Julie Moock Unit 4 Post 2

Pages 120 and 121 within John Lewis’ March 2 depict a SNCC protest at a segregated swimming pool in Cairo, Illinois in 1962, and a subsequent hit and run involving a young African American girl. The left side uses the rule of threes, broken into three horizontal panels. Although, this format is interrupted as a small square panel of Danny Lyon, a white photographer, appears in front. Lyon’s presence in the foreground suggests that the action of the white photographer takes precedent over the protestors in the first panel. The four African American protesters in the middle panel cannot rise to the public eye with legitimacy until they are photographed through the lense of Lyon. This middle panel is also drawn in a different style than the rest of the comic, using a lighter grey tone compared to the stark black and white shown throughout. Thus, the photograph, as powerful and shareable as it may be, is dulled of the raw nature of the event. The simple “click click” of the camera cannot capture the following events portrayed on the right, likely a sentiment that Gourevitch and Sontag might comment on. Consequently, the right page does not use text narration, instead the only audible sensation is the screech of the car with a widespread use of black and white color contrast. In the first panel on the right, the driver is in shadow while the young girl is standing with her face in the light. The smoke shrowds out the crowd behind them, so that the dismal race relations of the entire city become embodied in the staredown between the cowardly man whose face is never shown and the brave young girl. Her eyes are illuminated by the headlights and her arms are open wide ready to brace the impact of pure hatred. As the following page shifts to a different time and location, the occurrence at Cairo disappears from national memory as there was not a photographer to capture it and legitimize her suffering. The girl’s lifeless body flings across the page and the vroom sound effect dissipates down the corner. These pages heightened feelings of anger I felt towards white Americans for inflicting such pain, especially as this comic creates a juxtaposition of innocence and evil, light and dark, and fear and passion. 

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