9/11
911
A01=Andrew J. Friedenthal
ALL-STAR SQUADRON
ALTERABLE PAST
ARTHUR CONAN DOYLE
Author_Andrew J. Friedenthal
BUFFY THE VAMPIRE SLAYER
Category=AKLC
Category=DNT
Category=DSB
Category=JBCC1
Category=JBCT
Category=XY
Comics Studies
CONTINUITY
CRISIS ON INFINITE EARTHS
CROSSOVER
DC COMICS
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eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_fiction
eq_graphic-novels-manga
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eq_nobargain
eq_non-fiction
eq_society-politics
film
H.P. LOVECRAFT
HISTORICAL REVISIONISM
HISTORIOGRAPHY
hyperlink
J.R.R. TOLKIEN
JUSTICE SOCIETY
LITERATURE
MIDRASH
MUTABILITY
MUTABLE PAST
OPEN-SOURCE
ORAL CULTURE
ORWELL
PARATEXT
PARODY
PLAY
REVISIONIST HISTORY
ROY THOMAS
SATIRE
STAR TREK
STAR WARS
WIKIPEDIA
WORLD-BUILDING
Product details
- ISBN 9781496834553
- Weight: 285g
- Dimensions: 152 x 228mm
- Publication Date: 30 Jun 2021
- Publisher: University Press of Mississippi
- Publication City/Country: US
- Product Form: Paperback
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The superhero Wolverine time travels and changes storylines. On Torchwood, there's a pill popped to alter memories of the past. The narrative technique of retroactive continuity seems rife lately, given all the world-building in comics. Andrew J. Friedenthal deems retroactive continuity, or ""retconning,"" as a force with many implications for how Americans view history and culture.
Friedenthal examines this phenomenon in a range of media, from its beginnings in comic books and now its widespread shift into television, film, and digital media. Retconning has reached its present form as a result of the complicated workings of superhero comics. In comic books and other narratives, retconning often seems utilized to literally rewrite some aspect of a character's past, either to keep that character more contemporary, to erase stories from continuity that no longer fit, or to create future story potential.
From comics, retconning has spread extensively, to long-form, continuity-rich dramas on television, such as Buffy the Vampire Slayer, Lost, and beyond. Friedenthal explains that in a culture saturated by editable media, where interest groups argue over Wikipedia pages and politicians can immediately delete questionable tweets, the retcon serves as a perfect metaphor for the ways in which history, and our access to information overall, has become endlessly malleable.
In the first book to focus on this subject, Friedenthal regards the editable Internet hyperlink, rather than the stable printed footnote, as the de facto source of information in America today. To embrace retroactive continuity in fictional media means accepting that the past itself is not a stable element, but rather something constantly in contentious flux. Due to retconning's ubiquity within our media, we have grown familiar with narratives as inherently unstable, a realization that deeply affects how we understand the world.
Friedenthal examines this phenomenon in a range of media, from its beginnings in comic books and now its widespread shift into television, film, and digital media. Retconning has reached its present form as a result of the complicated workings of superhero comics. In comic books and other narratives, retconning often seems utilized to literally rewrite some aspect of a character's past, either to keep that character more contemporary, to erase stories from continuity that no longer fit, or to create future story potential.
From comics, retconning has spread extensively, to long-form, continuity-rich dramas on television, such as Buffy the Vampire Slayer, Lost, and beyond. Friedenthal explains that in a culture saturated by editable media, where interest groups argue over Wikipedia pages and politicians can immediately delete questionable tweets, the retcon serves as a perfect metaphor for the ways in which history, and our access to information overall, has become endlessly malleable.
In the first book to focus on this subject, Friedenthal regards the editable Internet hyperlink, rather than the stable printed footnote, as the de facto source of information in America today. To embrace retroactive continuity in fictional media means accepting that the past itself is not a stable element, but rather something constantly in contentious flux. Due to retconning's ubiquity within our media, we have grown familiar with narratives as inherently unstable, a realization that deeply affects how we understand the world.
Andrew J. Friedenthal is a writer, editor, and independent scholar. His work has been published in ImageText: Interdisciplinary Comics Studies and the Journal of Comics and Culture.
