ImageTexT is a peer-reviewed, open access journal dedicated to the interdisciplinary study of comics and related media. We are published by the English Department at the University of Florida with support from the College of Liberal Arts and Sciences. Our content is available free of charge, and regular issues of ImageTexT will be published three times per year.
A new comix art school, The Sequential Artists Workshop, is soon open in Gainesville, FL. Please see the website at http://www.sequentialartistsworkshop.org/ for details. From the SAW website:
A couple years ago we had the crazy idea to open a school; an informal, but serious school, with a curriculum to match any anywhere, but without the baggage, the loans or the politics of higher education. This was the challenge: to create an outpost of support and learning in the comics world. We’re here to educate students and support artists. SAW is a place you can come for a week or a year and forge your personal creative path in visual storytelling.
SAW's mission statement is described in this excerpt from a letter which was sent by the school's founders, who include Tom Hart and Leela Corman, before the school's opening:
We're starting this school because we recognize more and more the need for intensive training in this artform, and also want to see the good, interesting adventurous artists out there multiply and flourish. That's why we're calling it The Sequential Artists Workshop: our mission is to train and support artists.
The school is being founded by Tom Hart, who has taught cartooning at the School of Visual Arts in New York City for 10 years, and has helped countless amazing students at SVA become artists. Tom says, "Cartooning and graphic novels are becoming bigger and bigger every day. I tutor and teach more and more people who are fascinated by this medium but don't know it's workings or don't know its history, or who just need time and mentoring to practice, learn and work. We want to be a place to for those people to work, to learn the form and to become sequential artists."
You can see the letter in full on our announcement of the Workshop on the ImageTexT News Feed. We at ImageTexT hope that you will extend support to this exciting new organization.
The Graduate Comics Organization at the University of Florida invites applicants to submit proposals to the 14th UF Conference on Comics and Graphic Novels, "Comics Remixed: Adaptation and Graphic Narrative." The conference will be held from Friday, April 7 to Sunday, April 9, 2017.
The ongoing blockbuster expansions of the Marvel and DC comics universes into parallel cinematic and television universes have brought to mainstream attention the adaptation of print comics into other media. Comics scholars are also paying closer attention to the importance of adaptation as an aspect of comics production and reception. Liam Burke's The Comic Book Film Adaptation (2015) has addressed the boom in Hollywood comic book movies during the 21st century. Stephen Tabachnick and Esther Bendit Saltzman's 2015 collection Drawn From the Classics analyzes comic adaptations of literary classics. In 2015, the University of Leicester hosted the symposium "Comics and Adaptation in the European Context," seeking to "bring the fields of comics and adaptation studies into critical dialogue."
When traditionally print-based comics are adapted to other media, or when comics adapt works from other media, how does this change our understanding of what comics can accomplish? Comics adaptations, and adaptations of comics, are not limited to only visual and/or lexical source material; for example, P. Craig Russell has authored a successful series of comics adaptations of operas, and Alison Bechdel's graphic novel Fun Home has been adapted into a hit Broadway musical. Comics have a long history of borrowing from other media without, strictly speaking, adapting plot lines or character biographies, as seen in Bob Kane and Bill Finger's adoption of techniques from German Expressionist film in the early Batman stories. In addition, comics culture may be viewed as long having undergone a process of adaptation as a consequence of changes in media ecologies: as the Internet allows fans to connect in different ways, how does this affect the construction of comics fandoms? Moreover, how does the evolution of comics production contribute to a process of adaptation?
The goal of this conference is to invite more extensive and nuanced investigation into these and other problems of comics adaptation. What are the known possible relationships between comics and other media, including but not limited to alphabetic texts, film and television, music, fine art, street art, videogames, and photography? How does the process of adaptation affect our understanding of the genres, themes, or political/aesthetic concerns of works being adapted, and the results of adaptation? The scope of this conference is not limited to trans-media adaptation. Are there instances where comics may influence and borrow from actual life? What is the place of comics adaptations in the multiple media landscapes of the 21st century and beyond?
Possible topics may include but are not limited to:
In addition to traditional, 15-20 minute presentations, "Comics Remixed" will also consider discussion panels from multiple presenters coordinating around a central topic or theme. Proposals should be between 200 and 300 words, and are due December 1, 2016. All proposals should be submitted to Spencer Chalifour at firstname.lastname@example.org.
Sunday 26 June
University of Kent
10.00 – 18.00
Registration is now open for Comics Crossroads. At this one-day symposium, participants will discover some of the best and most cutting-edge research into comics, cartooning and drawn images. Eight invited speakers will present a 30-minute paper on their recent research, followed by a prepared critical response from an invited respondent and questions from the audience. The event is designed to bring together ideas from around the field of Comics Studies, provoke critical and forward-thinking discussion between researchers and research disciplines, offer input for new and current researchers, and engage with the potential for interdisciplinary work.
The burgeoning field of Comics Studies is necessarily interdisciplinary, yet it risks fragmentation as scholars entrenched in one tradition may be unaware of the important contributions being made in others. We seek to counter such divisive trends, providing a space for both receptive and productive engagement and new avenues of scholarly interaction.
Registration fees are £10 waged and £6 unwaged/student, and include lunch and refreshments.
To register, please follow the link. For enquiries, please contact F.Francis@kent.ac.uk: http://store.kent.ac.uk/browse/extra_info.asp?compid=1&modid=1&catid=219&prodvarid=208
Comics Crossroads is the last in a series of events attached to the exhibition There is an Alternative!: Critical Comics and Cartoons. The exhibition is open to the public at the University’s Templeman Gallery until July 2nd (08.00-21.00, Monday to Sunday)
Comics Crossroads is organised by Dr Antonio Lazaro-Reboll, Dieter Declercq, Fred Francis and Julia Secklehner. It is supported by two research consortiums:
and the following bodies at the University of Kent:
The Graduate Comics Organization at the University of Florida invites proposals for the 13th UF Conference on Comics and Graphic Novels, “Transnational Comics: Crossing Gutters, Transcending Boundaries.” The conference will be held in Gainesville, Florida from April 8th to 10th, 2016. Confirmed keynote speakers are comics scholars John Lent (Professor Emeritus, Temple University, Editor of International Journal of Comic Art), Derek Parker Royal (Clinical Associate Professor, University of Texas, Dallas) and international comics translator Edward Gauvin.
In the age of globalization, forms of popular culture have been increasingly marked by transcultural pollination across aesthetics, content, generic conventions and iconography. The global flow of information, media and culture increasingly requires the study of comics from a transnational perspective. A few recent publications have drawn attention to intersections of national and cultural boundaries in comics. Mark Berninger, Jochen Ecke, and Gideon Haberkorn’s co-edited anthology Comics as a Nexus of Cultures: Essay on the Interplay of Media, Disciplines and International Perspectives (2010) signaled a shift in comics studies by exploring crossovers in comics across media and nations. Daniel Stein, Shane Denson, and Christina Meyer’s edited work Transnational Perspectives on Graphic Narratives: Comics at the Crossroads (2013) was groundbreaking in redressing the dearth in transnational investigations of graphic narratives and paying attention to border crossings as well as cultural and material exchanges in comics.
The inherently dialectic, intersectional nature of comics, as manifested in image-text interplays, gutter-crossing and collaborative production, make comics a rich site for the exploration of emerging transnational crossovers. We invite a range of papers that incorporate transnational approaches to comics studies, and which address questions of translation, reception, cross-cultural exchange, tensions between global/local and center/periphery, and the transnationalization of production processes.
Suggested topics include but are not limited to:
Proposal Guidelines: Please send original proposals that have not been published or presented elsewhere, along with contact information, to email@example.com by January 27, 2016. All proposals will be blind reviewed, and must not exceed 300 words. Submitters will receive notification of results by February 5, 2016.
ImageText is accepting paper submissions for a special forum on the topic of “Comics and Fine Art.” As comics scholar Bart Beaty has noted, “One of the significant consequences of the literary turn in the study of comics has been a tendency to drive attention away from comics as a form of visual culture. Comics have rarely been considered an art form akin to painting, sculpture, or photography, and they are not commonly taught in courses in art history.” The segregation of comics and art historical/critical scholarship has left comics studies impoverished of potentially useful critical vocabulary and methodology. Additionally, it has lead scholars of fine art and comics alike to neglect the rich history of exchange between the two forms, which can be dated back to at least the French avant-garde of the late nineteenth century.
Looking to fill this gap, this special forum will take seriously the status of comics as a visual art which shares much in the way of style, technique, and form with works of the fine art world. We seek to gather a collection of essays which demonstrate the potential for dialogue between these disciplines and their respective objects of study. In general, we are interested in papers which address some aspect of the rapport between comics and fine art. Submissions in the range of 6,000-10,000 words are welcome.
In particular, we are interested in collecting essays which address:
Completed submissions for this special forum are due on April 1st, 2016. Please send all submissions or questions to Colin Beineke at firstname.lastname@example.org and Ben Novonty Owen at email@example.com. Please also read the ImageText submissions guidelines: http://www.english.ufl.edu/imagetext/submissions.shtml. All images should be provided as ZIP files.
Submissions will be peer-reviewed and returned by June 15th, 2016. This special forum is scheduled to appear in the winter of 2017.
ImageTexT at the University of Florida invites applicants to submit full-length articles (6,000-10,000 words) on Traumics: Comics Narratives of Trauma by Nov. 1, 2015.
Traumics are, simply put, comics plus trauma. With their syntax of panels, gutters, and pages and their use of the evocative power of image in conjunction with the precise communication of text, comics are uniquely suited to delivering narratives of trauma. The relationship of trauma (especially childhood trauma) to the comics medium is a thread that runs throughout Hillary L. Chute's 2010 Graphic Women: Life Narrative & Contemporary Comics, a book which is structured around exploring the works of five autobiographical comics artists (Aline Kominsky-Crumb, Phoebe Gloeckner, Lynda Barry, Marjane Satrapi, and Alison Bechdel). By their very nature, comics provide a potentially ideal means through which to tell those stories that require the fragmentation and reconstruction of events of high drama and emotional intensity. The juxtaposition of images on the comic page make comics what might be considered a ‘natural' fit for exploring the concept of "Remembering, repeating, and working-through" examined so in-depth in Cathy Caruth's seminal 1996 work on trauma, Unclaimed Experience: Trauma, Narrative and History.
More than two decades ago, Art Spiegelman's Pulitzer-winning opus, Maus, changed the way much of the reading public views comics, and is now one of the most iconic and recognizable Holocaust narratives to be studied in the classroom or found on bookstore shelves. Since the turn of the century, autobiographical comics like Alison Bechdel's Fun Home, Marjane Satrapi's Persepolis, and Phoebe Gloeckner's Diary of a Teenage Girl have all been released to great critical acclaim. Epileptic, David B.'s autobiographical exploration of medical trauma, hugged the transition from the 1900s to the 2000s, with its original French release running from 1996 to 2003; more recently, David Small's autobiographical Stitches (2009) also forced a spotlight on medical trauma, using bold, rough graphics to recount the horror of a child's battle with cancer. Robert Kirkman's zombie survival horror comic The Walking Dead (which began its run in 2003 and continues today) has captured the American cultural imagination, with its adaptations ranging from a television show and video game to a prominent role in the most recent Halloween Horror Nights attraction at Universal Studios. Comics and war narratives (as well as war reporting) have also gone hand-in-hand for many years; just this November, noted war comics writer and artist Joe Sacco released his latest work, The Great War, which tells the story of the first day of the Battle of the Somme in one continuous, 24-foot drawing. Comics have become one of the most important and visible venues through which a 21st-century audience understands, imagines, and works through traumatic events.
We invite papers from all disciplines on the theme of "traumics: comics narratives of trauma." Possible topics include but are not limited to:
"Traumics: Comics Narratives of Trauma" will consider papers from graduate students, professors, independent scholars, undergraduates and other academics, and all submissions will be judged based on merit.
Submissions should be between 6,000-10,000 words, and are due Nov. 1, 2015. All proposals should be submitted to firstname.lastname@example.org with the subject line, RE: Traumics Forum
Please see the ImageTexT Submission Guidelines for more information on formatting, image inclusion, and the review process: http://www.english.ufl.edu/imagetext/submissions.shtml
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