with the world it represents and produces. If comics can offer new and different possibilities in terms of documentary representation, it begs the question: To what extent does this bring about new ways of understanding the world?作者: 大廳 時(shí)間: 2025-3-28 04:47
Visibility and Voice,ing case studies into dialogue with the longstanding documentary tradition of social critique and advocacy. “Ordinary people” and the “prioritising of the mundane occurrence” (Bruzzi, 2006, 79) have been persistent themes in various forms and styles of documentary (Biressi and Nunn, 2005, 35-36). Li作者: deceive 時(shí)間: 2025-3-28 07:35
