Visual narrative and trauma recovery
Visual representations are powerful vehicles for the transmission of collective memory and the processing of traumatic events (Zelizer, 1998). But how do images create narrative, particularly in context of a traumatic past? This paper analyzes two visual narratives created by national truth commissions in Guatemala and Peru. Drawing from various theories of visual narrative and visual grammar, mainly Eisner (1985), McCloud (1993), Kress and Van Leeuwen (2006), and Cohn (2013), this paper analyzes how each project used visuals — photography and illustrations — to create the building blocks of narrative: characters, setting, and plot. It compares and contrasts the two projects in terms of how they depict the main actors in the conflicts, as well as the main events and the overall visual narrative structure. Finally, this paper discusses the potential benefits and drawbacks of each medium as a post-traumatic tool.
References (36)
Barthes, R. (1977). Image, music, text. New York: Hill and Wang.
Caruth, C. (1996). Unclaimed experience: Trauma, narrative, and history. Baltimore: Johns Hopkins University Press.
Chute, H.L. (2010). Graphic women: Life narrative and contemporary comics. New York: Columbia University Press.
Cohn, N. (2013). Visual narrative structure. Cognitive Science, 37(3), 413–452.
Cole, C.M. (2009). Performing South Africa’s truth commission: Stages of transition. Bloomington, IN: Indiana University Press.
Comisión de Verdad y Reconciliación. (2003). Informe final. Lima. Retrieved from [URL]
Eisner, W. (1985). Comics and sequential art. Tamarac, FL: Poorhouse Press.
Gareau, F.H. (2004). State terrorism and the United States: From counterinsurgency to the War on Terrorism. London, UK: Zed Books.
Hariman, R., & Lucaites, J.L. (2008). Public identity and collective memory in U. S. iconic photography. In L. Olson, C. Finnegan & D. Hope (Eds.), Visual rhetoric: A reader in communication and American culture (pp. 175–198). Los Angeles, CA: Sage Publications, Inc.
Harper, D. (2002). Talking about pictures: A case for photo elicitation. Visual Studies, 17(1), 13–26.
Hayner, P.B. (2010). Unspeakable truths: Transitional justice and the challenge of truth commissions (2nd ed.). Hoboken: Taylor & Francis.
Jonas, S. (2000). Of centaurs and doves: Guatemala’s peace process. Westview Press.
Kress, G., & Leeuwen, T. van. (2006). Reading images: The grammar of visual design (2nd ed.). New York: Routledge.
Linfield, S. (2010). The cruel radiance: Photography and political violence. Chicago, IL: The University of Chicago Press.
McCloud, S. (1993). Understanding comics: The invisible art. New York, NY: HarperCollins.
Mohanna, M., & Chappell, N. (2007, June 18). Personal interview.
Mullins, L. (2012, May 15). Kate Doyle: Documenting Latin America’s painful past. The World. Public Radio International. Retrieved from [URL]
Poole, D. (1992). Peru: Time of fear. London, UK: Latin America Bureau.
Proyecto Interdiocesano Recuperación de la Memoria Histórica. (2000). Memoria, verdad y esperanza: Versión popularizada del informe REMHI, Guatemala, nunca más.
Recuperación de la Memoria Histórica (1998). Guatemala: Nunca más. February 24, 2012, Retrieved from [URL]
Riessman, C.K. (2008). Narrative methods for the human sciences. Los Angeles, CA: SAGE Publications, Inc.
Rotella, S., & Arana, A. (2012, May 25). Finding Oscar: Massacre, memory and justice in Guatemala. ProPublica. Retrieved from [URL]
Schlesinger, S., & Kinzer, S. (2005). Bitter fruit: The story of the American coup in Guatemala (Revised and expanded.). Cambridge, MA: Harvard University Press.
Shay, J. (1995). Achilles in Vietnam: Combat trauma and the undoing of character. Simon & Schuster.
Shuman, A. (2005). Other people’s stories: Entitlement claims and the critique of empathy. Urbana: University of Illinois Press.
Sontag, S. (2004). Regarding the pain of others. London ; New York: Penguin Books.
Tomuschat, C. (2001). Clarification Commission in Guatemala. Human Rights Quarterly, 23(2), 233–258.
Wiebelhaus-Brahm, E. (2010). Truth commissions and transitional societies: The impact on human rights and democracy. London ; New York: Routledge.
Zeitlin, F.I. (1985). Playing the other: Theater, theatricality, and the feminine in Greek drama. Representations, 111, 63–94.
Zelizer, B. (1998). Remembering to forget: Holocaust memory through the camera’s eye. Chicago, IL: University of Chicago Press.
Zelizer, B. (2010). About to die: How news images move the public. New York, NY: Oxford University Press.
Cited by (3)
Cited by three other publications
Crawford, Rebekah Perkins
2024.
Communicating Through and Around Trauma: Understanding the Limitations to Narrative and Resilience.
Health Communication 39:11
► pp. 2356 ff.
Appleton, Catherine
2021.
The theory-practice interplay in creating a graphic memoir about the trauma of forced migration.
Journal of Graphic Novels and Comics 12:5
► pp. 535 ff.
lisahunter
2017.
If You See What I Mean? Visual Narratives – Stories Told Through, With And By Visual Images. In
Narrative Research in Practice,
► pp. 89 ff.
This list is based on CrossRef data as of 25 october 2024. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers.
Any errors therein should be reported to them.