Multimodal Mirroring in ‘The Black Cat’

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Multimodal Mirroring in ‘The Black Cat’

Popis výsledku v původním jazyce

Few works have been adapted to comics as frequently as the short stories of Edgar Allan Poe. This research comic, illustrated fluidly in the styles of the comics being examined, proposes to focus on the function of mirroring (Carroll 1990) complicated within Lim’s framework (2007) for analysing intersemiosis in a multimodal text throughout a range of adaptations of Poe’s short story “The Black Cat” (1893). Featured in over forty comic book adaptations, this comic will consider adaptations from 1944 to 1974, and will reflect on the earlier illustrations of “The Black Cat” by Aubrey Beardsley (1895-96) and Harry Clarke (1919). Mirroring plays a different role in the composition of a horror comic than it does in film, and this is reflected in the page layout, the visual composition which communicates mirroring, and the multimodal reading of mirroring. While mirroring initially acts as an amplifier to the reveal of the wife’s body in final illustration, mirroring expands to other parts of the narration as the emphasis shifts to the horror of the character’s unhealthy psychological state (the murder of the wife being only a secondary focal point of this), and as the mode of horror shifts to accommodate the fears and anxiety of the time, mirroring, through the choices in adapting “The Black Cat”, provides a tidy case study of the history of horror comics as the adaptations move through late nineteenth century moral anxieties, to the era of psychoanalysis, to the emotive, atmospheric gore of 1970s horror comics.

Název v anglickém jazyce

Multimodal Mirroring in ‘The Black Cat’

Popis výsledku anglicky

Few works have been adapted to comics as frequently as the short stories of Edgar Allan Poe. This research comic, illustrated fluidly in the styles of the comics being examined, proposes to focus on the function of mirroring (Carroll 1990) complicated within Lim’s framework (2007) for analysing intersemiosis in a multimodal text throughout a range of adaptations of Poe’s short story “The Black Cat” (1893). Featured in over forty comic book adaptations, this comic will consider adaptations from 1944 to 1974, and will reflect on the earlier illustrations of “The Black Cat” by Aubrey Beardsley (1895-96) and Harry Clarke (1919). Mirroring plays a different role in the composition of a horror comic than it does in film, and this is reflected in the page layout, the visual composition which communicates mirroring, and the multimodal reading of mirroring. While mirroring initially acts as an amplifier to the reveal of the wife’s body in final illustration, mirroring expands to other parts of the narration as the emphasis shifts to the horror of the character’s unhealthy psychological state (the murder of the wife being only a secondary focal point of this), and as the mode of horror shifts to accommodate the fears and anxiety of the time, mirroring, through the choices in adapting “The Black Cat”, provides a tidy case study of the history of horror comics as the adaptations move through late nineteenth century moral anxieties, to the era of psychoanalysis, to the emotive, atmospheric gore of 1970s horror comics.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

60206 - Specific literatures

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2025

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Horror and Comics

ISBN

978-1-83772-255-6

Počet stran výsledku

17

Strana od-do

19-35

Počet stran knihy

296

Název nakladatele

University of Wales Press

Místo vydání

Cardiff

Kód UT WoS kapitoly

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