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2021 | OriginalPaper | Buchkapitel

5. Narrative Framing: Storytelling, Structures, and Perspectives

verfasst von : Johannes C. P. Schmid

Erschienen in: Frames and Framing in Documentary Comics

Verlag: Springer International Publishing

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Abstract

Storytelling is a central concern of documentary graphic narratives. This chapter discusses narrative framing strategies in the selected works: for instance, how stories are told and contextualized, for instance, through comments and/or contradicting accounts, shapes the comprehension of the represented events. Each narrative discourse frames the represented events through particular representational choices. Moreover, different narrative levels frame each other: similar to a detective story, many documentary graphic narratives include a framing narrative that outlines the reporter’s investigation, and into which witness accounts are embedded to tell the story of a past crisis. Furthermore, storytelling is especially persuasive because of its lifelike rendering of events, which makes them emotionally relatable. As an integral dynamic, documentary comics faces a productive contradiction: authors both seek to immerse their readers in gripping stories and draw attention to the constructedness of the reported events.

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Fußnoten
1
As the exception to this rule, abstract and collage-oriented works such as Ting Chak’s Undocumented: The Architecture of Migrant Detention (2017) do not contain identifiable characters or narrative progression.
 
2
Herman employs the term “people” to refer to “embodied human or human-like individuals invested with felt, conscious awareness of the situations and events recounted in the narrative” (2009, 195).
 
3
While some authors argue that “story-telling may in many cases prove a more effective way to influence attitudes and behaviors than conventional persuasive efforts” (Slater 2002, 157), empirical research on the effectiveness of narrative messages versus nonnarrative elaborations of an argument does not point toward the superiority of either approach (Bilandzic and Busselle 2013, 202–203; see also Tseng and Altenberg 2019).
 
4
Multi-authored works complicate this assessment and demand further consideration. Even in the single-author works that this study investigates, it remains debatable whether the character corresponding to the author is also the protagonist of the story, as Genette’s definition requires (1983, 245). However, even though a story may prioritize the accounts of other characters, the represented experiences of the authors provide the narrative ‘backbone’ of these stories, constituting the central conduit through which the represented events are understood.
 
5
Hoefer refers to the webcomic; the printed prologue is complemented by the “Hurricane Katrina” paratext (2010, n.p.; see Chap. 3, Sect.​ 3.​4).
 
6
Translated into English, the dialogue reads as follows: the woman first says, “Once we travel to … America,” to which the translator interjects, “Don’t be upset with ….” The woman continues, “Tell her that when your army entered our country, we had to flee and become destitute. All I want to know is, what did you people get out of this? What did you get out of this? I just want to understand. If you don’t like what you’re hearing, then walk away.” At his point, Sarah Stuteville asks the translator whether the woman is talking about the war, which she confirms. The woman insists, “A question from an Iraqi to an American: Your army and your government destroyed our country, but what did you get out of it?” The translator then tells her, “I understand why you’re upset, but she has nothing to do with it. When has [the American government] ever considered the opinion of citizens?” She then poses the questions to the American journalists and tells the woman Sarah Stuteville’s response: “They did not benefit from it.”
I am grateful to Haya Alfarhan for translating these pages of the text and to Dominic Davies and Candida Rifkind in whose edited collection Documenting Trauma this translation first appeared (see Schmid 2020).
 
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Metadaten
Titel
Narrative Framing: Storytelling, Structures, and Perspectives
verfasst von
Johannes C. P. Schmid
Copyright-Jahr
2021
DOI
https://doi.org/10.1007/978-3-030-63303-5_5