Call for Papers: Annual Conference of the Canadian Society for the Study of Comics

Call for Papers: Annual Conference of the Canadian Society for the Study of Comics

Western University

June 3–4, 2020

The Canadian Society for the Study of Comics / Société canadienne pour l’étude de la bands dessinée invites proposals for papers on any and all aspects of comics, broadly conceived (including cartoons, comic strips, comic books, graphic novels, manga, webcomics, picture books, and visual poetry) to be presented at our 2020 annual conference, which will be held at Western University (London, Ontario) on June 3–4 as part of the Congress of the Humanities and Social Sciences.

We welcome inter- and multi-disciplinary approaches to the study of comics from across the social sciences and humanities. In keeping with the theme of this year’s Congress, Bridging Divides: Confronting Colonialism and Anti-Black Racism, we are particularly interested in critical analyses of race and racism in comics or proposals that explore comics’ engagements with anti-oppression struggles. Potential topics include but are not limited to:

  • decolonizing comics criticism, teaching, and research

  • works by and for Indigenous and/or racialized communities

  • diversity in comics and graphic novels

  • the politics of representation in comics journalism and social movement comics

  • comics for social justice in professional practice (comics and education, graphic medicine, graphic justice, etc.)

Please submit a 500–750 word abstract, as well as a short summary of no more than 250 words suitable for a non-specialist or interdisciplinary audience, with contact information by January 15, 2020: click here to access the application form. All conference participants must be members of the CSSC/SCEBD and registered for both the CSSC/SCEBD conference and the Congress (see congress2020.ca).

As a member of the Federation for the Humanities and Social Sciences, the CSSC/SCEBD is able to nominate one graduate student presenter for the new Congress Graduate Merit Award. If you are enrolled in a Master’s or doctoral program at a Canadian post-secondary institution, please indicate that you would like to be considered for this $500 prize on your submission.

About the CSSC/SCEBD

The CSSC/SCEBD is a national, bilingual scholarly association that promotes the academic study of comics. Founded in 2010, the CSSC/SCEBD is a venue for Canadian and international scholars to discuss all aspects of comics as an art form and cultural phenomenon.

Call for Papers: The Middle Spaces Academic Round Table

Call for Papers: The Middle Spaces Academic Round Table

The Middle Spaces, an award-winning blog that covers comics, music, and culture, invites submissions for an academic roundtable on the subject of letter columns and other comics book paratexts to be co-edited by Osvaldo Oyola and Leah Misemer and published in early 2020.

Those interested in contributing should email a clearly articulated question they seek to explore in their essay, an abstract of no more than 200 words describing their approach to the question, and the title of a comics text they plan to use as an example or subject for their contribution. In addition, please include a brief bio. Send contributions to themiddlespaces@gmail.com.

Possible Topics Include:

    • Letter columns: columns that extend the fictional world of the comic, extended conversations, letter hacks, planted letters, community building

    • Advertisements: perceived audience, incorporation of comic characters into ads, selling ad space, fake or mock ads

    • Circulation Info: copyright, sales numbers

    • Editorial: creator credits, political responses, bullpen as virtual space, summaries, continuity and footnotes

    • Covers: various cover elements (e.g. Code symbol, pricing, issue labeling), cover narratives and connection (or lack thereof) to inner content

Please submit proposals by Monday, November 18, and submitters will be notified by or on Monday, December 16. We hope to publish the roundtable in the first quarter of 2020.

You can download a Word document version of this CFP for sharing, here.

CFP for Edmonton Comics and Entertainment Expo’s Academic Track 2019

CFP for Edmonton Comics and Entertainment Expo’s Academic Track 2019

Submission deadline: August 10, 2019

The 2019 Edmonton Comics and Entertainment Expo will be held on September 20-22, 2019 at the Edmonton Expo Centre. The Expo’s academic track is a unique opportunity to engage the public with scientific research and scholarly work in a culturally and academically accessible way. The academic track talks are 45 minutes long (30 minutes for the presentation plus 15 minutes for Q&A) and are dedicated to cutting edge research and the linkages between it and pop-culture.

A non-exhaustive list of possible topics includes:

Epidemiological outbreaks in sci-fi and real life
Exobiology and non-carbon based life forms
Aspects of Space exploration (engineering and mining, astronomy, kinesiology, etc.)
Technology and new media’s representation in pop-culture
Reflections of socio-political issues in pop-culture contents
History of pop-culture contents and products
Fan communities and fan practices
Pop-culture creators and their work
and many more.

The academic track has four sub-streams. Please review these carefully and consider applying for the one most fitting your topic:

Cutting-Edge Research Talk – talk that is directly linked to your academic work to date and a specific genre, pop-culture content, or phenomenon. Past examples include: the representation of revenge in Hollywood films and real-life, the brain functions of competitive scrabble players, the gender assignment of Molluscs and Hutts (from the Star Wars Universe), Feminist thought and witchcraft, and the likes of it.

The Social Labconducting research that has to do with pop-culture or with the Expo’s patrons? Need participants for your research? The Edmonton Comics and Entertainment Expo also accept requests to reserve space for research purposes with the convention’s patrons (subject to the researchers obtaining ethical approval by their university’s board of ethics and an internal Expo review process). Past examples for research conducted at the expo include Surveying gamers about their news sources, media reception studies, fan-culture focus groups, gamification experiments, ESL acquisition research, etc. Requests for sessions of between 45 minutes to 2 hours can be submitted using the same web-form. Successful applicants will be contacted with further information by the coordinators as early as possible to set up the required logistics in advance.

Scholarly Talktalks that are related to your discipline but not directly to your research. Past examples include Professional wrestling as a media product, Comic-books circulation studies, Zombie genre content and the human condition, philosophy of authenticity and alien food, global warming in sci-fi novels, and so on.

Undergrads trackDo you have a student who’s not a professional scholar (yet), but had a great term paper about pop culture that got an A+? Help them Start their public speaking career here and let them know of the Expo’s academic track. In the past undergraduate students discussed gaming ethics, Gender issues in TV dramas, Retconning, and continuity in comic book narratives, classic drama and its modern adaptations and more.

To submit your proposals, please go to
https://www.edmontonexpo.com/en/apply/panel-submission.html

AND

Send an up to 500 words abstract to o.berenstein@ucalgary.ca

Submission deadline: August 10, 2019

Accepted presenters will receive a free day pass to the convention for the day of their talk valued.

Please contact Ofer Berenstein (o.berenstein@ucalgary.ca), the academic track coordinator, with any question you might have.

Call for Chapters: “Polyptych: Adaptation, Television, and Comics”

Call for Chapters: “Polyptych: Adaptation, Television, and Comics”

Vernon Press invites chapter proposals on Adaptation in Comics and Television for an edited collection Polyptych: Adaptation, Television, and Comics, edited by Reginald Wiebe (Concordia University of Edmonton).

All areas of study, with a common goal of engaging the cultural, social, philosophical, and material significance of the reciprocal adaptation of television and comicbooks are invited to participate.

Comicbooks and television have been adapting almost as long as either has existed, yet scant work has been done on the relationship between these two mass media. Adaptation theory helps us navigate a world of transmedia properties and media conglomerates where models of stable text and singular author have little useful purchase. The creative collaboration and corporate origin of these projects demands more than a reading for theme; rather, the nature of the relationship between comicbooks and television requires a range of interpretive strategies.

The scope of the present call is broad. All topics regarding the intersection of adaptation, television, and comics will be considered. Possible topics include:

television adaptations of comicbooks
comicbook adaptations of television shows
comicbooks adapted from television shows that were themselves adapted from comicbooks (e.g. DuckTales, Teenage Mutant Ninja Turtles, Superboy, Batman ’66, Smallville, the comics based on the CW’s “Arrow-verse” suite of shows)
parallel development of brands within comicbooks and television (e.g. Transformers, GI Joe, The Walking Dead)
Television series that continued as comicbooks after ending (e.g. Buffy the Vampire Slayer, Firefly, Jericho, The Legend of Korra)
the parallel material history of comicbooks and television
serialization and narrative strategies on comicbooks and television
the role of comicbook adaptations before the advent of the VCR and home entertainment
the role of comicbook adaptations after the advent of the VCR and home entertainment
popular but critically neglected adaptations such as Archie, Tintin, Casper the Friendly Ghost, The Addams Family, and Adventure Time

Deadline for proposals: January 1, 2020

Deadline for first drafts: July 1, 2020

How to submit your proposal

Please submit one-page proposals (200 words approx.) including an annotated summary and a short biographical note.

For further questions or to submit your proposal, you can email Reginald Wiebe (Reginald.wiebe@concordia.ab.ca)

A paper that has been published previously may not be included.

Selected abstracts will be notified by the end of January 2020, and full chapters should be submitted by July 1, 2020. Complete chapter lengths should be between 6000-7000 words.

About the publisher

Vernon Press is an independent publisher of scholarly books in the social sciences and humanities. We work closely with authors, academic associations, distributors, and library information specialists to identify and develop high quality, high impact titles.

More information on www.vernonpress.com

CONGRESS WRAP-UP

CONGRESS WRAP-UP

congress02en

Our first conference as part of the Congress of the Humanities and Social Sciences was a great success. Over two days, we gathered for forty papers representing the breadth of contemporary comics scholarship, two great roundtables, including our joint session with the Canadian Society for the Study of Education, and of course our keynote lecture from Prof. Frederick Luis Aldama.

Thank you to the presenters and session chairs, Program Chair Benjamin Woo, Local Area Coordinator Kevin McNeilly, and the volunteers who reviewed abstracts: Peter Bryan, Keith Friedlander, Orion Ussner Kidder, Frederik Byrn Køhlert, Natalie Garceau, Paul Malone, Anna Peppard, Chris Reyns-Chikuma, and Sylvain Rheault.

We’re looking forward to taking the CSSC/SCEBD conference to Western University next year for Congress 2020—watch for our CFP in the fall.

-Benjamin Woo, CSSC/SCEBD President

SEE YOU NEXT YEAR

SEE YOU NEXT YEAR

congress01

Our first conference as part of the Congress of the Humanities and Social Sciences 2019 is done. If you want to download the CSSC program for this year, or any of the five previous years, please click here.

The Congress site has several videos and links of this year’s events here.

A big thank you to all participants! See you next year in London, Ontario.

Call for Papers: Annual Conference of the Canadian Society for the Study of Comics

Call for Papers: Annual Conference of the Canadian Society for the Study of Comics

 

University of British Columbia, June 4–5, 2019

"I know it's a bit of a trek but it's worth it!" against drawing of Vancouver's Lion's Gate Bridge
True Loves 2: Trouble in Paradise © 2009 Jason Turner and Manien Bothma

The Canadian Society for the Study of Comics invites proposals for papers and pre-constituted panels on any and all aspects of comics, broadly conceived (including cartoons, comic strips, comic books, graphic novels, webcomics, picture books, and visual poetry) to be presented at our 2019 annual conference. For the first time ever, the CSSC/SCEBD conference will be held as part of the Congress of the Humanities and Social Sciences.

The comics form has been theorized as an inherently hybridized mix of words and images. In keeping with the theme of this year’s Congress, Circles of Conversation, we are particularly interested in proposals that explore comics’ potential to communicate across boundaries. Potential topics include but are not limited to:

  • comics and intercultural dialogue

  • inter- and multi-disciplinary approaches to the study of comics from across the social sciences and humanities

  • diverse representations and authors

  • circulation, adaptation, and transmedia narratives

  • comics worlds and world comics

  • comics and fan cultures

  • creative communities and corporate culture, gatekeeping and backlashes

  • comics in professional practice (comics and education, graphic medicine, graphic justice, comics journalism, etc.)

Please submit a 200–300 word abstract, short biography, and contact information in a Word document to csscscebd+cfp2019@gmail.com by December 31, 2018  Updated deadline: January 15, 2019. 

Keynote Lecture: Latinographix: Taking a Can Opener to the History of Alternative Comics

Frederick Luis Aldama poses for a portrait at the Gateway Film Center on Thursday, October 6, 2016. (Rob Hardin/ Alive)
Frederick Luis Aldama poses for a portrait at the Gateway Film Center on Thursday, October 6, 2016. (Rob Hardin/ Alive)

We are also pleased to welcome this year’s keynote speaker, Frederick Luis Aldama. Dr. Aldama is Arts & Humanities Distinguished Professor, University Distinguished Scholar, and University Distinguished Teacher at The Ohio State University. He is the award-winning author, co-author, or editor of 36 books, editor or co-editor of 8 academic press book series, and editor of the trade-press graphic fiction and nonfiction series Latinographix. He is founder and director of LASER, the Latinx Space for Enrichment & Research, and has been inducted into both the Academy of Teachers and the National Cartoonists Society.

About the CSSC/SCEBD

The CSSC/SCEBD is a national, bilingual scholarly association that promotes the academic study of comics. Founded in 2010, the CSSC/SCEBD is a venue for Canadian and international scholars to discuss all aspects of comics as an art form and cultural phenomenon. Please find information about the CSSC/SCEBD on our website: http://comics-scholars.com.

About Congress

The Congress of the Humanities and Social Sciences is an annual umbrella meeting for over seventy Canadian scholarly associations. Each year, it meets on the campus of a different host university. In addition to the individual association conferences, a series of lectures, workshops and cultural events are organized by the host institution and the Canadian Federation for the Humanities and Social Sciences. Information on the Congress and its constituent conferences may be found at http://congress2019.ca.

‘Alternative francophone’ is preparing a special issue on digital comics

‘Alternative francophone’ is preparing a special issue on digital comics

Submissions should take into account creators working in French. A comparative approach with creators working in other languages is welcome.

Who’s Afraid of Digital in Comics?

The form to which one thinks when referring to comics can be seen to have taken into account a specific materiality, that of paper (be it newsprint, booklet or book) and editorial structures (depending on the case, penny papers, syndicates, youth oriented publications, etc.). Many formal caracteristics of comics are in fact answers to this materiality and these structures. With the growth in possibilities in terms of data storage and transmission, comics creators have seen in the digital an opportunity to free themselves from old formal and financial constraints and to explore a new frontier. However, against this phantasmatic opening, reality opposed a new set of constraints, many of which resounding as calls to creativity.

Mostly, digital comics present the scan of a page or a strip. As is the case for pages of a digital book, theses skeuomorphic interfaces content themselves to a page per page presentation, in some cases imitating the flipping of a page, oft with a sound effect. Yet, one finds a slew of new formal possibilities when the drawn work takes a digital form. Anthony Rageul (2014) on the one hand, Chris Reyns-Chikuma and Jean Sébastien (2019) on the other, inventory some ten forms.The former’s classification is in line with an aesthetic of reception: a new temporality as to reading with the assimilation of homochronous time (that of cinema) or through the construction of a narrative by the successive appearance of images; a new relationship to space through the computer window metaphor; the possibility of interaction and manipulation. The latter’s classification, centering on the diversity of auctorial projects, develops two englobing categories as to the manner in which a creator chooses to organize the narrative: in some cases, the work carries within it a strong arthrologic figure, that is the instance which presides over the narrative’s articulation as Groensteen (1999) defines this concept; in other cases, the work acts  as a figure of arbitration, opening a series of choices to the user, either in the closed structure of an arborescent narrative or in much looser structures.

Digital comics constitute a new type of creative work. Yet, they appear in cultures in which there is a profound mutation in the reader’s horizon of expectation as to comic–a knowledge of its tradition notwithstanging. A recent profile of activities practiced daily by French youth aged between 15 and 25 gives an idea of the cultural references systems of young readers (Vincent-Gérard et Vayssettes 2018). Music and social networks are the spirit of the time. Online videos are now head-to-head with TV-viewing. Reading a book, as a daily activity, has dwindled to 18% of the surveyed. Moreover, the readership’s reference systems also depends on the publishing ecosystem. In the case of the Franco-Belgian culture, Gilles Ratier has published yearly surveys of publications in bande dessinée, including the introduction of digital publications.

Rageul (2014) has shown that one form of digital comics, Turbomedia–Marvel’s Infinite Comics– has had a tendency to take the forefront among other forms of experimentation with the medium to the point where “the observer can find recurrence of this form in an ever larger corpus […]. This phenomenon perfectly illustrates the transitory phase that, according to Lev Manovich […], is characteristic of current digital technologies. This transitory phase consists in a search for a language that would be the medium’s own.” (p. 79-80)

However, those creative practices, which end up deconstructing the ‘principle of the page’ dear to Groensteen open up real avenues. There are works that, from the moment of their conception, seem to explore paths in the spirit of the work done by the Oubapo movement on multiple readings. There are others that conjugate the homochronous time of cinema with the heterochronous time of reading. Yet, others expect that an active part will be taken by the ‘wreader’ (or ‘lect-acteur’ in French), expressions we owe to Landow (1992) and Weissberg (1999). Will creative works, with the possibilities opened up by the computer, still be comics or are we witnessing the birth of a new media? Gardner (2012) sees in the convergence of comics and film a reopening of a door closed in the early 20th century.

We encourage case studies that look into the possibilities offered to reading by digital comics:

Do the works studied play with the codes that are characteristic of the constraint of the page?

Do they choose to maximize the possibilities of the medium?

Do they play with the constraints of the interface (the screen, the touch-screen, the keyboard, the mouse) ?

Were they developed with the thought of the best possible reading comfort for a digital interface?

Or, in terms of reception, evaluate the spectre of possible agency: from the reader benefitting from the medium’s heterochronous time to the wreader moving forward in the space that he is given.

Deadline for a 300-400 words proposal: November 9, 2018

Send your proposal by email to Côme Martin (come.martin@gmail.com) and Jean Sébastien (jsebastien@cmaisonneuve.qc.ca)

Deadline for completed article: April 30, 2019

Publication: December 2019

The articles must be original material (see Alternative francophone’s author guidelines)

https://ejournals.library.ualberta.ca/index.php/af/about/submissions#onlineSubmissions

The completed articles will go through a blind peer reviewer process. The final decision with comments will be sent by email in a 2 to 3 months delay.

 

 Selective Bibliography

Baudry, Julien (2012). Histoire de la bande dessinée numérique française. In Neuvième art 2.0. Repéré à :

http://neuviemeart.citebd.org/spip.php?rubrique72

Boudissa, Magali. (2010). La bande dessinée entre la page et l’écran: étude des enjeux théoriques liés au renouvellement du langage bédéique sous influence numérique. Thèse de doctorat, Université de Paris 8.

Boudissa, Magali. (2016). Typologie des bandes dessinées numériques. In P. Robert (Ed.).Bande dessinée et numérique. Paris : CNRS Éditions, p. 79-99.

Crucifix, Benoît et Dozo, Björn-Olav. (2018). E-Graphic Novels. In Baetens, Jan, Frey, Hugo et Tabachnick, Stephen E. The Cambridge History of the Graphic Novel. Cambridge : Cambridge University Press. p. 574-590.

Eco, Umberto. (1979). Lector in Fabula ou La Coopération interprétative dans les textes narratifs. Paris : Grasset.

Falgas, Julien. (2016). Pour une sociologie des usages et de l’innovation appliquée aux récits innovants. In P. Robert (Ed.).Bande dessinée et numérique.Paris: CNRS éditions, p. 135-154.

Gardner, Jared. (2012). Projections : Comics and the History of Twenty-First Century Storytelling. Stanford : Stanford University Press.

Gaudreault, André et Marion, Philippe. (2013). La fin du cinéma ? Un média en crise à l’ère du numérique. Paris : Armand Colin.

Groensteen, Thierry. (1999). Système de la bande dessinée. Paris : P.U.F.

Groensteen, Thierry. (2011). Bande dessinée et narration. Système de la bande dessinéeTome 2. Paris : P.U.F.

Jauss, Hans-Robert. (1972). Pour une esthétique de la réception. Paris : Gallimard.

Kirchoff, Jeffrey et Cook, Mike (Ed). (2019). Perspectives on Digital Comics. Jefferson : McFarland. (À paraître)

Landow, George P. (1992). Hypertext: The Convergence of Contemporary Critical Theory and Technology. Baltimore : Johns Hopkins University Press.

Manovich, Lev. (2010). Le langage des nouveaux médias. Dijon : Les Presses du réel.

Marion, Philippe. (1997). Narratologie médiatique et médiagénie des récits. Recherches en communication, 7, p. 61-88.

Martin, Côme. (2017). With, Against or Beyond Print? Digital Comics in Search of a Specific Status. The Comics Grid. 7, 1. DOI: 10.16995/cg.106

McCloud, S. (2000). Reinventing comics. New York: Perennial.

Paolucci, Philippe. (2015). La ludicisation du numérique : vers une subversion des architextes informatiques ? Étude de cas d’un blog-BD. Interfaces numériques, 1, p. 99-111.

Rageul, Anthony. (2014). La bande dessinée saisie par le numérique: Formes et enjeux du récit reconfiguré par l’interactivité. Thèse de doctorat, Université de Rennes 2.

Ratier, Gilles. (2000-2016). Les bilans de l’ACBD. Repérés à :

https://www.acbd.fr/category/rapports/

Reyns-Chikuma, Chris et Sébastien, Jean. (2019). French Digital Comics. In Kirchoff et Cook (ci-haut).

Vincent Gérard, Armelle et Vayssettes, Benoit. (2018). Les jeunes adultes et la lecture. Étude IPSOS pour le compte du Centre national de la lecture.

Repéré à :

http://www.centrenationaldulivre.fr/fichier/p_ressource/14848/ressource_fichier_fr_les.jeunes.adultes.et.la.lecture.2018.06.15.ra.sultats.da.tailla.s.ok.pdf

Weissberg, Jean-Louis. (1999). Présences à distance. Paris : L’Harmattan.