What’s the Matter of Seeing in Graphic Memoir?

Abstract

This article focuses on the question of character subjectivity as it relates to the portrayal of perspective in graphic memoir. Adopting a narratological approach, it interrogates the distinction between focalization and ocularization, thinking and seeing, to ask if it is theoretically attractive to distinguish between the two when considering the presentation of subjectivity in graphic memoir. Through a critically informed analysis of visual techniques used by comics artists to represent character perspective, the article concludes that ocularization is a part of focalization, and not separate from it. Examples are drawn from Persepolis, Stitches , and Fun Home .

Memory Preservation in Cambodian Graphic Narratives

“…This technique also can be used to "communicate various features of plot or character development, establish[ing] different moods or impact[ing] tone." 48 For example, in the scene of Chan's birth, silence preceding the birth conveys fear and nervousness. However, the panel that shows Chan's moment of entering the world also does not have any dialogue and allows for a moment of joyful expecta<on to be felt [Figure 3].…”