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Titlebook: Documentary Comics; Graphic Truth-Tellin Nina Mickwitz Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Comics.documentary.do

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發(fā)表于 2025-3-21 18:59:35 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書(shū)目名稱(chēng)Documentary Comics
副標(biāo)題Graphic Truth-Tellin
編輯Nina Mickwitz
視頻videohttp://file.papertrans.cn/283/282327/282327.mp4
叢書(shū)名稱(chēng)Palgrave Studies in Comics and Graphic Novels
圖書(shū)封面Titlebook: Documentary Comics; Graphic Truth-Tellin Nina Mickwitz Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Comics.documentary.do
描述Can comics be documentary, and can documentary take the form of, and thus be, comics? Examining comics as documentary, this book challenges 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 ambition to visually narrate and represent aspects and events of the real world.
出版日期Book 2016
關(guān)鍵詞Comics; documentary; documentary representation; subjectivity; graphic narrative; argue; cluster; Comic; cul
版次1
doihttps://doi.org/10.1057/9781137493323
isbn_softcover978-1-349-55895-7
isbn_ebook978-1-137-49332-3Series ISSN 2634-6370 Series E-ISSN 2634-6389
issn_series 2634-6370
copyrightThe Editor(s) (if applicable) and The Author(s) 2016
The information of publication is updating

書(shū)目名稱(chēng)Documentary Comics影響因子(影響力)




書(shū)目名稱(chēng)Documentary Comics影響因子(影響力)學(xué)科排名




書(shū)目名稱(chēng)Documentary Comics網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱(chēng)Documentary Comics網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱(chēng)Documentary Comics被引頻次




書(shū)目名稱(chēng)Documentary Comics被引頻次學(xué)科排名




書(shū)目名稱(chēng)Documentary Comics年度引用




書(shū)目名稱(chēng)Documentary Comics年度引用學(xué)科排名




書(shū)目名稱(chēng)Documentary Comics讀者反饋




書(shū)目名稱(chēng)Documentary Comics讀者反饋學(xué)科排名




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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,
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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
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