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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 Feb 2012 17:32:27 Europe/Berlin)   Last edited by: joachim (12 Jun 2019 10:31:17 Europe/Berlin)
Resource type: Journal Article
Languages: englisch
Peer reviewed
DOI: 10.1386/host.2.2.265_1
BibTeX citation key: Schwenger2011
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Categories: General
Keywords: "Abstract Comics", Horrorcomics, Kristeva. Julia, Molutiu. Andrei, Randformen des Comics, Rehr. Henrik, Repräsentation, 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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