Archive for Alan Moore

Everything looks worse in black and white: Graphic Violence in From Hell: My Proposal for ROMOCOCO:

Posted in papers, Writing with tags , , , , , , on 1 March 2013 by Ben

It’s not quite BI-MON-SCI-FI-CON (“Be there and be square!”), but ROMOCOCO (The Rocky Mountain Comic Convention) has a great name. and now it has this proposal to consider.

Everything looks worse in black and white: Graphic Violence in From Hell

Benjamin J. Robertson

In the early 1970s, I recall looking through HBO’s monthly guide and discovering that among the reasons a film might be rated R was something called “graphic violence.” My parents explained that graphic violence involved a lot of blood. For years I understood the word graphic to mean something like “gratuitous and visual.”

From Hell is an unquestionably violent text and a certain amount of this violence seems to be graphic in the manner of those movies on HBO after the kids are sent to bed. Absent, of course, in From Hell’s black-and-white artwork, are the red of the blood and the sheen of the guts of Sir William Gull’s victims. And while HBO’s definition of “graphic” applies to this text, its another form of “graphic violence” that is all the more notable in it.

This paper investigates the manner in which From Hell’s black-and-white artwork interacts with, underscores, and augments the text’s themes of violence and history. The most violent aspect of the text is not its portrayal of the relentlessness of William Gull but the relentlessness of its representational strategy. Moore and Campbell offer no respite from the onslaught of rough black-and-white images, images which assault the reader with their sameness and with their inability to render any clarity. Far from offering the simplicity or morality that “black and white” implies (following from, for example, the nostalgia we feel for the image of the 1950s given us in the television reruns from that era), From Hell instead offers the past as an elaborate sketch. Indeed, From Hell appears to the reader as more of a study for some as yet incompletely imagined work than it does a finished product.