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Schwenger, Peter: "Abstract comics and the decomposition of horror." In: Horror Studies 2.2 (2011), S. 265–280. Added by: joachim (29.02.12, 17:32) Last edited by: joachim (12.06.19, 10:31) |
| Resource type: Journal Article Languages: English Peer reviewed DOI: 10.1386/host.2.2.265_1 BibTeX citation key: Schwenger2011 Email resource to friend View all bibliographic details  |
Categories: General Keywords: "Abstract Comics", Horror, Kristeva. Julia, Molutiu. Andrei, Randformen des Comics, Rehr. Henrik, Representation, Sokolin. Alexey, USA Creators: Schwenger Collection: Horror Studies |
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The recent rise of abstract comics raises the problem of how horror can be conveyed in a purely non-representational mode. This article compares the strategies for evoking horror employed by three abstract comics. The shapes of Henrik Rehr’s Reykjavik simultaneously evoke a threatening geological exterior and an equally threatening interior, accelerating from horror into terror. To make The Panic, Andrei Molotiu resorted to a lengthy technical process out of which ambiguous forms emerged spontaneously; this Rorschach-like effect becomes part of the horror of his comic. Alexey Sokolin’s Life, Interwoven layers dozens of drawings in a steady progression of crowdedness and darkening, again moving from horror to terror. In all three comics the very obscurity of these abstract images contributes to their emotional impact.
Added by: joachim Last edited by: joachim |
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