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Graphic and literary devices used in Alison Bechdel's Fun House
Graphic and literary devices used in Alison Bechdel's Fun House
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Alison Bechdel’s specific, artistic and organized design of Fun Home: A Family Tragicomic is her method of explaining and expressing her sentiments towards her unique transitioning from childhood through to adolescence and onwards into adulthood. Elements such as specific colour use, mise-en-page, panelling, and exploiting the gutter are each examples of how Alison Bechdel communicates her development throughout life and the hardship that came with it. Bechdel’s memoir was written to mirror her life in a way so that the reader is completely encompassed in her story, her artwork and her use of language and words.
The distinguishing uses of colours, hues, and shading that are illustrated in Fun Home are one manner in which Bechdel somberly relates
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Aspect to aspect transitions include regarding all the different elements in a scene order make up a certain emotion or mood. Bechdel’s scene on page 11 uses the feature of the fight between Bruce and her brother to mirror the film, “It’s a Wonderful Life”, and its depressing mood, for the reader to more easily compare Bruce to the film’s protagonist, George Bailey. Bechdel uses the movie “It’s a Wonderful Life” as a way of indicating how her childhood could have resembled; a mother and father who love each other and who fix up an old mansion for them to raise their family in. This demonstrates both correlations and significant differences when the panels and specific transitioning (aspect to aspect) juxtapose an ever-angry Bruce opposite to the character of George Bailey as he is going through his life-changing revelation. Both characters are the heads of their households, trying to create a beautiful picture perfect home for their seemingly picture perfect lives. Finally, both characters exhibit haphazard fits of temper. What is interesting about this comparison between Bruce and George is that each of the pieces to the puzzle are there, the reader simply needs to be aware of them. Robyn Warhol, in her article “The Space Between: A Narrative Approach to Alison Bechdel’s Fun Home”, says, “Bechdel herself, in discussing her art, talks about the “words and the images” as two separate but complementary entities. Bechdel’s elaboration on the structure of her own cartooning, however, suggests an opening into further dimensions less easy to articulate than the verbal or the visual. As she explained in a 2007 lecture, ‘“What I loved about cartooning was what I had learned from Charles Addams, that the space between the image and the words was a powerful thing if you could figure out
Alison Bechdel wrote Fun Home as a memoir so that people understood the impact her father had on her. She went into great detail in this memoir about her childhood and moments after her father’s death. Which she claims her dad was a suicidal. During the memoir, she describes her relationship with her father. All issues, lessons, and arguments she had with her father are really significant to her. She uses her relationship with her father as the main point in the memoir. Their relationship had its ups and downs but she had very strong feelings for her father. Even though her father did not treat her as a girl most of the time, she managed to get over the fact of her father’s behavior.
Every family has secrets. Taboo secrets are typically the one's we'd like to keep hidden the most. Unfortunately, what's done in the dark always finds itself resurfacing to the light. In Allison Bechdel "Fun Home", she recollects the memories that impacted her life the most when she was in the stage of discovering her true self. The memories we remember the most tend to play a major role in our life development. For Allison, one well-kept secret that her father contained well from her, unraveled many memories of the truth that laid before her eyes.
Let's start by examining page fourteen panel by panel, starting with the panel itself and illustrations within the panel. As one can see the author has elongated the panel to fit the width of the page. This was most likely done to fit the whole scene into the panel and to indicate that the scene probably spans more than 30 seconds. Examining the illustrations of the setting and people, one can tell that Bechdel stays towards the middle of the realism/abstraction scale meaning that that the images are neither too abstract nor photo realistic. Lines are used to show features such as the hair of all family members and the father's pants. Lines are also use to depict the shiny surfaces of the furniture cabinet on the left and the mirror right above it. The use of three-dimensional figures and objects created ...
Bruce, an “Old Father, Old Artificer,” uses his art form as a way of whitewashing his past memories and faults. The exclamation of the woman shows the extent her father has covered up the truth. He has put many unneeded items and decorations in the house, distracting people that visit. Alison likes things functional, while Bruce likes things very elaborate and over the top, not needed. These decorations have made people confused from what is there and what is not.
It is commonly believed that the only way to overcome difficult situations is by taking initiative in making a positive change, although this is not always the case. The theme of the memoir the Glass Castle by Jeannette Walls is that the changes made in children’s lives when living under desperate circumstances do not always yield positive results. In the book, Jeannette desperately tries to improve her life and her family’s life as a child, but she is unable to do so despite her best efforts. This theme is portrayed through three significant literary devices in the book: irony, symbolism and allusion.
In Alison Bechdel’s Fun Home, Bechdel uses the theme of appearance versus reality to highlight her relationship with her father. Bechdel utilizes her illustrations and short sentences to reveal these things about herself and her father. Bechdel opens her memoir with a chapter entitled “Old Father, Old Artificer”. Bechdel refers to her father, Bruce Bechdel, as an artificer because she sees him as a skilled craftsman. Bechdel describes, “His greatest achievement, arguably, was his monomaniacal restoration of our old house.” (Bechdel 4). Her father restored their old house to make it look like a huge mansion. Bechdel knows that this is just the appearance of their household because it is not an accurate representation of their family life inside the house. Bruce created an appearance that was the opposite of reality to cover up the actual wealth of their family. He hides the fact that his family may not be as wealthy and perfect as they appear to be. In this case, Bruce reveals he believes that appearance is more important than the reality of a situation. Appearance is also important on the inside of the home as well. Bechdel mentions, “Sometimes, when things were going well, I
In Alison Bechdel’s graphic novel entitled Fun Home, the author expresses her life in a comical manner where she explains the relationship between her and her family, pointedly her father who acts as a father figure to the family as she undergoes her exhaustive search for sexuality. Furthermore, the story describes the relationship between a daughter and a father with inversed gender roles as sexuality is questioned. Throughout the novel, the author suggests that one’s identity is impacted by their environment because one’s true self is created through the ability of a person to distinguish reality from fictional despotism.
Alison Bechdel uses her graphic memoir, Fun home, to explore her relationship with her father. She uses the book as a tool to reflect on her life and the affect her father had on her. She discovers how her fathers closeted sexuality affected her childhood and her transition into adulthood. His death left a powerful mark and left her searching for answers. She clearly states this when she says, “it’s true that he didn’t kill himself until I was nearly twenty. But his absence resonated retroactively, echoing back through all the time I knew him.” (23). This feeling drove her to look back on their relationship and find what binds her so strongly to a man she never understood.
Standing in the front of the mirror every day, people see themselves gradually become an adult from a little boy or a little girl. In “Childhood Dreams”, Jennifer Yee describes a story that her father and she used to spend a lot of happy time in the amusement park together, riding carousels and so on, but now she felt lost and uncertain about her life. The reason why the author felt she was smothered by the real world was probably because she found out that as growing older, life became more complex, and she did not have as much time as she used to have to enjoy life in the childhood, and therefore felt quite depressed about the way she was.
...within her household. Within her own household, Alison was uncomfortable of being herself; in fact, at times she felt that she almost had no say in the selecting items such as clothes. This was also quite complex when it came to her subjectivity as well. Instances such as the time Bruce wanted Alison to wear a particular dress to a wedding, or when he insisted for her to were a particular set of pearls, would play a pivotal role in her sexual self development. Other factors such as her relationship with her girlfriend and the news she would find out following her fathers death seemed to also play an important part. Alison Bechdel’s battle in her sexual self-development was one full of anguish and pain because of all of its complexities but she now presents the confidence in herself and her sexuality to present in her eloquent and impactful graphic novel, Fun Home.
Marita Bonner starts her short essay by describing the joys and innocence of youth. She depicts the carefree fancies of a cheerful and intelligent child. She compares the feelings of such abandonment and gaiety to that of a kitten in a field of catnip. Where the future is opened to endless opportunities and filled with all the dream and promises that only a youth can know. There are so many things in the world to see, learn, and experience that your mind in split into many directions of interest. This is a memorable time in life filled with bliss and lack of hardships.
In Fun Home: A Family Tragic Comic, Alison Bechdel uses the graphic novel technique of bringing visuals and concise text to her audience to reveal the relationship with her father in a perspective that can not be modified through the readers perspective and interpretation. Bechdel employs this type of writing style to help visualize a better interpretation of how she describes the differences in both her and her fathers’ gender roles throughout the novel. This tactic helps discuss and show how these gender roles were depicted as opposite from one another. But, in this case being opposite from one another made them gain a stronger relationship of understanding and reviling that these differences were actually similarities they also shared.
‘Some idea of a child or childhood motivates writers and determines both the form and content of what they write.’ -- Hunt The above statement is incomplete, as Hunt not only states that the writer has an idea of a child but in the concluding part, he states that the reader also has their own assumptions and perceptions of a child and childhood. Therefore, in order to consider Hunt’s statement, this essay will look at the different ideologies surrounding the concept of a child and childhood, the form and content in which writers inform the reader about their ideas of childhood concluding with what the selected set books state about childhood in particular gender. The set books used are Voices In The Park by Browne, Mortal Engines by Reeve and Little Women by Alcott to illustrate different formats, authorial craft and concepts about childhood. For clarity, the page numbers used in Voices In The Park are ordinal (1-30) starting at Voice 1.
In chapter one, “Old Father, Old Artificer”, of her graphic novel Fun Home: A Family Tragicomic, the young Bechdel generated her identity through the tensions and mysteries that engulfed her family the home. Masculinity, physical strength and a modern outlook were her personality traits as she grew, becoming the “Butch to [her father’s] Nelly” (269) and his opposite in several aspects. A conscious effort was made on her part to set her own pace from what her father expected of her. He was a strong, influential figure within her life. Expressing emotions towards her father was strictly not allowed in the home. Bechdel was left “rushing from the room in embarrassment” (273) on the one unforgettable occasion that she went to kiss him goodnight. She...
Kennedy, X. J., and Dana Gioia. "A Doll’s House." Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing. 4th ed. New York, N.Y. Longman/Pearson, 2008. 881-939. Print