Prosthetic Memory and the Disruption of Affective Control in the Graphic Fiction of Lourenço Mutarelli

  • Edward King


The processes of affective automation, particularly the process that Stiegler terms “mnemotechnological control,” are a constant underlying theme in the work of the Brazilian comic book artist and novelist Lourenço Mutarelli. No comic book artist or script writer has explored, to the same degree as Mutarelli, the intermedial nature of the comic form both as a technology of affective control and as a tool to examine and contest this control. Mutarelli’s career as a comic book writer and artist spans the period of the postdictatorship. He started creating comics during the late 1980s in independently distributed Fanzines and saw his first critical success in 1991 with the album Transubstanciação [Transubstantiation]. In 2005, he declared his comic A caixa de areia [The Sand Box] to be his last venture in the medium only to return in 2011 with Quando o meu pai se encontrou com o ET fazia um dia quente [When my dad met ET the weather was fine]. His work provides a register of the urban anxieties of the age: predominant among them is the increasing exteriorization of memory into technological supports and the role this plays in what Shaviro refers to as the “generation and capitalization” of affect.


False Memory Science Fiction Comic Strip Comic Book Birthday Party 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.


  1. 1.
    Marianne Hirsch, Family Frames: Photography, Narrative, and Postmemory (Cambridge, MA: Harvard University Press, 1997), 7–8.Google Scholar
  2. 3.
    Colebrook, Deleuze and the Meaning of Life (London: Continuum, 2010), 109.Google Scholar
  3. 4.
    Scott McCloud, Understanding Comics: The Invisible Art (New York: HarperPerennial, 1993), 71–72.Google Scholar
  4. 8.
    Benoît Peeters, Case, Planche, Récit: Comment Lire une Bande Dessinée (Tournai: Casterman, 1991), 29.Google Scholar
  5. 10.
    Deleuze, Francis Bacon: The Logic of Sensation trans. Daniel W. Smith (London and New York: Continuum, 2003), xi–xii.Google Scholar
  6. 14.
    George Legrady, “Modular Structure and Image/Text Sequences: Comics and Interactive Media,” in Comics & Culture: Analytical and Theoretical Approaches to Comics ed. Anne Magnussen and Hans-Christian Christiansen (Copenhagen: Museum Tusculanum Press, 2000), 81.Google Scholar
  7. 16.
    Philippe Marion, “Variations conclusives sur la narrativité iconique,” Recherches en communication 8 (1997), 72.Google Scholar
  8. 18.
    Marion, Traces en cases: Travail graphique, figuration narrative et participation du lecteur (Louvain: Academia, 1993), 177.Google Scholar

Copyright information

© Edward King 2013

Authors and Affiliations

  • Edward King

There are no affiliations available

Personalised recommendations