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The Rise of the American Comics ArtistCreators and Contexts$
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Paul Williams and James Lyons

Print publication date: 2010

Print ISBN-13: 9781604737929

Published to University Press of Mississippi: March 2014

DOI: 10.14325/mississippi/9781604737929.001.0001

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Critique, Caricature, and Compulsion in Joe sacco’s Comics Journalism

Critique, Caricature, and Compulsion in Joe sacco’s Comics Journalism

(p.68) Chapter Five Critique, Caricature, and Compulsion in Joe sacco’s Comics Journalism
The Rise of the American Comics Artist

Adam Rosenblatt

Andrea A. Lunsford

University Press of Mississippi

In the early 1990s, Art Spiegelman won a Pulitzer Prize for Maus, his Holocaust memoir in comic book form. Since then, comics creators have been producing comics about contemporary events, resulting in the emergence of comics journalism in newspapers. No one captures the potential—as well as the challenges—of comics journalism more fully than Joe Sacco, who gained fame with his comics about Palestine and the former Yugoslavia. Sacco uses comics not only to create a new kind of journalism, but also to challenge the orthodoxies of more traditional reporting. His work might also be compared to photojournalism, although his priority is to look for opportunities available to the cartoonist alone. This chapter examines the extent to which Sacco challenges the conventions of journalism and photojournalism as well as his contributions to both. It analyzes three of his comics, Palestine, Safe Area Goražde, and The Fixer: A Story from Sarajevo, to discuss his critique of journalism, his use of caricature, and his compulsion.

Keywords:   comics, comics journalism, newspapers, Joe Sacco, photojournalism, Palestine, Safe Area Goražde, Story from Sarajevo, caricature, compulsion

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