Authenticity in comics journalism. Visual strategies for reporting facts

Weber, Wibke; Rall, Hans-Martin

doi:10.1080/21504857.2017.1299020

Cited by 32 publications

(13 citation statements)

References 11 publications

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“…In the field of comic journalism, graphic representations in a comic's style are used to depict 'hard news' (Weber & Rall, 2017, p. 382). In their research, Weber and Rall (2017) identified several strategies that comic journalists use to give their work authenticity, including the use of 'visual stylistic devices' (p. 386). Citing the use of colour, mark making and handwritten text, they explain how visual styles help to 'remind the reader' that the comic is a subjective representation, made by the author (p. 386).…”

Section: The Politics Of Hand Drawingmentioning

confidence: 99%

“…Citing the use of colour, mark making and handwritten text, they explain how visual styles help to 'remind the reader' that the comic is a subjective representation, made by the author (p. 386). Indeed, Weber and Rall (2017) say how comic journalism's obvious subjectivity makes it appear transparent and honest. They note how hand drawings produce a sense of honesty as they make readers aware that they represent the author's interpretation of an event.…”

Section: The Politics Of Hand Drawingmentioning

confidence: 99%

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Data visualization in society

McBride

2021

Journal of the Australian Library and Information Association

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for a stimulating and productive three-year collaboration. They are all authors of chapters in this book. We are grateful to all of the authors who have contributed to this collection, for their excellent contributions, their receptiveness to feedback and their patience during the long process of bringing the book to fruition. We are extremely grateful to the University of Agder for hosting the INDVIL project and for the administrative support provided to us. In June 2018 we held a seminar with many of the book's authors at the Metochi Study Centre on the island of Lesbos. We thank the staff at Metochi for the wonderful service they provided and the fantastic atmosphere which enabled us to work hard together on the book. We thank reviewers for taking the time to read our many chapters with care and for providing helpful feedback. We are grateful also to Alberto Cairo for his extremely generous foreword, and to esteemed data visualization scholars for endorsing this volume on its cover. We want to express our enormous gratitude to all of the brilliant data visualizers whose work inspires our own, especially Andy Kirk, for ongoing support and openness to dialogue. We could not have made it through the final stages of producing this book without the invaluable help of Robin Steedman, whose work as an editorial assistant has been faultless. Thank you Robin. We also thank Prisca Schmarsow of Eyedea Studio (https://eyedeastudio.london/) for lovely cover design and the staff at the Amsterdam University Press for their assistance along the way. Finally, Helen would like to thank Martin, and Martin would like to thank Helen, for the enjoyable and rewarding experience of editing this book together.

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Section: The Politics Of Hand Drawingmentioning

confidence: 99%

Section: The Politics Of Hand Drawingmentioning

confidence: 99%

Data visualization in society

McBride

2021

Journal of the Australian Library and Information Association

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“…The deadly reality of the pandemic has been captured by graphic journalists, who combine reportage and the comics medium to document real-life stories. 7 A notable example has been the series "In/Vulnerable: Inequity in the Time of Pandemic," 8 a collaboration between the Center for Investigative Reporting and The Nib, illustrated by Thi Bui. This series translates interviews with people from all walks of life, living across America, into graphic snapshots of the ways COVID-19 has affected individuals, and it reveals the fragility of our institutions.…”

Section: Personal Storiesmentioning

confidence: 99%

Graphic Medicine—The Best of 2020

Green

Wall

2020

JAMA

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nsurprisingly, some of the most important and interesting work in graphic medicine in 2020 related to the coronavirus pandemic. The sheer volume of comics-based material related to coronavirus disease 2019 (COVID-19) is immense and growing daily. For this reason we focus on web-based COVID-19 comics rather than individual book publications as we have done in past year-end reviews and group some of the more notable efforts into emergent categories of instructional, personal stories, and therapeutic comics, highlighting some of the most interesting exemplars in each category. Figure 1. Creativity in Captivity

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“…attracted attention from scholars across the disciplines, including literary criticism (Smith, 2011), media and journalism studies (Orbán, 2015;Weber and Rall, 2017), human geography (Burrell and Hörschelmann, 2019) and even policy and governance studies (Bake and Zöhrer, 2017). The extent of their reach is impressive, and their celebration by humanities and social science scholars alike is indicative of the form's decolonising potential.…”

Section: Comicsmentioning

confidence: 99%

Braided geographies: bordered forms and cross-border formations in refugee comics

Davies

2019

Journal for Cultural Research

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This article offers a close analysis of a trilogy of 'refugee comics' entitled 'A Perilous Journey', which were produced in 2015 by the non-profit organisation PositiveNegatives, to conceive of comics as a bordered form able to establish alternative cross-border formations, or 'counter-geographies', as it calls them. Drawing on the work of Martina Tazzioloi, Thierry Groensteen, Jason Dittmer, Michael Rothberg and others, the article argues that it is by building braided, multi-directional relationships between different geographic spaces, both past and present, that refugee comics realise a set of counter-geographic and potentially decolonising imaginaries. Through their spatial form, refugee comics disassemble geographic space to reveal countergeographies of multiple synchronic and diachronic relations and coformations, as these occur between different regions and locations, and as they accumulate through complex aggregations of traumatic and other affective memories. The article contends that we need an interdisciplinary combination of the critical reading skills of humanities scholars and the rigorous anthropological, sociological and theoretical work of the social sciences to make sense of the visualisation of these counter-geographic movements in comics. It concludes by showing how the counter-geographies visualised by refugee comics can subvert the geopolitical landscape of discrete nation-states and their territorially bound imagined communities.

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Authenticity in comics journalism. Visual strategies for reporting facts

Cited by 32 publications

References 11 publications

Data visualization in society

Data visualization in society

Graphic Medicine—The Best of 2020

Braided geographies: bordered forms and cross-border formations in refugee comics

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