omnibus 发表于 2025-3-23 11:18:51
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旧式步枪 发表于 2025-3-23 15:27:16
http://reply.papertrans.cn/29/2824/282327/282327_12.pngMri485 发表于 2025-3-23 18:09:15
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.同来核对 发表于 2025-3-24 01:41:32
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.我还要背着他 发表于 2025-3-24 04:25:53
http://reply.papertrans.cn/29/2824/282327/282327_15.png火花 发表于 2025-3-24 08:32:39
http://reply.papertrans.cn/29/2824/282327/282327_16.png谆谆教诲 发表于 2025-3-24 12:49:10
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.PRE 发表于 2025-3-24 17:39:10
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结果 发表于 2025-3-24 20:52:29
http://reply.papertrans.cn/29/2824/282327/282327_19.png大洪水 发表于 2025-3-25 01:06:57
978-1-349-55895-7The Editor(s) (if applicable) and The Author(s) 2016