Nuevos registros narrativos en el periodismo cómic. Un estudio de caso: La grieta
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Resumen: La relación entre el cómic y el periodismo es antigua y estrecha, con su reflejo en los diarios a través de la caricatura, la viñeta y la tira cómica. Sin embargo, en las últimas décadas ha surgido un nuevo género: el periodismo cómic, una fórmula creativa que hibrida códigos y rutinas del cómic con recursos narrativos propios del periodismo de inmersión. A principios de los años noventa, Joe Sacco destacó entre una serie de autores que popularizaron este nuevo formato, tomó conciencia de la condición del cómic como género informativo y buscó una fórmula propia para contar historias de no ficción. El fotógrafo, publicado originalmente en 2003, supuso la inclusión de fotografías para dar mayor realismo a esta fórmula y narrar la experiencia vivida por Didier Lefèvre en la guerra de Afganistán en 1986. En 2016, los periodistas Carlos Spottorno y Guillermo Abril publican La grieta, un relato que vuelve a mezclar códigos procedentes del periodismo y del cómic, donde fotografías sometidas a un tratamiento cromático especial sustituyen a los dibujos en cada viñeta. El presente estudio analiza el impacto y la evolución del periodismo cómic a través de este diario de campo de dos reporteros que recorren una línea fronteriza que comienza en África y llega hasta el Ártico, con el fin de desentrañar las causas y consecuencias de la crisis de identidad de Europa. Una obra traducida a varios idiomas y merecedora de varios premios internacionales, que abre nuevas vías de experimentación narrativa y estética en el terreno del periodismo cómic. El presente trabajo toma como punto de partida la revisión teórica de las aportaciones realizadas en torno al estudio de las conexiones entre cómic y periodismo y se centra en el análisis icónico-verbal de La grieta, completando la metodología de trabajo con entrevistas abiertas a los autores de la citada obra.
Abstract: There is an old and close relationship between comic and journalism which is reflected in newspapers through caricatures, bullet points and comic strips. However, comic journalism has emerged in the last decades as a new genre, a creative formula that hybridize comic codes and routines with narratives resources used in inmersive journalism. In the early 1990s, Joe Sacco stood out among a number of authors who popularized this new format, became aware of the journalistic genre condition as an information medium and sought his own formula for telling non-fiction stories. The photographer, originally published in 2003, involved the inclusion of photographs to make this formula more realistic and to describe Didier Lefèvre´s experience in the war in Afghanistan in 1986. In 2016, journalists Carlos Spottorno and Guillermo Abril published The crack, a story that once again mixes journalism and comic codes, where photographs subjected to a special chromatic treatment replace the drawings in each vignette. This study analyzes the impact and evolution of comic journalism through this field diary of two reporters who travel the path from Africa to the Arctic follow a boundary line that extends from Africa to the Artic, in order to unravel the causes and consequences of Europe’s identity crisis. A work translated into several languages and awarded with international prizes, which opens up new paths for narrative and aesthetic experimentation in the field of comic journalism. This paper takes as a starting point the theoretical review of the contributions made around the study of the connections between comic and journalism and focuses on the iconic-verbal analysis of The crack, completing the work methodology with open-ended interviews with the authors of the mentioned work.
Abstract: There is an old and close relationship between comic and journalism which is reflected in newspapers through caricatures, bullet points and comic strips. However, comic journalism has emerged in the last decades as a new genre, a creative formula that hybridize comic codes and routines with narratives resources used in inmersive journalism. In the early 1990s, Joe Sacco stood out among a number of authors who popularized this new format, became aware of the journalistic genre condition as an information medium and sought his own formula for telling non-fiction stories. The photographer, originally published in 2003, involved the inclusion of photographs to make this formula more realistic and to describe Didier Lefèvre´s experience in the war in Afghanistan in 1986. In 2016, journalists Carlos Spottorno and Guillermo Abril published The crack, a story that once again mixes journalism and comic codes, where photographs subjected to a special chromatic treatment replace the drawings in each vignette. This study analyzes the impact and evolution of comic journalism through this field diary of two reporters who travel the path from Africa to the Arctic follow a boundary line that extends from Africa to the Artic, in order to unravel the causes and consequences of Europe’s identity crisis. A work translated into several languages and awarded with international prizes, which opens up new paths for narrative and aesthetic experimentation in the field of comic journalism. This paper takes as a starting point the theoretical review of the contributions made around the study of the connections between comic and journalism and focuses on the iconic-verbal analysis of The crack, completing the work methodology with open-ended interviews with the authors of the mentioned work.