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Broken Windows and Slashed Canvases: Digital Comics and Transgressive Horror
I investigate digital horror comics as a case study in anxieties about the boundaries between fiction and reality provoked by the remediation of print media forms, such as text or comics, as digital media forms. Because the horror genre often deals with questions of transgression and boundaries, and because the frightening fictions depicted in horror media raise the stakes on questions of the boundaries between media and reality, horror it is a fruitful site for exploring assumptions and anxieties about the boundaries of media. This paper uses Noel Carroll's framework of “art horror” to examine digital horror comics by three authors: Studio Horang's Bong-Cheon-Dong Ghost (2011), Ok-su Station Ghost (2011) and Ghost in Masung Tunnel (2013), Emily Carroll's Prince And The Sea (2011), When The Darkness Presses (2012) and Margot's Room (2011), and Kazerad's Prequel (ongoing). These comics all make use of uniquely digital elements, such as “infinite canvas” pages of different sizes, animation, and sometimes sound, to subvert the reader's expectations and create horrific effects.
Linn Heidi Stokkedal - 05.09.2018 - 15:24
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The Book
What is the book in a digital age? Is it a physical object containing pages encased in covers? Is it a portable device that gives us access to entire libraries? The codex, the book as bound paper sheets, emerged around 150 CE. It was preceded by clay tablets and papyrus scrolls. Are those books? In this volume in the MIT Press Essential Knowledge series, Amaranth Borsuk considers the history of the book, the future of the book, and the idea of the book. Tracing the interrelationship of form and content in the book's development, she bridges book history, book arts, and electronic literature to expand our definition of an object we thought we knew intimately.
Daniel Johannes Flaten Rosnes - 16.06.2021 - 20:58
