ImageTexT: Interdisciplinary Comics Studies

ISSN: 1549-6732

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ImageTexT posts news and updates relevant to our issues, CFPs, and the comics program at UF. We also publish CFPs, event announcements, and book notices of interest to the comics studies community.To stay updated, subscribe to an RSS feed (learn about RSS), or sign up to receive announcements by email. To see your announcement here, please contact us.

[cfp] Webcomics Roundtable at NeMLA 2014

Posted 25 Sep, 2013

Getting the Picture: On Recent Evolution in the Comics Industry (Roundtable)
45th Annual Convention, Northeast Modern Language Association (NeMLA)
April 3-6, 2014 in Harrisburg, Pennsylvania

From one perspective, the comics form is becoming more weighty and legitimized as graphic novels are sold in standard bookshops. However, at the same time, the comics industry is moving online, where free serialized webcomics such as Penny Arcade and Homestuck create new distribution and fandom models. This roundtable seeks papers that address webcomics as a form and/or an industry, changes in comics fandom due to these newly-popular forms, the role of manga or video games in these changes, or related issues. Abstracts or participation proposals to Emily Lauer at by September 30.

This will be a roundtable discussion, and I welcome creators and fans as well as scholars—please feel free to forward widely.

[cfp] Making the Marvel Universe: Transmedia and the Marvel Comics Brand

Posted 16 Sep, 2013

Editor: Matt Yockey
Publisher: TBD (strong initial interest has been expressed by the University of Texas Press)

What became known as the Marvel Universe in effect began with the publication in 1961of Fantastic Four no. 1, a comic book that redefined the superhero genre with its exploits of a bickering superhero team. In little more than a year a company that had gone through numerous name changes since it began as Timely Publications in 1939 not only settled on a new one—Marvel Comics—but also embraced a new identity as an iconoclastic “House of Ideas,” overseen by the jocular and familiar editorial presence of Stan Lee and defined by the unique creative vision of artists such as Jack Kirby and Steve Ditko. Previously in the shadow of DC Comics, the dominant publisher in the industry, by the end of the 1960s Marvel had completely rewritten the rules of what superhero comic books could be. Not only did the “Marvel Bullpen” produce a new wave of unusually complex superheroes—including Spider-Man, the Incredible Hulk, Doctor Strange, the X-Men, and Iron Man—but they redefined the ways in which comic books were read. The Marvel Universe was constituted by an overall continuity between titles to an unprecedented degree; cross-over stories evolved into a complex meta-text that incorporated every superhero title the company published. With Lee as the face of the company, Marvel became not only the leading publisher of superhero comic books but (after a few false starts) eventually optioned its properties into successful blockbuster films, beginning in 2000 with X-Men. This led to Marvel establishing its own film production company that is currently producing a collection of movies that are the film equivalent of the Marvel Universe. With comic books no longer the mainstream commodity they once were, Marvel has effectively exploited the transmedia potential of their properties and remains more relevant and more lucrative a business concern than ever before.

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[cfp] Comics: Strips, Books, Graphic Novels and Everything in Between

Posted 16 Sep, 2013

The Comics and Comic Art Area of the Popular Culture Association invites all comics scholars to participate in the annual meeting of the Popular Culture Association and American Culture Association. Details of the conference can be found at the conference website.

The Comics and Comic Art Area of the Popular Culture Association offers a venue for scholars from across the country to share their research and exchange ideas on the growing field of comics scholarship. Papers on all aspects of the medium are invited.

Past papers have covered mainstream, underground, and international comics; cartoons, comic strips, comic books, and graphic novels; comics in connection with film, television, and video games; writers, artists, and publishers; teaching comics at various levels; and writing and publishing comics scholarship.

This call asks for individual paper proposals or submissions for entire panels. If you are submitting a panel, please make sure to note the members of your panel. In addition to general papers, if a presenter would like to propose a special panel or roundtable discussion, please e-mail the chair so she can forward the request to the list and the Comics and Comic Art Facebook group. (All interested scholars are welcome to join the group.)

Papers should be delivered in 15-20 minutes. The PCA limits presenters to one paper given at the conference, so if you are interested in presenting a paper in the Comics and Comic Art Area, do not submit a paper to another area.

All participants are eligible for the annual Inge Award for Comics Scholarship, awarded to the top paper presented in the Comics and Comic Art Area of the PCA. Student participants are eligible for the Lent Award for Comics Scholarship, awarded to the top paper presented by a student in the Comics and Comic Art Area of the PCA.

Scholars interested in presenting a paper at the national conference should submit a 100-200 word abstract and a short introductory bio to the PCA Database (

Please send all inquires to:

Terence Wandtke
Film and Digital Media
Judson University

[issue] ImageTexT 7.1: The Worlds of the Hernandez Brothers

Posted 08 Sep, 2013

ImageTexT: Interdisciplinary Comics Studies is pleased to announce the release of its latest issue, volume 7 number 1, "The Worlds of the Hernandez Brothers." The issue was guest-edited by Derek Parker Royal and Christopher González. It can be accessed via our main page at or via its permalink location at

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