Abstract

This article articulates how American Splendor's filmmakers deploy postmodernity and the seemingly antithetical logic of the simulacrum as the central means of documenting the real-life experiences of Harvey Pekar. Paradoxically, the film also attempts to reveal how these experiences necessarily continue to exist outside the simulacrum, in an affective realm.

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Additional Information

ISSN
1529-1456
Print ISSN
0162-4962
Pages
pp. 123-139
Launched on MUSE
2006-06-28
Open Access
No
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