ABSTRACT
In this chapter, the author identifys specific aesthetic forms that appear to accommodate the ineffable. Some examples of the graphic narrative and animative documentary forms deal specifically with the ineffable in the context of the violence and trauma of war and conflict. This facilitates the rich potential for connection between artist, reader/viewer and subject, always accommodating what are often considered to be ineffable aspects of the experience of war. Furthermore, panels are arranged differently in time and space than the images in motion pictures that take up the whole screen and are presented to the viewer. ‘Film frames inhabit the same space of the screen whereas each panel occupies a series of spaces on the page that the reader can trace visibly through time and space’.
