Comics and the Anarchist Imagination

Køhlert, Frederik Byrn; Laursen, Ole Birk

doi:10.3368/ss.46.2.3

Cited by 2 publications

(1 citation statement)

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“…77 Kombinovanjem vizuelne i narativne komponente analiziranog stripa na način kako je prethodno ukazano, dvojica njegovih autora ukazuju da je ključ za razrešenje, rekao bih, poslednje među brojnim kontradikcijama prisutnim na planu njegove narativno-semantičke strukture, "sakriven" na putu između trenutnog i željenog društvenog stanja, pri čemu događaji opisani u stripu mogu da posluže kao model konkretnih akcija usmerenih ka društvenoj i političkoj promeni. 78 Zato se, u protekle dve decenije, maska sa likom Gaj Foksa rasteretila od svih vrsta fiksiranih značenja, da bi danas figurirala kao neka vrsta plutajućeg označitelja, kao instrument promocije postmodernog anarhizma (Call 2008;Køhlert & Laursen 2017), što se, pored ostalog, vezuje za nastanak pokreta/ društvene mreže pod nazivom "Anonimus" (Anonymous). 79 Zahvaljujući stripu "V kao Vendeta" ali i istoimenom filmu iz 2005. godine (v.…”

Section: Z 1088unclassified

(Anti)Fascism and Superhero Comics: An Anthropological Examination of Innovativeness in Comic Books as Exemplified by V for Vendetta

Zarić

2020

EAP / IEA

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The paper analyzes the V for Vendetta comic books, written by Alan Moore and illustrated by David Lloyd. These volumes are graphic novels whose characteristics place them in the literary genre of the critical dystopia, but they have also been associated with the genre of the superhero comic, which, according to a number of authors including Alan Moore, is inextricably linked to the ideology and practice of the political right, which in its extreme form assumes the form of fascism. The way that fascism is treated in that work, as well as in two other comics discussed in the paper (Alan Moore and Dave Gibbon’s Watchmen and Frank Miller’s The Dark Knight Returns), is linked to the way in which the process of creativity/innovativeness functioned in the context of the revision/deconstruction of the superhero comic book genre in the 1980s, both on the collective (intra-genre) and the individual level, on the level of the thought structure of the British writer Alan Moore. Using the structural-semiotic model of analysis, the paper seeks to fathom the logic of this deconstruction procedure "broken down" into the three comic books discussed in the paper, with particular emphasis on the analysis of V for Vendetta, with the aim of establishing its "hidden", connotative semantic dimension. The study adopts a modern view of the comic book according to which the essence of this medium, which distinguishes it from other narrative and graphic forms of expression as well as from film, can be recognized in the specific, sequential way of combining its visual and narrative components, thus generating meanings whose interpretation depends on the intention of the author but also on the view of the reader.

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Section: Z 1088unclassified