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Extra info for Marvel Illustrated: Moby Dick Issue #6
Although the material might ostensibly be actual, its representation is suffused with the performance of subjectivity. El Refaie (2012, 140–143) draws on dramaturgic approaches to authenticity to address the performance element of graphic memoirs, stating their rejection of the idea that “we all possess a unique, true, unchanging inner self, which can then be expressed ‘authentically’ in our everyday actions” (ibid, 140). 34 DOCUMENTARY COMICS The alternative model offered is one that accounts for communication and social interaction as encompassing both those expressions that are consciously given, and ones “given off ” in ways we are less able to control.
But how should the words be understood in this sequence? Are they the ravings of an irate man talking aloud to himself, an internal monologue, 42 DOCUMENTARY COMICS or some combination of the two? There is no real way of knowing. Despite being highly verbal, this episode of American Splendor offers little certainty with regard to the correspondence between the conventions of visually signifying sound and purported actual sound. Instead, this highlights how in comics the indeterminacy and fluidity between internal and external becomes extended to, and in this case accentuated in, considerations of sound.
This is not so much a question of a competing account, but a significantly different and complementary one, in which encounter between subject and camera gives way to an encounter of a different order. Here, the narrative construction, the suturing together of explanatory back stories and remembered encounters are in the hands of Winick rather than a production team. The reader’s encounter with the persons and events are filtered through Winick’s subjectivity as he narrates, constructs, and performs, and the account’s innate retrospective perspective adds a reflective dimension.