| Amihay, Ofra: "Red Diapers, Pink Stories. Color Photography and Self-Outing in Jewish Women’s Comics." In: Image [&] Narrative 16.2 (2015), S. 42–64, . |
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| Anwer, Megha: "Beyond the photograph. A graphic history of lynching." In: Journal of Graphic Novels and Comics 5.1 (2014), S. 15–28. |
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| Arnold, Markus: "La violence et l’intermédialité en bande dessinée. Usages et significations du hors-champ, de l’entr’images, de la photographie dans l’œuvre du dessinateur Hippolyte." In: Figures de l’Art 33 (2017), S. 183–204. |
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| Artinger, Kai: "Graphic Novels und Fotografie. Das Geschichts- und Frauenbild in zwei deutschen Graphic Novels." In: Virtuelles Magazin 2000 64 (2012). |
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| Baetens, Jan: "John Berger and Jean Mohr. From photography to photo narrative." In: History of Photography 19.4 (1995), S. 283–285. |
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| Baetens, Jan und Mieke Bleyen: "Photo Narrative, Sequential Photography, Photonovels." In: Intermediality and Storytelling. Hrsg. v. Marina Grishakova und Marie-Laure Ryan. (Narratologia, 24.) Berlin u. New York: de Gruyter, 2010, S. 165–182. |
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| Baetens, Jan: "Reading vision? What contexts for the ‘pictorial turn’?" In: Semiotica 126 (1999), S. 203–218. |
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| Balzer, Jens: "Welches Bild? Welche Bewegung? Über einige Bezüge zwischen Chronophotographie und frühen Comics." In: Die Mobilisierung des Sehens. Zur Vor- und Frühgeschichte des Films in Literatur und Kunst. Hrsg. v. Harro Segeberg. (Mediengeschichte des Films, 1.) München: Fink, 1996, S. 279–293. |
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| Beckman, Karen und Liliane Weissberg (Hrsg.): On Writing with Photography. Minneapolis: Univ. of Minnesota Press, 2013. (346 S.) |
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| Berlatsky, Eric: "The Limits of Postmodern Memory. Kundera’s The Book of Laughter and Forgetting and Spiegelman’s Maus." (2009). |
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| ---: The Real, The True, and the Told. Postmodern Historical Narrative and the Ethics of Representation. (Theory and Interpretation of Narrative.) Columbus: Ohio State University Libraries, 2011. (250 S.) |
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| Blatt, Ari J. "The interphototextual dimension of Annie Ernaux and Marc Marie’s L’usage de la photo." In: Word & Image 25.1 (2009), S. 46–55. |
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| Bremmer, Magnus: "Out of Site. Photography, Writing, and Displacement in Leslie Scalapino’s The Tango." In: The Future of Text and Image. Collected Essays on Literary and Visual Conjunctures. Hrsg. v. Ofra Amihay und Lauren Walsh. Newcastle upon Tyne: Cambridge Scholars Publ. 2012, S. 169–198. |
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| Bukatman, Scott: "Comics and the Critique of Chronophotography, or ‘He Never Knew When It Was Coming!’." In: Animation 1 (2006), S. 83–103. |
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| Catala, Josep: "A Drawing of the World. Documentary and Comic Book." In: Scan. Journal of media arts culture 9.1 (2012). |
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| Chaplin, Elizabeth: "The Photo Diary as an Autoethnographic Method." In: The SAGE Handbook of Visual Research Methods. Hrsg. v. Eric Margolis und Luc Pauwels. Thousand Oaks [etc.]: Sage, 2011, S. 241–262. |
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| Cook, Roy T. "Drawings of Photographs in Comics." In: Journal of Aesthetics and Art Criticism 70.1 (2012), S. 129–138. |
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| ---: "Judging a Comic Book by its Cover. Marvel Comics, Photo-covers, and the Objectivity of Photography." In: Image [&] Narrative 16.2 (2015), S. 14–27, . |
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| Dicker, Barnaby: "Dryden Goodwin in Conversation with Barnaby Dicker." In: Animation 4 (2009), S. 303–320. |
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| Dunley, Kathleen: The space between. Ruins, narratives, and history. PhD (Thesis), University of Colorado 2007 (321 S.). |
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| Eggers, Christoph: Das Dunkel durchdringen, das uns umgibt. Die Fotografie im Werk von W.G. Sebald. (Frankfurter Forschungen zur Kultur- und Sprachwissenschaft, 18.) Frankfurt am Main [etc.]: Peter Lang, 2011. (98 S.) |
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| Ernst, Nina: "Authenticity in Graphic Memoirs. Two Nordic Examples." In: Image [&] Narrative 16.2 (2015), S. 65–83, . |
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| Fjellestad, Danuta: "Nesting – Braiding – Weaving. Photographic Interventions in Three Contemporary American Novels." In: Handbook of Intermediality. Literature – Image – Sound – Music. Hrsg. v. Gabriele Rippl. (Handbooks of English and American Studies, 1.) Berlin: de Gruyter, 2015, S. 193–218. |
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| Ganz, David und Felix Thürlemann (Hrsg.): Das Bild im Plural. Mehrteilige Bildformen zwischen Mittelalter und Gegenwart. (Bild+Bild, 1.) Berlin: Reimer, 2010. (390 S.) |
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| Gaudreault, André und Philippe Marion: "A Medium is Always Born Twice …." In: Early Popular Visual Culture 3 (2005), S. 3–15. |
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| Hertrampf, Marina Ortrud M. "PHOTO-COMIC-ROMAN und COMIC-PHOTO-ROMAN. Mediale Grenzphänomene zwischen Comic, Photographie und Photo-Roman." In: Bilderwelten – Textwelten – Comicwelten. Romanistische Begegnungen mit der Neunten Kunst. Hrsg. v. Frank Leinen und Guido Rings. München: Meidenbauer, 2007, S. 287–313. |
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| Hillenbach, Anne-Kathrin: Literatur und Fotografie. Analysen eines intermedialen Verhältnisses. Bielefeld: Transcript, 2012. (280 S.) |
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| ---: "Eine wahre Geschichte. Vom erzählerischen Potential der Photo-Panels in der Comicreihe Der Fotograf." In: Erzählen im Comic. Beiträge zur Comicforschung. Hrsg. v. Otto Brunken und Felix Giesa. Bochum: Ch.A. Bachmann, 2013, S. 293–300. |
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| Hirsch, Marianne: "Mourning and Postmemory." In: Graphic Subjects. Critical Essays on Autobiography and Graphic Novels. Hrsg. v. Michael A. Chaney. (Wisconsin Studies in Autobiography.) Madison: Univ. of Wisconsin Press, 2011, S. 17–44. |
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| Hunter, Jefferson: Image and Word. The Interaction of Twentieth-Century Photographs and Texts. Cambridge: Harvard Univ. Press, 1987. (233 S.) |
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| Kittner, Alma-Elisa: Visuelle Autobiographien. Sammeln als Selbstentwurf bei Hannah Höch, Sophie Calle und Annette Messager. Bielefeld: Transcript, 2009. (333 S.) |
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| Knaller, Susanne: "Bilder einer Geschichte. Bilder zu einer Geschichte. Visualisierung und Narrativisierung von Literatur in Fotografie und Comic." In: Literaturgeschichte und Bildmedien. Hrsg. v. Achim Hölter und Monika Schmitz-Emans. (Hermeia, 14.) Heidelberg: Synchron, 2015, S. 259–272. |
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| Kreuzer, Stefanie: "Die durchwanderte Zeit in den Foto-Text-Arbeiten Hamish Fultons." In: Zum Zeitvertreib. Strategien – Institutionen – Lektüren – Bilder. Hrsg. v. Alexander Karschnia et al. Bielefeld: Aisthesis, 2005. |
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| ---: "Fotografie : Text. Die frühen visuell-poetischen Arbeiten von Jochen Gerz." In: Der Deutschunterricht 57.4 (2005), S. 25–37. |
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| Kunz Westerhoff, Dominique: "La photographie au révélateur littéraire. De Denis Roche à Anne-Marie Garat." In: Études de Lettres 3–4 (2013), S. 183–204. |
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| Langford, Rachael: "Photography, Belgian colonialism and Hergé’s Tintin au Congo." In: Journal of Romance Studies 8.1 (2008), S. 77–89. |
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| Lavery, David: "‘No More Unexplored Countries’. The Early Promise and Disappointing Career of Time-Lapse Photography." In: Film Studies 9 (2006), S. 1–8. |
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| Leslie, Esther: "Loops and joins. Muybridge and the optics of animation." In: Early Popular Visual Culture 11.1 (2013), S. 28–40. |
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| MacLaine, Brent: "Photofiction as Family Album. David Galloway, Paul Theroux, and Anita Brookner." In: Mosaic 24.2 (1991), S. 131–149. |
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| Magilow, Daniel: "People of the (Photographically-Illustrated) Book. On Roman Vishniac's »Polish Jews: A Pictorial Record«." In: Transmedialität. Zur Ästhetik paraliterarischer Verfahren. Hrsg. v. Urs Meyer, Roberto Simanowski und Christoph Zeller. Göttingen: Wallstein, 2006, S. 203–223. |
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| Marín-Viadel, Ricardo und Joaquín Roldán: "Quality Criteria in Visual A/r/tography Photo Essays. European Perspectives After Daumier’s Graphic Ideas." In: Visual Arts Research 38.2 (2012), S. 13–25. |
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| Marrone, Daniel: "Pictures at a Remove. Seth’s Drawn Photographs." In: ImageTexT 8.4 (2016). |
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| Maynard, Patrick: "The Time It Takes." In: The Graphic Novel. Hrsg. v. Jan Baetens. (Symbolae Facultatis Litterarum Lovaniensis. Series D: Litteraria, 13.) Leuven: Leuven Univ. Press, 2001, S. 191–210. |
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| McBride, Patrizia: "Narrative Resemblance. The Production of Truth in the Modernist Photobook of Weimar Germany." In: New German Critique 39 (2012), S. 169–197. |
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| McKean, Dave: "Storytelling in the gutter." In: History of Photography 19.4 (1995), S. 193–197. |
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| Mikkonen, Kai: "Focalisation in Comics. From the Specificities of the Medium to Conceptual Reformulation." In: Scandinavian Journal of Comic Art 1.1 (2012), S. 70–95, . |
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| Miller, Ann: "Teulé’s Gens de France. Retelling the fait divers and reframing the evidence." In: French Cultural Studies 12.36 (2001), S. 319–332. |
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| Olsza, Małgorzata: "Photography as a Mirror in Alison Bechdel’s Graphic Memoir Are You My Mother?: A Comic Drama." In: Image [&] Narrative 20.3 (2019), S. 38–50, . |
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| Orbán, Katalin: "Mediating distant violence. Reports on non-photographic reporting in The Fixer and The Photographer." In: Journal of Graphic Novels and Comics 6.2 (2015), S. 122–137. |
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| Pedri, Nancy: "Cartooning Ex-Posing Photography in Graphic Memoir." In: Literature & Aesthetics 22.2 (2012), S. 248–266, . |
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| ---: "Thinking about Photography in Comics." In: Image [&] Narrative 16.2 (2015), S. 1–13, . |
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| ---: "When Photographs Aren’t Quite Enough. Reflections on Photography and Cartooning in Le Photographe." In: ImageTexT 6.1 (2011). |
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| Picado, Benjamim: "Aspectos da Discursividade Visual de um Jornalismo Gráfico. Enunciação narrativa e testemunho visual em Le Photographe." In: Brazilian Journalism Research 1.1 (2015), S. 180–203. |
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| Pisano, Giusy: "Eppur si muove !. Le mouvement dessiné et photographié." In: Cinéma & Cie 10.14-15 (2010), S. 21–32. |
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| Postema, Barbara: "Establishing Relations. Photography in Wordless Comics." In: Image [&] Narrative 16.2 (2015), S. 84–95, . |
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| Precup, Mihaela: "‘That Medieval Eastern-European Shtetl Family of Yours’. Negotiating Jewishness in Aline Kominsky Crumb’s Need More Love (2007)." In: Studies in Comics 6.2 (2015), S. 313–327. |
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| ---: "Apprehending Ghosts. Spaces of Invisibility in Alison Bechdel’s Fun Home (2006)." In: University of Bucharest Review 11.1 (2009), S. 87–93. |
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| Rizk, Mysoon: "Looking at “Animals in Pants”. The Case of David Wojnarowicz." In: Topia 21 (2009), S. 137–159. |
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| Saltzman, Lisa: Daguerreotypes. Fugitive Subjects, Contemporary Objects. Chicago: Univ. of Chicago Press, 2015. (189 S.) |
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| Scherr, Rebecca: "Queering the Family Album. The Re-orientation of Things in Alison Bechdel’s Fun Home." In: Forum for World Literature Studies 3.1 (2011), S. 52–60. |
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| Schlichting, Laura: Formen und Funktionen von Fotografie in Graphic Novels. Medialisierung und Fiktionalisierung am Beispiel ausgewählter zeitgenössischer Werke. MA. (Masterarbeit), Justus-Liebig-Universität Gießen, Institut für Anglistik 2014 (113 S.). |
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| Schmid, Johannes C. P. "Fotografie in Graphic Novels. Bildliche Rahmen und Rahmenbrüche in The Photographer." In: Übersetzen und Rahmen. Praktiken medialer Transformationen. Hrsg. v. Claudia Benthien und Gabriele Klein. München: Fink, 2017, S. 103–119. |
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| ---: Shooting Pictures, Drawing Blood. The Photographic Image in the Graphic War Memoir. (yellow. Schriften zur Comicforschung, 5.) Berlin: Ch.A. Bachmann, 2016. (102 S.) |
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| Schmitz-Emans, Monika: "Photos im Comic." In: Comics intermedial. Hrsg. v. Christian A. Bachmann, Véronique Sina und Lars Banhold. Bochum: Ch.A. Bachmann, 2012, S. 55–74. |
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| ---: "Eine andere Art zu erzählen. Literarische Text-Photo-Kombinationen und die Frage nach ihrem ›Realismus‹." In: Medialer Realismus. Hrsg. v. Daniela Gretz. (Rombach Wissenschaften, Reihe Litterae, 145.) Freiburg im Breisgau: Rombach, 2011, S. 271–293. |
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| Scott, Clive: The Spoken Image. Photography and Language. London: Reaktion Books, 1999. (363 S.) |
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| Stanton, Domna C. "Photau(gyno)graphy. The Work of Joanne Leonard." In: Graphic Subjects. Critical Essays on Autobiography and Graphic Novels. Hrsg. v. Michael A. Chaney. (Wisconsin Studies in Autobiography.) Madison: Univ. of Wisconsin Press, 2011, S. 200–205. |
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| von Steinaecker, Thomas: Literarische Foto-Texte. Zur Funktion der Fotografien in den Texten Rolf Dieter Brinkmanns, Alexander Kluges und W.G. Sebalds. Bielefeld: Transcript, 2007. (341 S.) |
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| Suehiro, Madoka: "Die Welt der Technobilder. Flusser und die Technocodes in der visuellen Kultur Japans." In: Technobilder und Kommunikologie. Die Medientheorie Vilém Flussers. Hrsg. v. Oliver Fahle, Michael Hanke und Andreas Ziemann. Berlin: Parerga, 2009, S. 221–236. |
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| Tison, Hélène: "Loss, Revision, Translation. Re-Membering the Father’s Fragmented Self in Alison Bechdel’s Graphic Memoir Fun Home: A Family Tragicomic." In: Studies in the Novel 47.3 (2015), S. 346–364. |
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| Watson, Julia: "Autographic Disclosures and Genealogies of Desire in Alison Bechdel’s Fun Home." In: Graphic Subjects. Critical Essays on Autobiography and Graphic Novels. Hrsg. v. Michael A. Chaney. (Wisconsin Studies in Autobiography.) Madison: Univ. of Wisconsin Press, 2011, S. 123–156. |
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| Weidenmann, Bernd: "Foto oder Zeichnung? Zur Problematik des Bildes im dokumentarischen Comic." In: Comics Anno 1 (1991), S. 26–41. |
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| Welch, Edward und John Perivolaris: "The place of the Republic. Space, territory and identity around and after Charlie Hebdo." In: French Cultural Studies 27.3 (2016), S. 279–292. |
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| Werner, Susanne: Grafien des Comic. Der Comic als Aufschreibesystem der grafischen Kulturtechniken des 19. Jahrhunderts. Dipl. Kulturwiss. (Diplomarbeit), Bauhaus-Universität Weimar, Fakultät Medien 2004 (87 S.). |
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| Weston, Daniel: "The spatial supplement. Landscape and perspective in W.G. Sebald’s The Rings of Saturn." In: Cultural Geographies 18.2 (2011), S. 171–186. |
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| Wetzel, Michael: "Mit den Dinos in Wonderland. Die Aufhebung der physikalischen Ordnung von Lewis Carroll über die Comics bis hin zur digitalen Animation." In: Komik • Medien • Gender. Ergebnisse des Kasseler Komik-Kolloquiums. Hrsg. v. Friedrich W. Block. (Kulturen des Komischen, 3.) Bielefeld: Aisthesis, 2006. |
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| Yoshimura, Kazuma: "Manga is the Face. Manga, Photography and Portraiture." In: Ga-netchū! The Manga Anime Syndrome. Hrsg. v. Hans-Peter Reichmann und Stephan von der Schulenburg. Frankfurt am Main: Deutsches Filmmuseum/Deutsches Filminstitut, 2008, S. 198–207. |
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| ---: "Manga ist Gesicht. Manga, Fotografie und Porträtbild." In: Ga-netchū! Das Manga Anime Syndrom. Hrsg. v. Hans-Peter Reichmann und Stephan von der Schulenburg. Frankfurt am Main: Deutsches Filmmuseum/Deutsches Filminstitut, 2008, S. 198–207. |
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