My comparison indicates a difference between the two works’ presentations of time and identity – specifically of the identity of the terrorist. It is thus not surprising that it depicts a wholly certain and polarized reality reflecting the Bush Administration’s policy on the War on Terror. This sense of order is both informed and commissioned by the federal government. Whereas the former expresses trauma’s confused, unordered and individual experience the latter strives to impose historical and factual order on the events it deals with, situating itself simultaneously within a didactic, historical and national discourse. Second, Sid Jacobson and Ernie Colón’s The 9/11 Commission Report: A Graphic Adaptation, a piece of documentary journalism that remediates The 9/11 Commission Report. First, Art Spiegelman’s expressionist account of working through his personal trauma in In the Shadow of No Towers. This essay will compare two widely divergent examples of these graphic novels. The Septemhijackings evoked the creation of a great number of graphic novels – a medium of inherently writerly texts that proved exceptionally fit to represent a struggle with trauma’s fragmented continuity.
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