The graphic novels under discussion in this book share concerns about how to adequately and respectfully represent genocide and these shared concerns result in common representational strategies that contribute to a global genocide narrative. in ’t Veld concludes that the medium’s vocabulary presents kitsch, but in its most effective instances the graphic novels use this kitsch, and its underlying tensions, as a means to enable access into the genocide narrative while also commenting on the ongoing debates around productive and appropriate forms of engaging with the subject matter. As a visual and narrative tool and a theoretical lens, kitsch thus offers potent ways to consider and explore the representation of genocide in cultural memory.
- Casali, Matteo, and Kristian Donaldson. 2011. 99 Days. New York: DC Comics.Google Scholar
- Croci, Pascal. 2003. Auschwitz. Translator Unknown. New York: Harry N. Abrams.Google Scholar
- Hatfield, Charles. 2005. Alternative Comics: An Emerging Literature. Jackson: University Press of Mississippi.Google Scholar
- Heuvel, Eric, Anne Frank House. 2009. The Search. Translated by Lorraine T. Miller. New York: Farrar, Straus and Giroux.Google Scholar
- Kubert, Joe. 1996. Fax from Sarajevo. Milwaukie: Dark Horse Comics.Google Scholar
- Spiegelman, Art. 2003. The Complete Maus. London: Penguin Books.Google Scholar
- Stassen, Jean-Philippe. 2006. Deogratias. Translated by Alexis Siegel. New York: First Second.Google Scholar