Alien/alienígena: Barrier y la representación de la Otredad fronteriza

  1. Marini, Anna Marta 1
  1. 1 Universidad de Alcalá
    info

    Universidad de Alcalá

    Alcalá de Henares, España

    ROR https://ror.org/04pmn0e78

Journal:
Mitologías hoy: Revista de pensamiento, crítica y estudios literarios latinoamericanos.

ISSN: 2014-1130

Year of publication: 2019

Issue Title: El cómic: intertextualidades, discursividades y paratextos en el arte secuencial de América Latina

Issue: 20

Pages: 165-179

Type: Article

DOI: 10.5565/REV/MITOLOGIAS.644 DIALNET GOOGLE SCHOLAR lock_openDDD editor

More publications in: Mitologías hoy: Revista de pensamiento, crítica y estudios literarios latinoamericanos.

Abstract

The representation of the US-Mexico border is strictly related to the perception of the mutual other side, which is bound to the confrontation between the US society and the Latino presence, often conveyed through visually compelling metaphors. Published in 2015, the comic series Barrier—by Brian K. Vaughan, Marcos Martín and Muntse Vicente—challenges the institutional and media discourse on the border and immigration; in spite of its sci-fi turn, the story reflects the existing clashes related to the border matter, as well as to the unresolved conflict between the US dominant Anglo culture and the Latino one.

Bibliographic References

  • ALDAMA, Frederick Luis (2009), Your brain on Latino comics: from Gus Arriola to los Bros Hernandez. Austin, University of Texas Press.
  • ALDAMA, Frederick Luis (ed.) (2018), Tales from la vida: a Latinx comics anthology. Chicago, Ohio State University Press.
  • BARKER, Martin (1989), Comics: ideology, power and the critics. Manchester, Manchester University Press.
  • BELLANTONI, Patti (2005), If it’s purple, someone’s gonna die: the power of color in visual storytelling for film. New York, Focal Press.
  • BOLD, Christine (1996), “Malaeska’s revenge; or the dime novel tradition in popular fiction”, en Aquila, Richard (ed.), Wanted, dead or alive: the American West in popular culture. Chicago, University of Illinous Press, pp. 21-42.
  • BRISTER, Rose y Belinda WALZER (2013), “Kairos and comics: reading human rights intercontextually in Joe Sacco’s graphic narratives”, en College Literature, vol. 40, n.º 3, pp. 138-155. DOI: .
  • CASEY, Edward S. y Mary WATKINS, (2014), Up against the wall: re-imagining the US-Mexico border. Austin, University of Texas Press.
  • CHIOCCA, Guido y Andrea FEERARIS, (2019), The Scar: a graphic reportage from the US-Mexico border. Seattle, FU Press.
  • COHN, Neil (2013), The visual language of comics: Introduction to the structure and cognition of sequential images. London, Bloomsbury.
  • DAVIES, Dominic (2017), “Comics Activism: An Interview with Comics Artist and Activist Kate Evans”, en The Comics Grid: Journal of Comics Scholarship, vol. 7, n.º 1, pp. 1–12.
  • FERNÁNDEZ L’HOESTE, Héctor D. (2017), Lalo Alcaraz: political cartooning in the Latino community. Jackson, University Press of Mississippi.
  • GARCÍA, Enrique (2017), The Hernandez Brothers: love, rockets and alternative comics. Pittsburgh, University of Pittsburgh Press.
  • HERNÁNDEZ NIETO, Laura Nallely e Iván Facundo RUBINSTEIN (2018), “El Sistema Nacional Anticorrupción mexicano en El Libro Vaquero. Deficiencia estructural y solapamiento de responsabilidades”, en CuCo, Cuadernos de cómic, n.º 11, pp. 30-51.
  • HOLUB, Christian (2018), “Barrier comic creators on tackling immigration and aliens from a unique angle”. Entertainment Weekly. 10 de mayo del 2018.
  • LAKOFF, George and Mark JOHNSON (1980), Metaphors We Live By. Chicago, University of Chicago Press.
  • MACIEL, David R. (1994), El bandolero, el pocho y la raza: imágenes cinematográficas del chicano. Mexico City / Albuquerque, UNAM / The University of New Mexico.
  • MARTÍNEZ LIROLA, María (2017), “Linguistic and visual strategies for portraying immigrants as people deprived of human rights”, en Social Semiotics, vol. 27, n.º 1, pp. 21-38. DOI: .
  • MASSEY, Douglas S.; DURAND, Jorge y Nolan J. MALONE (2009), Detrás de la trama: políticas migratorias entre México y Estados Unidos. Ciudad de México, Miguel Ángel Porrúa.
  • MERINO, Ana (2009), “The Bros. Hernandez: a Latin presence in alternative US comics”, en Fernández L’Hoeste, Héctor y Juan Poblete (eds.), Redrawing the nation: national identity in Latin/o American comics. New York, Palmgrave Macmillan, pp. 251-269. DOI: .
  • MICKWITZ, Nina (2015), Documentary Comics: graphic truth-telling in a skeptical age. New York, Palgrave Macmillan.
  • OCAMPO, Mónica (2013), “Libro Vaquero: odiado y amado, sigue galopando”, en Sin Embargo. 12 de abril del 2013.
  • REGAN, Margaret (2018), “How the border wall became a canvas: political art in the US-Mexico border towns of Ambos Nogales”, en Morrissey, Katherine; Warner, John-Michael (eds.), Border spaces: visualizing the US-Mexico frontera. Tucson, University of Arizona Press, pp. 151-174.
  • SALMI, Charlotta (2016), “Reading Footnotes: Joe Sacco and the Graphic Human Rights Narrative”, en Journal of Postcolonial Writing, vol. 52, n.º 4, pp. 415-427. DOI: .
  • SALMON, Christian (2001), Storytelling. Paris, Éditions La Découverte.
  • SPÍNDOLA ZAGO, Octavio (2016), “Espacio, territorio y territorialidad: una aproximación teórica a la frontera”, en Revista Mexicana de Ciencias Políticas y Sociales UNAM Nueva Época, vol. LXI, n.º 228, pp. 27-56.
  • WHITE, Hayden (1980), “The Value of Narrativity in the Representation of Reality”, en Critical Inquiry, vol. 7, n.º 1, pp. 5-27.
Data source: Dialnet