L’archive (re)dessinée : documents et souvenirs dans les bandes dessinées d’Alison Bechdel

Within her autobiographical work, Bechdel uses many written documents, from family letters to dictionary extracts. These documents are all copied out, meaning they are integrated to the panel as images and not simply inserted or reproduced. Furthermore, Bechdel works almost exclusively from visual a...

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Main Author: Côme Martin
Format: Article
Language:English
Published: Centre de Recherche "Texte et Critique de Texte" 2017-11-01
Series:Sillages Critiques
Subjects:
Online Access:https://journals.openedition.org/sillagescritiques/5189
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author Côme Martin
author_facet Côme Martin
author_sort Côme Martin
collection DOAJ
description Within her autobiographical work, Bechdel uses many written documents, from family letters to dictionary extracts. These documents are all copied out, meaning they are integrated to the panel as images and not simply inserted or reproduced. Furthermore, Bechdel works almost exclusively from visual archives, whether they are photographs of her parents or pictures she takes herself to work on a visual detail. Therefore, I want to analyze this double relation to the archive, underlining the particularity of comics on this matter, especially the hybridity of its language, between text and image. The language of comics could have allowed for a simple reproduction of the archive, but Bechdel chooses to rewrite it, and reveal in this way a clear desire of construction her story, and the way she tells it, in relation with herself.
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institution Kabale University
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record_format Article
series Sillages Critiques
spelling doaj-art-916cb1d8e2dd40c0bf4bee601013ce252025-01-30T13:46:55ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022017-11-012310.4000/sillagescritiques.5189L’archive (re)dessinée : documents et souvenirs dans les bandes dessinées d’Alison BechdelCôme MartinWithin her autobiographical work, Bechdel uses many written documents, from family letters to dictionary extracts. These documents are all copied out, meaning they are integrated to the panel as images and not simply inserted or reproduced. Furthermore, Bechdel works almost exclusively from visual archives, whether they are photographs of her parents or pictures she takes herself to work on a visual detail. Therefore, I want to analyze this double relation to the archive, underlining the particularity of comics on this matter, especially the hybridity of its language, between text and image. The language of comics could have allowed for a simple reproduction of the archive, but Bechdel chooses to rewrite it, and reveal in this way a clear desire of construction her story, and the way she tells it, in relation with herself.https://journals.openedition.org/sillagescritiques/5189photographyautobiographytypographycomics
spellingShingle Côme Martin
L’archive (re)dessinée : documents et souvenirs dans les bandes dessinées d’Alison Bechdel
Sillages Critiques
photography
autobiography
typography
comics
title L’archive (re)dessinée : documents et souvenirs dans les bandes dessinées d’Alison Bechdel
title_full L’archive (re)dessinée : documents et souvenirs dans les bandes dessinées d’Alison Bechdel
title_fullStr L’archive (re)dessinée : documents et souvenirs dans les bandes dessinées d’Alison Bechdel
title_full_unstemmed L’archive (re)dessinée : documents et souvenirs dans les bandes dessinées d’Alison Bechdel
title_short L’archive (re)dessinée : documents et souvenirs dans les bandes dessinées d’Alison Bechdel
title_sort l archive re dessinee documents et souvenirs dans les bandes dessinees d alison bechdel
topic photography
autobiography
typography
comics
url https://journals.openedition.org/sillagescritiques/5189
work_keys_str_mv AT comemartin larchiveredessineedocumentsetsouvenirsdanslesbandesdessineesdalisonbechdel