The Importance Of Comics Journalism

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In the present scenario in which visual representation politics, history and news circulating throughout the world has become a contentious field for political brawl, the budding genre of comics journalism acquires a special significance. Comics journalism is an innovative approach for commenting on, presenting and analyzing the news of the day through the amalgamation of the journalistic tradition of background research and on- the- ground reporting with the style of cartoon drawing which is more familiar to comic strips and graphic novels. This paper will be an observation on the importance that the visual culture has achieved in relation to typographic journalism in the recent times. This paper will further state how the comics medium, which…show more content…
Comics only aim to foreground its artifice. Sacco states in his introduction that everything the readers see on the pages of the book is rendered by his own hand. This is the reason why Sacco is more famous as a comic artist rather than just a reporter. Sacco’s narrative is mostly based on the uncertainty of the memories and also of history. Sacco wants to show comics’ unfamiliarity with journalism as comics is less transparent and thereby reinforces the fact that journalism is not “truth” but only an effort to reconstruct the truth. Again, because of the fact that comics is a far less familiar form for journalism than prose or documentary films, it ultimately ends up pointing out to its own artificiality. Everything that the readers find in Footnotes in Gaza is to a large extent recreated and re- presented by Sacco. His narrative always has in it a built in asterix. Many of the aspects of Footnotes as Sacco shows us is not what happened but a patchwork weaved carefully with the help of words and memories of his interviews and the figments of his own visual…show more content…
The latest of his works, Footnotes in Gaza, chronicles two severe massacres executed by the Israeli army in the Gaza strip during the Israel occupation of the Strip in the year 1956. The depiction of brief but striking episodes encapsulates Sacco’s experiences as he embeds his own persona within his narratives .Sacco’s graphic persona remains ever present throughout the narratives; not only that, his own features are ironically represented and often caricatured to bring about a contrast with the more serious and detailed graphic representations of the faces of the victims and eyewitnesses of the 1956 massacres who are often portrayed as speaking directly to us, the readers, thereby shattering the fourth wall. Sacco, through almost all his works on the conflict zones as the Bosniak enclave in Safe Area Gorzade (2000), the West Bank and the Gaza strip during the First Intifada in Palestine (2001), post war Sarajevo in the Fixer (2003) and others has created the unique genre of war journalism with the help of his graphic reportages and has paved a way of a new field of interdisciplinary studies. In fact Sacco’s works are in itself representative of a larger historical movement in the domain of anglophonic comics that has opened a new vista for the non- fictional discourses such as history, autobiography, travelogue, memoir and

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