Graphic Women

Thus, while we may read comics’ spatializing of narrative as part of a hybrid project, we may read this hybridity as a challenge to the structure of binary classification that opposes a set of terms, privileging one.

Time is a Man Space is a Woman

Time & Space are Real Beings

is intermittence, as psychoanalysis has so rightly stated, which is erotic: the intermittence of skin”

the idea of a sexuality which goes beyond the issue of content to take in the parameters of visual form (not just what we see but how we see)”

We may note, then, that the form of comics even at its most basic is apposite to feminist cultural production

Hence while the visual form of graphic narrative enables an excess of representation

She may be situated in space by means of the machinations of the comics page, but she is not ensnared in time; rather, she must slow down enough to make the connections between image and text and from panel to panel, thus working, at least in part, outside of the mystification of representation that film, even experimental political film, often produces

discourse becomes a series of views”

horizon of each page, made up of what are essentially boxes of time, lends graphic narratives a representational mode capable of taking up complex political and historical issues with an explicit, formal degree of self-awareness, which explains why historical graphic narratives are the strongest emerging genre in the field.