What Batman did for me
The task that we traditionally assign to classical culture is successfully completed by comics. Once I wrote about the fact that Russian classics do not instill morality (if morality means…

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What is happening in the world of movie comics
How adventures of people in ridiculous costumes became a powerful industry and how to get pleasure from it. Another ComicCon ended in California and presented us with a lot of…

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Russian comics enter the international market
Bubble comics began their foreign expansion with the market leader - the Internet portal ComiXology Today, the first international series of Russian Bubble comics from the Meteor line went on…

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Difficulties in illustrating Anne Frank’s diary

After living a year and a half locked up in her father’s office building, 14-year-old Anna Frank writes in her diary that she wants to be an ordinary teenager and “see the world”. She envies the people who enter the building “with the wind in clothes and cold on the cheeks.” Outside the walls of the “refuge”, in the very heart of Amsterdam, Anna, together with her family and friends, is hiding from the horrors of Nazi control, which spread to the Netherlands and most of Europe, the raging World War II and the regime of Adolf Hitler, who massively exterminated Jews and those whom the Nazis did not consider for the people. The Anne Frank Diary has become one of the most popular Holocaust expositions. Partly because the narration is on behalf of an ordinary teenager who lives in far from ordinary circumstances; it humanizes war and genocide. Despite the fact that her diary is not the only chronicle of the war of this kind, he proved his long-term influence and incredible coverage of more than 25 million copies sold, over many years translated into more than 70 languages. As the events described by Anna are fading into the past, it’s nice to hear that her story is still impressive for new generations. Reading the graphic version of the diary, illustrated by David Polonsky and Ari Folman, was both exciting and disappointing at the same time. Although the book carefully interprets the elements of history with humor and charm, some passages like where it says: “We still love life, we have not forgotten the voice of nature, and we continue to hope,” are missing, and the story into which the girl breathed a whole dimension simply compressed. Anna Frank and her diary are special on several occasions. On the one hand, she was a surprisingly gifted writer and an amazingly perceptive observer, capable and wise beyond her years. Folman seems to be acutely aware of the risks of translating Anna’s words into images, as evidenced by the illustrator’s notes at the end of the book: “as you keep a diary, Anna’s talent as a writer becomes more impressive … It turned out to be impossible to abandon these later entries in favor of illustrations, because we decided to give some passages in full, without illustrating. ” However, the selective shift in illustrated adaptation to printed text hides the development itself, which Folman speaks of, and gives readers a fairly limited idea of ​​Frank’s skills. Frank, on the other hand, is very close to readers, especially young ones. She writes so masterfully that in the course of reading, the impression is made that you are in her head, and she is in yours. She looks like you or your acquaintance, and her early notes describe the familiar course of life familiar to everyone: friends, boys, school, family. As the situation in the world escalates, and in Anna’s recordings destructive world events intertwine and rather ordinary, albeit skillfully described, introspections of a teenager, one can understand how a real person is able to survive inexplicable events. The story no longer seems distant, and you begin to understand not only how people faced the war, but also how you could face the war when you were growing up. In her book, “Anne Frank. Book. A life. Second Life ”in 2009, Francine Prose carefully considered the diary as a literary work, marveling at the young writer’s clever treatment of characters, details, dialogue and monologue. Similarly, John Berryman pointed to Anna’s “exceptional self-identity and exceptional sincerity” in his 1967 essay, Anne Frank Development, in which he also called the diary “the most wonderful story about the normal growing up of a person that I have ever read.” Graphic adaptation captures only certain qualities of Anna’s personality, her energy, pain and suffering, her creative abilities, depriving readers of her internal monologue, a subtle view of the world and three-dimensional narrative. Due to the fact that only part of the material was included in the adaptation, 25 months that Anna spent in shelter are much faster. On one of the first nights in the extension, the Frank family went downstairs to listen to the broadcast from England. Showing only a group of four people sitting by the radio, the adaptation does not take into account Anna’s confession: “I was so afraid that someone would hear her, that I literally begged my father to take me back upstairs.” The book conveys the novelty of being in a shelter, but hides the excitement and anxiety that first manifested then and characterizes the next two years, undermining the complexity of the story and the sense of reality of what is happening. In addition, the bizarre faceting of the book avoids the fear of Sunday, about which Frank writes: “The atmosphere is stuffy, sluggish, leaden. Outside you don’t hear a single bird, and a dead, oppressive silence hangs over the house and clings to me, as if it was going to drag me into the deepest parts of the underworld. ” There is no mention in the illustrated book that she wandered uneasily from room to room, feeling “like a songbird, whose wings are torn off and which continues to rush to the rods of its dark cage.”

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